The Bowery Ballroom hosted the Brooklyn-born band, HOKO, on the evening of Wednesday, August 23rd. On tour in support of almost monday and the WEATHERS, HOKO branded their name into the minds of their modest but curious New York City audience. This fifteen stop USA tour is HOKO’s first tour debut, and they are making sure to impress along the way. Through the vehicle of their experimental style, they are refreshing the palettes of listeners with a sound unlike anything they’ve ever heard.
Photograph by Sophie Gurwitz
Bodies trickled into the ballroom as time climbed towards HOKO’s set. Conversation vibrated across the floor, people expressing their excitement about the headliners and a few eager to watch HOKO’s set, while others volleyed HOKO’s name around with intrigue.
When the lights dimmed, everyone’s attention was pulled towards the darkness resting on stage. Blue light hues swirled across faces of the crowd while the band presented themselves on stage. Bass came through the floor, tugging at peoples’ bones, demanding their presence. After a minute long introduction of pure sensation, the first guitar riff electrified the atmosphere to kick-off a night of music.
Photograph by Sophie Gurwitz
HOKO opened with their song “Pretender.” Dense guitar riffs and confident vocality drew the audience into captivation. Their sound projected something heavier than the typical pop-rock song. The tones and intensity of the instrumentals almost felt dark – not in a dangerous way but in an enticing manner.
It was impossible to name a comparable sound to them, they felt fresh. Listeners bounced around artist names, “COIN,” “Bleachers,” “B-52’s,” “Zeppelin.” That vast of a name pool proved testament to their individuality.
Photograph by Sophie Gurwitz
It’s difficult to be truly unique in the music industry, to not fall into the coddle of a niche, to not be a genre artist. HOKO has taken the liberty of demolishing musical barriers, and redefining flexibility in relation to their production. Their sound cannot be labeled, for they are rock, they are electric, they are pop, they are psychedelic. They are ever-evolving. As the night progressed, it became evident that something of impressive massivity is to come from HOKO.
Photograph by Sophie Gurwtiz
Lead singer, Nathaniel Hoho, absorbed the ballroom’s energy and gave a rockstar level performance. He got in the crowd to mosh with the audience. He climbed atop speakers, and entertained the cameras. He engaged with fans in between songs. Half way into their set, it became hard to believe HOKO had never toured prior to this, for their presence suggested years of being fluid and daring on the stage. Their performance felt too big for a stage the size of Bowery’s.
Photograph by Sophie Gurwitz
One of HOKO’s most popular songs, “Candy Eyes,” gripped the evening when it made its way through the setlist. Guitarist and esteemed string player, Jesse Kotansky, brought out his violin for the song. To hear the harmony of the violin with Hoho’s powerful voice was a beautiful display of musical juxtaposition. Versatility receives respect from concert goers. Though a handful of the audience didn’t know of HOKO before the show, they were sure to remember them after the night the band gave them.
Photograph by Sophie Gurwitz
Their production value implied experimentation and play as a priority. The boldness, the confidence, the yearn to perform created a high that everyone suspended in. People finally began to move their bodies and sing along with the band, as if they developed a sort of trust with HOKO’s sound. A sureness between the classicality of rock and the future of pop.
Photograph by Sophie Gurwitz
Unfortunately, HOKO’s set was merely a half hour long. The show could have carried into the next set and closed out the night, alas Weathers and almost monday had shows of their own to put on. Hoho brought the evening to a clean close when he jumped down into the crowd, parted the mass of bodies in half, and disappeared through the back of the crowd.
Phish returned to Saratoga Performing Arts Center (SPAC) on Friday, August 25th, for a pair of shows that served as a benefit for victims of flooding in Vermont and Upstate New York this summer. Their first time playing at the historic Upstate amphitheatre since 2019, Phish will record their 24th career show at SPAC, following the show on Saturday night.
Earlier in the day, Phish connected with New York Governor Kathy Hochul, announcing that the band had donated $3.5 million dollars raised from the pair of concerts, to support flood relief for Upstate New Yorkers, as well as Vermonters affected by flooding earlier this summer.
That number is sure to rise, with donations being raised during the shows through the Waterwheel Foundation’s 2023 Flood Recovery Fund, supporting victims and their families, area businesses, and non-profits. The Recovery Fund will support both shorter-term needs and long-term recovery and resiliency projects.
We are so grateful to everyone who donated their time and resources to make these benefits possible, and those that attended the shows or watched online. The joy in the room at these concerts was undeniable. But for the people affected by the flooding, it is an ongoing struggle. That’s why we are continuing to accept donations, raise awareness and distribute the funds.
Page McConnell
With rain in the forecast and a blanket of clouds enveloping the Saratoga Spa State Park grounds, fans arrived early and in great numbers, setting up a Shakedown off Route 50 while sprinkles fell intermittently throughout the evening. Filing into SPAC, fans dispersed to find spots on the lawn or head down to the pavilion, with the first notes of the evening at 8:05pm.
What might look like a pedestrian set on paper was energetic and rocking from the start, with “Kill Devil Falls” and “The Moma Dance” opening the night, the latter finding its familiar home in the two-slot, clocking in at nearly 14 minutes. The trio of “Ocelot,” “The Wedge” and “Mull” packed a punch, especially “Mull” which deftly found a segue into “Punch You In the Eye,” with fans erupting upon the first notes, carrying the energy into “Sand.”
It was within “Sand” that a classic film was paid homage to, as teases and jams based on “We Welcome You to Munchkinland” spiced the jam vehicle nicely, a tribute to The Wizard of Oz on the 84th anniversary of the film’s initial release. This tidbit had fan’s ears perking up, searching their internal database to find where this ditty derived itself from, occuring later in a second set “Chalkdust Torture” and the original recording played outright as the postshow music.
For a band that has played “Somewhere Over the Rainbow” and “If I Only Had a Brain” over the years, including with the legendary Ken Kesey, the band didn’t miss the chance to celebrate an inspiring American film. Drummer Jon Fishman even went so far as to put his hair in a pigtail to mimic a munchkin hairdo in the second set. The incredible “Sand” is a must hear, and led into a set closing “Rock and Roll” courtesy of Lou Reed and The Velvet Underground.
What would amount to a five song second set began with an Anastasio-penned quarantine tune “Evolve,” serving as an appetizer for the feast that was about to be plated. “A Wave of Hope” and “Simple” would pair up for back-to-back 22-minute jams, following in the vein of the excellent recent shows at Madison Square Garden. To follow were a pair of 11-minute jams in “Fuego” and “Chalkdust Torture,” wrapping up a powerful set, a true treat for the many first-timers in the crowd this evening.
For an encore, the first breather of the night arrived as “Wading in the Velvet Sea,” giving way to Kasvot Växt’s “Say It To Me S.A.N.T.O.S.” which has found a home in the set closing/encore slot to send fans on their journey to Oz.
Phish – Broadview Stage at Saratoga Performing Arts Center, Saratoga Springs – Friday, August 25
Soundcheck: My Soul, Fast Enough for You, Wombat Set 1: Kill Devil Falls, The Moma Dance, Ocelot, The Wedge, Mull > Punch You in the Eye, Sand, Rock and Roll Set 2: Evolve, A Wave of Hope -> Simple > Fuego -> Chalkdust Torture Encore: Wading in the Velvet Sea, Say it to me S.A.N.T.O.S.
This performance was a benefit for Vermont and Upstate New York flood recovery efforts and was a free webcast with all proceeds via donation going to those efforts. Coinciding with the 84th anniversary of The Wizard of Oz being released in the United States on the date of this show, Trey teased We Welcome You to Munchkinland (or It Really Was No Miracle) several times in Sand as well as at the end of Chalk Dust Torture, Fish wore his hair with a single pigtail sticking out of the front of his head like a munchkin for the second set, and We Welcome You to Munchkinland was the postshow music. Trey also teased Dave’s Energy Guide on Sand.
On the heels of 2022’s Brightside album, the The Lumineers have hit the road again. August 22, with James Bay joining the fray, they made their way to Darien Lake Amphitheatre for an evening of Americana music.
After playing small gigs, open mic nights, and struggling to make ends meet under various monikers, The Lumineers were “formed” when an emcee misspoke during an introduction. Although Wesley Schultz and Jeremiah Fraites had been playing together since 2002, a working name never really happened until this mishap.
12 years after their first single, “Ho Hey” was released, The Lumineers now have 4 studio albums, 4 headliner tours, and millions of fans worldwide, in addition to a couple Grammy nominations. Of those millions of fans, a plethora of them showed up for the show at Darien Lake and sang their hearts out.
Before they were able to sing along with Jeremiah and Wesley, fans were treated to 40-minute set from English songwriter, James Bay. Very subdued in his own right, Bay had the attention of the fans who were filing into their seats in anticipation of the nights headliner.
With 3 albums and a couple EPs to his name, Bay has been nominated for a montage of music awards and has won a 7 British music awards since 2015, including Best New Act, Breakthrough Solo Artist, and Best British Solo Artist. Around 7:30pm, he let the crowd know why he has won those awards.
Classic Americana style, Bay rocked his guitar as he opened his set with “Best Fake Smile”. A song seemingly about standing up for yourself and having a voice, topics very prevalent in society.
No, you don’t have to wear your best fake smile Don’t have to stand there and burn inside Oh, oh, oh If you don’t like it
Although an opening act, the fans reactions and ability to follow along make it clear that he is a respected musician and very much a headlining act on his own.
After a 45-minute break to reset the stage and get things in order, the stage goes dark. Intermittently, we get some loud drums from the loudspeakers, timed up with stage lights to welcome The Lumineers. This goes on for about a minute or so as anticipation builds for the band make an entrance. Cell phones up high hoping to catch a glimpse or record a video clip, fans were eager.
Finally, a few minutes later, you can see an entourage of silhouettes making their way into position. The time has come to go nuts. Lights go on across the stage set and Wesley Schultz and crew announce their arrival with 2016s “Cleopatra,” “Flowers in Your Hair,” and the big “Ho Hey.”
With a stage full of musicians, there was never a shortage of entertainment to keep an eye on, or at least try to. Jeremiah Fraites ( drums/percussion, piano, mandolin, vocals), Stelth Ulvang (piano, keys, accordion, mandolin, guitar, percussion, vocals), Byron Isaacs (bass, guitar, vocals), Brandon Miller (guitar, mandolin, percussion), and Lauren Jacobsen (strings, piano, vocals). This line up screams excitement, and The Lumineers brought it all night long, with each musician displaying their talents. There wasn’t a single person here that didn’t bring the energy, and they all had a blast on stage.
Covering a good set of shows at Darien Lake this summer, I have heard some loud fans singing along with the acts. But, let me tell you this. The fans for this show blew everyone else away. There was no competition. During at least three songs, the crowd was so loud, it nearly drowned out the act on stage. Songs like “Gloria” and “Ophelia” were echoed right back to Wesley and Jeremiah as they belted out the lyrics.
Combining pop with classic Americana and a little bluegrass may not seem the norm. However, this group of amazing artists have been making it work for several years now, and there doesn’t seem to be an end in sight. Wesley as gathered a strong support group around him and Jeremiah and the cohesive chemistry you see on the stage is flawless. While I have heard the music before, I would have never called myself a fan. After seeing the performance with nearly 20 thousand other fans, I am hooked. Stage presence, subtle sounds, and high energy are keys to a good show, and The Lumineers put all of that and then some on display.
Set list: Cleopatra, Flowers in Your Hair, Ho Hey, Angela, WHERE ARE WE, Dead Sea, A.M. Radio, My Cell, Slow it Down, Charlie Boy, BRIGHTSIDE, Gloria, Sleep on The Floor, Ophelia, Leader of the Landslide/You Can’t Always Get What You Want, Salt and Sea, Birthday, Big Parade, Donna, Submarines, Remington, Reprise, Stubborn Love
Grateful Dead drummer Billy Kreutzman, along with a cast of “kids” played a quick two show tour including one night at the scenic Pier 17 rooftop.
Along for the ride were “new kids” like Daniel Donato and Sierra Hull but also some “kids” who’ve been around the block with Billy like Tom Hamilton and Aron Magner.
The first set opened up with “China Cat Sunflower” and included crowd favorites like “Truckin” & “Cumberland Blues” closing with “Built to Last.”
In Grateful Dead fashion the second set was opened up with “Drums”. The band joined the two drummers to play an unexpected Bob Marley cover of “Could You be Loved”. The second set included a Talking Heads cover “Take Me to the River” as well as deadhead favorites like “Bird Song”, “Wharf Rat”, & “Unlce John’s Band,” closing the second set with “Franklins Tower”.
The crowd roared and cheered for this incredible band. They come back up to play an encore of “Wake up Little Susie” and “We Bid You Goodnight”.
Legendary Grateful Dead singer/guitarist Jerry Garcia touched many lives in his brief 53 years on Earth. Regarded as one of the most influential musical figures of all time, even 28 years after his passing, Garcia’s legacy and words continue to inspire and resonate with a whole new generation. An artist in every sense of the word, his creativity, curiosity, kindness, vulnerability, sense of humor and his unique ability to collaborate with almost anyone make him one of the most revered players of any era. Relatable to millions and a limitless source of inspiration for countless Grateful Dead-inspired tribute acts, while Jerry’s journey may be one of the greatest stories ever told, you could easily argue that even though he’s gone, the music never stopped.
Jerry Garcia’s Birthday Bash: NYS Dead Coalition featuring Organ Fairchild and Vinnie Amico of moe. performing at Lark Hall on 8/1/23.
Born Jerome John Garcia on August 1, 1942, in 1965 he would become one of the founding members of The Grateful Dead and from there, go on to become one of the most recognizable figures of the last century. One of the most recorded musicians in history, he’s also said to have played in over 25 side projects while releasing more than 30 studio albums. Since his passing on August 9, 1995, Deadheads around the world have respectfully anointed the “days between” his birth and death as a time to honor Garcia’s life and legacy. Fortunate to be living in a place both rich in local talent and Grateful Dead history, this year I wanted to try something a little different to convey my appreciation. With multiple venues across the area holding special Jerry-themed celebrations during the first 9 days of August, I charged up my camera, cleared out my memory cards and set off to hit as many of them as I could. If I told you all that went down, it would burn off both of your ears, but as best as I can remember, here’s how the Capital Region celebrated the Days Between in 2023.
Moe. drummer Vinnie Amico sat in with NYS Dead Coalition at Lark Hall on 81/2023.
Kicking off the weeklong celebration was New York’s own Organ Fairchild. Stopping by Albany’s Lark Hall on August 1st as part of “Jerry’s Birthday Bash,” the Buffalo-based band would pull double duty on the night. First playing a set that mixed originals songs in with Grateful Dead covers like “Picasso Moon,” “Cream Puff War,” and “He’s Gone,” Organ Fairchild would return later in the night with a few friends for an extra special NYS Dead Coalition set. Featuring Vinnie Amico of moe. on drums along with Tom Mahoney and Ron Permoda from the Utica-based Dead band Into The Now, the memorable performance featured stellar renditions of uptempo rockers like “Let The Good Times Roll,” “After Midnight,” “Cumberland Blues,” and “New Speedway Boogie,” while the back half the set was far more tender and introspective with our first “Bird Song” of the week, along with “Peggy-O,” “They Love Each Other” and a lengthy dose of “Love Light” that even Jerry Garcia himself would have been moved by.
Rockin’ on the River: It was all ‘Sunshine Daydreamin’ with Neon Avenue on 8/2/2023.
The next stop on our “Days Between the Capital Region” tour took us down by the riverside of Troy, where it was all ‘sunshine daydreaming’ with Neon Avenue. Headlining perhaps their biggest show yet as part of the Collar City’s annual Rockin’ On the River’ concert series, the energetic Clifton Park band more than rose to the occasion, delivering a phenomenal set of improvised jams on some of the Grateful Dead’s most beloved material.
Wharf Rats: Neon Avenue’s thoughtful setlist had fans dancing in the Collar City streets until sundown on 8/2/2023.
The picture-perfect weather brought out a huge crowd and songs like “Shakedown Street,” “Sugaree,” and “Scarlet Begonias” > “Fire on the Mountain” had both fans new and old on their feet and dancing all the way to sundown. Also mixing in hits like “Touch of Grey,” “Truckin,” and “Casey Jones,” for good measure, it was Neon Avenue’s thoughtful placement of songs like “Wharf Rat, “Sugar Magnolia” and “Magnificent Sanctuary Band” that yielded the most sentimental moments. Playing off their surroundings to great effect, perhaps the biggest cheers of the night came during the set closing “U.S. Blues.” Troy is said to be the original home of Uncle Sam after all.
View Grateful Dead and Jerry Garcia shows from across the years in New York State with our interactive map below!
Our third stop of “Jerry Week” took us back to Lark Hall for another milestone performance, this time for legendary Hudson Valley rockers The Deadbeats who were celebrating their 30th anniversary. After playing around the area nearly every week for the last three decades, the highly respected group of local musicians have amassed a devoted following and they came out in full force on this Friday night in August. Blasting off with “Bertha,” the energy was there from the start and never let up. Working their way through a nice combination of “Beat it on Down the Line” and “The Greatest Story Ever Told,” other highlights of the first set included our only “Candyman” of the week, as well as “Dire Wolf,” and another smokin’ rendition of “Cumberland Blues” before “Scarlet Begonias” > Fire on the Mountain” took us to halftime.
The Deadbeats celebrated Jerry and a milestone of their own at Lark Hall on 8/4/2023.
Returning for a lengthy second set that included an impressive ride through “Help on the Way” > “Slipknot” > “Franklin’s Tower,” The Deadbeats also managed to throw in a few Jerry Garcia Band surprises too, like “Rubin and Cherise,” “Midnight Moonlight” and “Ride Mighty High.” “Truckin” and “Not Fade Away” had the whole room moving and grooving, but really, anyone who was there will tell you the second set was all about the funked-out version of “Throwing Stones” that essentially stole the show and helped make the band’s 30th anniversary party so memorable. Kudos to all members of The Deadbeats, past and present, for helping keep Jerry’s spirit alive in Albany all these years.
The Deadbeats Mike Johnson has been ‘playing in the band’ for an astonishing 30 years.
The next show we had the privilege of attending was a special stripped down acoustic performance by 3 members of The Wheel. Taking place on the 28th anniversary of the day Jerry Garcia passed, the intimate cocktail hour gathering, also at Lark Hall, was easily the most unique and sentimental performance of the week-long celebration. Consisting of Bryan Gautie on guitar and banjo, Andy Morse on guitar and mandolin and Woodstock’s Misty Mountain Ramblers’ keyboardist Kenny Schneidman, all three members jelled together nicely and would take turns singing and cracking jokes between songs. Opening up with “Dark Hollow” and our only “Deep Elum Blues” of the Days Between, other highlights of the set included gorgeous renditions of “Friend of the Devil, “Black Peter,” “Catfish John,” and “Must Have Been the Roses.”
Ripple Effect: The Wheel Trio unplugged for a sentimental cocktail hour set at Lark Hall on 8/9/23.
With no rhythm devils or soaring electric guitar solos during the set, the real beauty was being able to fully concentrate on the actual songwriting and Robert Hunter’s timeless lyrics. Perhaps the trio’s biggest strength, however, was the combination of their voices together. Using three-part harmony to great effect, there were moments during the set that simply gave you the chills, particularly on “Bird Song” and the set closing “Ripple,” which you can watch below.
Watch fan shot footage of The Wheel Trio performing “Ripple” at Lark Hall on 8/9/23.
Afterwards the buzz was all about “the other” Grateful Dead-inspired show that was also happening in the area that night. Full of heart and still daylight outside, those who couldn’t get enough Jerry packed up the party and trucked on over to the Cohoes Music Hall where two sets of Bearly Dead was just getting underway.
Bearly Dead’s Dynamic Debut: The Boston-based band buzzed with high energy during their Cohoes Music Hall performance on 8/9/23.
Walking into to the historic (and allegedly haunted) Cohoes Music Hall is always a vibe, but I admit I wasn’t very familiar with Bearly Dead beforehand. Kicking off their show with our first “Here Comes Sunshine” of the week, right away you could tell these guys “really cook” and I could feel a sense of ease come over me as I knew after all this poking around, I ended up in exactly the right place. Working their way through fiery renditions of “Passenger,” “Mississippi Half-Step Uptown Toodeloo,” and the crowd favorite “Ramble on Rose,” it was clear that Bearly Dead were diligent students at Grateful University and they had done their homework. Bringing a fresh and energetic approach to these ageless tunes, the band first came of age in Somerville, MA in 2015 and would go on to do a 5-year Wednesday Night Residency at Thunder Road before the venue closed in the midst of the pandemic. Now taking their show on the road and touring nationally, Bearly Dead brought their A-game to Cohoes on August 9th. Immediately making a good first impression with first set staples like “Black-Throated Wind,” and “Tennessee Jed,” by the time the band linked together a monstrous “Terrapin Station” > “China Cat Sunflower” -> “I Know You Rider” jam sandwich to close the opening frame, no one needed further convincing that these guys are the good shit.
Sharing the Weight: Bearly Dead paid tribute to both Jerry Garcia and Robbie Robertson on 8/9/23
On the same day the world learned that legendary singer/songwriter Robbie Robertson of The Band had passed away, the second set began with a touching moment of acknowledgement to one of their other musical heroes. Introducing the first song by saying, “I think Jerry wanted a buddy to jam with today,” Bearly Dead then broke into a heartfelt rendition of “The Weight.” Stragglers still smoking outside must have been kicking themselves as they quickly rushed in to fill the noticeably empty floor, so in an effort to help them out a little, I quickly pulled out my phone and hit the record button. That footage can be seen in the clip below.
Watch fan shot footage of Bearly Dead covering “The Weight” during their Cohoes Music Hall debut on 8/9/23.
One of the most striking things that helps separate this band from others like it is that every member can really sing and with convincing passion. Perhaps Jerry’s most well-known solo song came next with “Cats Under the Stars,” before “Rhapsody in Blue,” and “Easy Wind” flowed beautifully into the iconic Grateful Dead anthem “Dark Star.” Seamlessly working in “Miss You” teases by The Rolling Stones, “Dark Star” would continue to burn straight into a poignant take on “He’s Gone,” and even further into “Uncle John’s Band,” before reeling in the 40 plus minute frame of uninterrupted music with the gorgeous bluesy b-side “Death Don’t Have No Mercy.” Picking up the pace once again, the dance party resumed one final time with a proper and appropriate “The Music Never Stopped” before segueing into one of the most powerful versions of “Morning Dew” I’ve heard in a long time. Simply cathartic.
Watch fan shot footage of Bearly Dead performing “Death Don’t Have No Mercy” at the Cohoes Music Hall 8/9/23.
As the Days Between celebrations came to a bittersweet close, a flood of emotions ran through my mind. Pardon the obligatory pun, but I couldn’t help but feel grateful and for so many different reasons. Reinvigorated and inspired. Even 28 years after Jerry Garcia’s passing, it’s clear the music he made is as relatable and as relevant today as it ever was and that Jerry’s contributions will never be forgotten. Over the course of the 5 shows, you were bound to hear some repeats, but considering how few there actually were is quite a testament to just how deep GD’s songbook is. I’m grateful for the musical community I live in that continues to play these songs, the talent that it takes to get up there and actually do it and to the amazing local venues that provide a platform for them to do it on. There will never be another Jerry Garcia, but if this 9 day period taught me anything, it’s that this music is absolutely timeless, “Weir everywhere” and that the Capital Region still has plenty of heart, I can hear it beat out loud.
Check out full setlists and photos of each show courtesy of NYS Music correspondent Zak Radick.
Organ Fairchild ft. NYS Dead Coalition | August 1, 2023 | Lark Hall | Albany, NY
Set 1: Morning Coffee, Over the Handlebars, Yum, Picasso Moon > Cream Puff War > He’s Gone, Chamelonious Monk with Layla tease
Set 2: Let the Good Times Roll, After Midnight, Cumberland Blues, New Speedway Boogie, Bird Song, Peggy-O, They Love Each Other, Love Light.
*Set 2 featured members of Into The Now and Vinnie Amico of moe.
Neon Avenue | August 2, 2023 | Riverfront Park | Troy, NY
Setlist: Shakedown Street, Touch of Grey, Sugaree, Scarlet Begonias > Fire on the Mountain, Truckin > Wharf Rat > Sugar Magnolia > Casey Jones, Magnificent Sanctuary Band, U.S. Blues
Encore: Brokedown Palace.
Deadbeats | August 4, 2023 | Lark Hall | Albany, NY
Set 1: Bertha, Beat It On Down the Line > Greatest Story Ever Told, Hard To Handle, Candy Man, Cumberland Blues, The Buzz, Dire Wolf, Scarlet Begonias > Fire On the Mountain
Set 2: Help on the Way > Slipknot > Franklin’s Tower, Crosstown Traffic, Truckin, Rubin and Cherise, Throwing Stones, Not Fade Away, Midnight Moonlight, Ride Mighty High
Encore: Ripple, US Blues
The Wheel Trio | August 9, 2023 | Lark Hall | Albany, NY
Setlist: Dark Hollow, Deep Elum Blues, Oh Babe It Ain’t No Lie, Jack A Roe, Dire Wolf, Rosalie McFall, Friend of the Devil, Deal, Black Peter, Bird Song, Catfish John, Must Have Been the Roses, On the Road Again, Uncle John’s Band, Midnight Moonlight, Cumberland Blues, Ripple
Bearly Dead | 8-9-2023 | Cohoes Music Hall | Cohoes, NY
Set 1: Here Comes Sunshine, Passenger, Mississippi Half-Step Uptown Toodeloo, Ramble On Rose, Black-Throated Wind, Tennessee Jed, Terrapin Station > China Cat Sunflower -> I Know You Rider
Set 2: The Weight[1], Cats Under the Stars, Rhapsody in Blue, Easy Wind > Dark Star[2] > He’s Gone -> Uncle John’s Band > Death Don’t Have No Mercy, The Music Never Stopped > Morning Dew
[1] Dedicated to Robbie Robertson [2] Contained Rolling Stones “Miss You” teases
John Cale, one of the true OGs of the international art rock underground, gave a masterclass in performance and reinvention before a packed house at BRIC Celebrate Brooklyn! Festival in Prospect Park on August 19.
At 81, Cale is still a striking and potent musical force, a true creator who is forever seeking new artistic horizons. He’s a man whose catalog has spanned everything from the proto-punk of the Velvet Underground to classical minimalism, gorgeous orch-pop balladry, the fiercest (and drunkenly deranged) hard rock rants to, on his first new studio album in a decade Mercy, shades of beat-driven hallucinatory electronica and experimental pop. This new collection finds the adventurous Welshman in the company of youthful collaborators like Weyes Blood, Laurel Halo, Sylvan Esso and Actress.
Belying his age, Cale was a most commanding force on stage – in fine voice, a sharp black Italian suit and dramatically spikey white hair, playing both keys and guitar for a 14-song, career-spanning set.
In a nod to his new album, many of the songs were kicked off with a rhythm machine like “Moonstruck (Nico’s Song),” his tribute to the Velvet Underground chanteuse whose best solo albums, like 1968’s The Marble Index, Cale produced. Another standout from the new album is “Night Crawling,” the first single which recalls his adventures with pal David Bowie in the New York City downtown of the 1970s.
Two of the most interesting and atmospheric numbers were “Rose Garden of Future Sores” and “Half Past France.” Both featured orchestral backgrounds, disorienting chords and spacey electronic effects. The latter was a 180-degree spins on one of the serene ballads from Cale’s acclaimed 1973 orch-pop masterpiece, Paris 1919. Its calm was transformed into a sinister ambient Krautrock noise nightmare. Its queasy string drone foundation was punctuated with bowed electric bass and an eerily harmonizer-effected vocal on the outro line: “We’re so far away, floating into space.” The same sonics were present for his funereal take on Elvis’ “Heartbreak Hotel,” a highlight from his 1975 album, Slow Dazzle.
Sonic dread never sounded so good.
Cale picked up the guitar and rocked strong and hard on old favorites like “Guts,” “Helen of Troy” and “Cable Hogue.” He returned to the keys to revisit a Velvet Underground staple to the delight of the crowd, Lou Reed’s junkie opus, “I’m Waiting for the Man.” Here, he perhaps deferred to the P.C. police by injecting the line “Hey buddy” for Lou’s “Hey White Boy.”
Another fantastic rearrangement was in store with another Paris 1919 ballad, “Hanky Panky Nohow.” Cale and his wonderfully tasty three-piece backing band made this already gorgeous song even more beautiful and relaxed – with a rhythm machine underpinning, a glacial pacing and an added sample of an operatic soprano female soloing on the song’s long coda. This and all tracks performed were complemented with video projections that made their atmospheric sounds even more so.
Cale’s set concluded with a raucous version of “Barracuda,” another punchy rocker from his album Fear featuring some very fine psychobilly guitar soloing.
The surprise of the evening was the set by the show opener Tomberlin, the nom de sound of contemporary folk artist/singer-songwriter Sarah Beth Tomberlin.
Now living and working out of Brooklyn, this Kentucky-born performer played a well-paced set of gentle tunes from her two Saddle Creek Records’ albums, the most recent of which, 2022’s I Don’t Know Who Needs to Hear This…, was recorded a few blocks away from Prospect Park at Figure 8 Studios.
Tomberlin is a confident performer with the kind of droll between song banter that easily won over the crowd, one that was surely there, in very large part, to catch a glimpse of Cale.
The most striking element is her voice. It has both a breathy quality that reminds me of another buzzworthy young performer, Snail Mail, and all power and range needed to bring across one of her dramatic lyrical twists. Her three-piece backing band provided sensitive accompaniment to all her songs, many that we’re mere whisps. Airy Frisell-like guitaring, lots of shimmering brush work on the drums and lush yet minimalist keys perfectly adorned her intimate story songs and their poetic lyrical turns.
Standout tracks in her set were the evocative “Sunstruck,” “Stoned,” “Memory” and the set closer, the sprawling psychedelic “Happy Accident.”
Legendary Icelandic post-rock band Sigur Rós played a sold out show at King’s Theater in Brooklyn on Friday, August 18. The band played accompanied by the 41-piece Wordless Music Orchestra.
The incredible stage design featured a variety of lighting fixtures, both to light the orchestra’s sheet music and to provide a warm visual. A heavy atmosphere floated over the crowd, and fans sat captive in their seats throughout the entire performance. The lights pulsed and danced gently with the ambient sounds of the music. The only interruption from the rapturous ensemble came at the end of each song, when the crowd would let out big cheers.
King’s Theatre is easily one of the most beautiful concert venues in New York, and provided the perfect setting for Sigur Rós and their orchestra to hypnotize the audience into sheer bliss. This show proved to be an experience quite unlike any other, and there’s no doubt fans will be reminiscing on this for quite a while.
You can listen to the band’s music here and view their upcoming tour dates here. Check out the gallery below by staff contributor David Reichmann.
This may well be the final go-round for The Fugs, the satirical and politically-charged group of musical anarchists founded way back in 1964 in the East Village by poets Ed Sanders and Tuli Kupferberg and drummer Ken Weaver.
For those not in the know, The Fugs were probably the furthest edge of the counterculture musical spectrum. They were a whip-smart, motely group known for their comical, and often lewd, noise rock lullaby/sendups of America’s hypocritical political and corporate structures, and their singularly vehement protests of the Vietnam War, something expressed in tunes like “Kill for Peace.” An FBI memo on The Doors labeled The Fugs “the most vulgar thing the human mind could possibly conceive.” Actually, they were, and continue to be at heart, a goodtime band whose messages are contained in hooky singalong-worthy works. In concert, these are delivered with the kind of slapstick comic timing that can warm and thoroughly engage even the chilliest audience.
With the release of their latest and reportedly final album Dancing in the Universe, The Fugs have reunited for a short series of what may be their final shows, at NYC’s City Winery and Woodstock’s legendary Byrdcliffe, America’s first art colony.
Today, the group is led by its last original member, Ed Sanders. Sanders is an insanely productive writer acclaimed for his many volumes of poetry, historical works and fiction like my own favorite, the five-volume Tales of Beatnik Glory. He may be best known to the general public for his 1971 best-seller, The Family, the consummate work on Charles Manson and the Tate-LaBianca murders.
On Friday, August 18, 84-year-old Sanders led The Fugs through a spirited two-set, 27 song performance at the rustic barn at Byrdcliffe in Woodstock, where the poet has lived since the mid-1970s.
The Fugs of today are far more polished than the 1960s edition. A lot of the credit for this goes to Scott Petito, the group’s bassist who has also served as their recording engineer and producer since the group reformed, after a 15-year hiatus, in 1984. The ensemble was completed by guitarist/singer Steven Taylor, an ethnomusicologist and longtime accompanist to poet Alan Ginsburg, and drummer/singer Coby Batty.
The group kicked off their first set with a blast of East Village past, “Slum Goddess.” This is a Ken Weaver-penned ode to a saucy and sexual free girl of the L.E.S. past, one whose “skirt is not much wider than her garrison belt.” This was followed by one their best-known offerings, “CIA Man,” a Kupferberg tune Sanders observed was “as true in 2023 as it was in the 1960s.” Sanders the poet came to the fore with a solo recitation of his nihilist opus, “Nothing.” Taylor performed a solo rendition of one of the standout tracks on this latest album, “God Bless Johnny Cash.” The set also included two new songs from their recent album produced from cassette demos recorded with Kupferberg before his death in 2010, the wonderful “I Want to Be Healed” and “Where Have All the Commies Gone?” The Fugs’ “R&R Hall of Fame” is a humorous response to Jann Wenner’s stance of forever barring the band for consideration in Cleveland’s fame rock hall.
The Fugs of today are far more musically adept than their original editions, especially as it relates to vocal harmony. Their unique three-part harmony swaddled the second set tracks, “Swinburne Stomp” and “Ah, Sunflower.” The thought-provoking “End Times” was an Ed Sanders’ tune inspired by a voice mail message about depression by another Woodstock songwriting legend Tom Pacheco, one where Taylor’s vocals gave off a Lou Reed vibe. In the introduction to the psychedelic “The Garden is Open,” Sanders told how it was The Fugs who gave Jimi Hendrix one of the two prototype wah-wah pedals they were gifted, a few days before he headed off to London and stardom. Sanders used it to make a rare positive commentary about America: “No country that can invent the wah-wah pedal can be all bad.”
Agreed, Mr. Sanders.
The Fugs continued to dig deep into their beefy discography with the 1966 single, “Frenzy,” and an update on Tuli’s anti-war classic, “Kill for Peace.” Another Kupferberg original from the newest disc, the melodic “Protest and Survive,” struck a blow for optimism in the face of our world’s problems, while “Crystal Liaison” was the perfect parody of the psychedelic “hogwash” of the 1960s, with lines like “In the great bowling alley of your mind, I am your Pin Boy.”
As for all the hoopla of this being The Fugs final spin on disc and in concert, it’s not very certain according to producer Petito. “It seemed like every album since their 1984 was going to be the last,” laughs Petito. And from the sharpness of his mind and humor and his energy, one can imagine the godly productive Sanders rounding up the troops for another round of musical blows against the empire in the not-too-distant future.
Friday, August 18th was a chilly summer evening. Seneca Niagara Casino in Niagara Falls transformed into a haven of country music enchantment as the iconic Brad Paisley took the stage.
Despite the uncharacteristically cold breeze that swept through the outdoor venue, Paisley’s fiery performance warmed the hearts of all in attendance. The atmosphere crackled with anticipation as the clock struck 8pm. The night unfurled with a symphony of soul-stirring melodies that echoed against the backdrop of the cascading falls.
Paisley, a virtuoso of the six-string, began his sonic journey with the precision and charisma that have cemented his status as a true guitar maestro. The strings of his guitar seemed to sing in harmony with his soul, transcending the chill in the air and enveloping the audience in a cocoon of musical warmth. With each strum, Paisley painted vibrant stories of life, love, and heartache, showcasing his prowess as both a gifted lyricist and an instrumental virtuoso.
A true highlight of the evening came when Paisley honored the valiant members of the military. In a poignant display of gratitude, he invited these heroes onto the stage, creating an atmosphere of unity and reverence. As he strummed the opening chords of a poignant ballad, the stage became a canvas of emotions, painting a vivid picture of resilience and sacrifice. The crowd stood united in heartfelt applause, their spirits lifted by the power of music to transcend barriers and celebrate the human spirit.
Throughout the evening, Paisley effortlessly navigated his extensive repertoire, treating fans to a spellbinding 23-song setlist that spanned the breadth of his illustrious career. From chart-topping hits that had the crowd swaying in unison, to soulful ballads that hushed the venue to a reverent silence, Paisley has the ability to wield his guitar as an extension of his very soul.
As the night unfurled its final moments, and Paisley bid his farewells under the moonlit sky, the air was filled with a sense of fulfillment and satisfaction. Despite the nip in the air, the crowd left the venue with spirits soaring and hearts aglow, having experienced a musical journey that transcended the ordinary.
Brad Paisley’s performance at the Seneca Niagara Casino was a masterclass in musical finesse and a heartfelt homage to those who serve. With his deft guitar work and emotive storytelling, Paisley took a cold and windy night and turned it into a warm tapestry of sonic artistry. As the echoes of his final chords faded into the night, it was clear that this evening would be etched into the memories of all fortunate enough to bear witness to his musical magic.
It was a big night for rock fans in Syracuse on Wednesday, August 16th, as The Goo Goo Dolls brought their Big Night Out Tour to Lakeview Amphitheater. O.A.R. opened the show.
It’s been a long road for The Goo Goo Dolls. The Buffalo natives formed in 1986 and have maintained their core two members, John Rzeznik (vocals, guitar) and Robby Takac (vocals, bass guitar) since day one. They are now joined by Craig Macintyre, who took over drumming duty in 2014. Along the way, the band have released 14 studio albums and have an impressive 19 top-ten singles. The band saw their popularity explode in 1997 with the release of “Iris,” which was included on the City of Angels soundtrack. The song spent an impressive 18 weeks on the Billboard Hot 100 airplay charts.
The evening kicked off with a set by Maryland rockers, O.A.R. The amphitheater was already well on its way towards full when O.A.R. took the stage at 7:15pm. The band launched in to “Love and Memories,” off their 2005 release Stories of a Stranger, which brought those in attendance quickly to their feet. It was clear early on that many in attendance were passionate followers of the band, as many made their way to the front of the amphitheater to sing and dance along. The band wasted no time playing their familiar hit “Shattered” early on in the set. The band would close out their set with the ever popular “Crazy Game of Poker” which saw the front pit section jump up and down and throw playing cards in the air.
After a lengthy stage change over, the Goo Goo Dolls took to the stage at 9:10. The band took no time breaking out the hits, opening with the high energy “Broadway” off 1998’s Dizzy Up the Girl. It was the perfect upbeat opener, and quickly it was clear the band was excited to be there. Rzeznik and Takac bounced from one end of the stage to the other, with smiles fixated across their faces.
Early in the set, Rzeznik paused to thank the fans of his band who have been there since day one, as well as to pay homage to legendary Syracuse rock club, The Lost Horizon. “I remember coming here in 1986 and playing at the Lost Horizon, and just being amazed that anyone actually came to see us.”
The remainder of the 25 song set saw the Goo Goo Dolls perform their various classics and fan favorites, like “Slide,” “Here is Gone,” “Black Balloon” (which saw fans toss black balloons in the air) along side newer hits like 2023’s “Run All Night” and “Yeah, I Like You.” Along the way Rzeznik took multiple opportunities to thank the crowd and convey his appreciation, proclaiming “I can’t believe I still get to do this, and I want to thank you guys…” before performing one of the band’s earliest hits, “Name.” As the evening neared a close Rzeznik introduced the second to last track as “One you all will know” before playing a cover of Tom Petty’s “I Won’t Back Down,” a track the Goo Goo Dolls and O.A.R. recently teamed up to record in the studio. The band would then close the evening with their 1997 smash hit, “Iris”, much to the crowd’s appreciation. It truly was a big night out for rock fans.
