Early 2000’s band Dirty Heads made a stop in Buffalo for their Island Glow Tour on Thursday, July 13 for a sold-out show. The West-Coast rockers brought their Southern California roots to Buffalo Riverworks and completely blew fans away.
The event was stacked with openers including G. Love & Special Sauce, Tropidelic, and Lupe Fiasco. Lupe Fiasco absolutely wooed the crowd when performing his hit records “Battle Scars,” and “The Show Goes On.”
Photo credit: Maddie McCafferty
Dirty Heads have created a unique sound by mixing hip-hop, reggae, and rock. This dynamic band consists of Jared “Dirty J” Watson, Dustin “Daddy B” Bushnell, Jon Olazabal, Matt Ochoa, David Foral, and Shawn Gonzalez. All the members help establish a layered sound with trumpets, horns, drums, guitar, and keys. Despite the amount of people on stage they still keep large empty space for those with solos to come up front and interact with fans.
Photo credit: Maddie McCafferty
Up Late With Dirty Heads
Once the clock hit 10:10 the band took over the stage and opened with “Heavy Water” off of their latest album Midnight. Fans ranging from young kids and older folk all showed their dedication not missing a single lyric. This proved to be especially true when Dirty Heads performed a throwback song of theirs “Lay Me Down,” off of their 2012 album Any Port in a Storm.
Photo credit: Maddie McCafferty
Halfway into the night the lead members even took a pause from their show because the crowd wouldn’t stop cheering. A moment of gratitude was taken in as fans went crazy for a solid 2 minutes. The band acknowledged how special this Buffalo show was. A huge marker in their music career.
Photo credit: Maddie McCafferty
Nothing got fans rowdier as when Dirty Heads played their track “Vacation” which has gained serious traction over the past few years. The song garnered over 6 billion views and streams across social media platforms making everyone in Riverworks incredibly hyped up. They closed out the night with “Island Glow” in honor of this special tour. Fans were left awaiting for another Dirty Heads show.
Photo credit: Maddie McCafferty
If you missed Dirty Heads in Buffalo, no worries! Catch their other shows coming nearby at Patchogue and Pittsburgh. The Riverworks venue in the summer is unmatched. Upcoming events there include Sunset Sundays and a Murder Mystery. Get your tickets here.
Photo credit: Maddie McCafferty
Setlist: Heavy Water, Medusa, Bum Bum, Franco Eyed, Silence, That’s All I Need, Life’s Been Good, Vacation, My Sweet Summer, El Dorado, Your Love / Garland / Lay Me Down, John Linen, Burn Slow, Rage, Rescue Me, Oxygen, Moon Tower
Making their way into to the Northeast, Phish made a two-night stop at The Pavilion at Star Lake, located in Burgettstown, PA, just outside of Pittsburgh. Two nights of exploratory jamming and a few debuts had fans eagerly anticipating tonight’s show in Syracuse at St. Joseph’s Amphitheater at Lakeview.
Friday night began with a pair of first set openers, “Party Time” and “AC/DC Bag” followed by a fiery “46 Days.” A few songs later, “Stash” was the jumping off point for the first major jam of the night, dark and introspective. Likewise, “Leaves” jammed out nicely, setting the stage for a “Maze” that had Page McConnell furiously hammering the organ, standing up so others could get down. “Scents and Subtle Sounds” would close the set, although tonight the crowd got the full version, unlike Wilmington, NC on Wednesday night where the band was forced to cut the song off due to torrential rain.
The second set featured some of the biggest jams of the run, with “Sigma Oasis” clocking in at more than 16 minutes, “The Final Hurrah” providing a segue to the wonderful debut of “Pillow Jets” – a light and fluffy song with a jam to match. “David Bowie” was the highlight of the set though, the band making the most of each space created following the composed portion. During “Bowie,” Page teased “Eleanor Rigby”, as well as in “Ruby Waves” that closed the show. And while “Fuego” did provide the awesome visual of the lighting rig descending to just above the band’s heads, although “Cities” could have had a chance to breathe ahead of the segue to “Fuego.” The encore of “Character Zero” and “Slave to the Traffic Light” would wrap things up and send the crowd out to the lots for a Cosmic burrito and slow crawl out of the venue parking lot.
Set 1: Party Time, AC/DC Bag > 46 Days, Birds of a Feather, Bouncing Around the Room, Stash, Leaves, Maze, Scents and Subtle Sounds
Set 2: Sigma Oasis -> The Final Hurrah > Pillow Jets > David Bowie, Cities -> Fuego > Ruby Waves
Encore: Character Zero > Slave to the Traffic Light
On first glance, Night 2 of Phish at Star Lake felt a little more pedestrian compared to Friday, but a cleansing Set 1, with three energetic numbers – “I Never Needed You Like This Before,” “Turtle in the Clouds,” and “Llama” – beginning the night. With the sunset glaring down on the band, a half dozen ‘take em or leave em” numbers were peppered in, with the valley rising to a peak with “Ass Handed” and “Sand” closing out the set on a high note. No complaints, no notes, this was an enjoyable Saturday evening first set.
What awaited in the second set were jams tucked inside jams – “Everything’s Right” had a distinct “Slave to the Traffic Light” jam within, so if you went to your car Friday night as “Slave” encored, you got a second chance to enjoy this one. “Soul Planet” and “Twist” each had their own solid jams, with McConnell’s Vida Blue composition “Most Events Aren’t Planned” appearing at the right moment, giving the second set from Friday a run for the money. Tonight’s second set debut tune “Monsters,” joining “Pillow Jets” and the previously played “Oblivion” as having strong potential for future Type II exploration. “2001” appeared out of thin air, held its own and gave way to Lou Reed and Velvet Underground’s “Rock and Roll,” a rarer treat these days.
A triple encore of “Grind,” and short but sweet versions of “Tube” and “Ghost” (first ever in an encore slot) would close the night and send the crowd off to hotels, with visions of Oranges dancing in their heads.
Phish plays tonight in Syracuse – never miss a Sunday show.
Set 1: I Never Needed You Like This Before, Turtle in the Clouds, Llama, Clear Your Mind > Sample in a Jar, Taste, Ocelot, Julius, Saw It Again > Sparkle, Ass Handed, Sand
Set 2: Everything’s Right > Soul Planet -> Twist > Most Events Aren’t Planned, Monsters, Also Sprach Zarathustra > Rock and Roll
This past Sunday evening, July 16, in the heart of New Haven’s downtown arts district, veteran singer-songwriter Jenny Lewis paid a visit to College Street Music Hall (CSMH), a historic concert hall constructed in the mid-1920s that was nearly sold-out to its holding capacity of 2,000 souls.
Jenny Lewis | Photo: Michael Dinger
Lewis is touring in support of her latest solo album Joy’All (Blue Note/Capitol) released last month, a good portion of which was written in early-2021 during a week-long virtual songwriting workshop hosted by Beck. For more than 90 minutes, the co-founder of the charting indie outfit Rilo Kiley in the late-1990s did not disappoint en route to a dazzling performance. But more on our treasured country-rock troubadour a bit later.
College Street Music Hall Marquee | Photo: Michael Dinger
The first of two opening acts was Hayden Pedigo, an eccentric 29-year old performance artist who also moonlights as a model and even a politician – he campaigned in 2018 to fill a City Council seat in his native Amarillo, TX. Pedigo mesmerized the growing audience on the general admission floor with four tranquil instrumental pieces featuring exquisite fingerpicking on an acoustic Yamaha 12-string and an electric Epiphone.
Hayden Pedigo | Photo: Michael Dinger
Following Pedigo was Cass McCombs who hails from Concord, CA, but calls NYC his home. Born in 1977, the alt-country musician who owns the reputation as one of the great songwriters of his generation was backed by a trio of touring musicians on bass, drums and keyboards. Like Pedigo, music is not McCombs’ only passion – in 2020, a book of his poetry was published titled Toy Fabels, with illustrations by none other than McCombs himself. For nearly 40 minutes, and without much pandering to the audience, the quartet presented a set filled with jaw-droppingly gorgeous, soulful rock delivered with a laid-back attitude, which was more than fine by me.
Cass McCombs | Photo: Michael Dinger
Smack in the middle of an 18-date tour that kicked off in early-June in Nashville, TN, including an appearance by Lewis at the Bonnaroo Music & Arts Festival, the Las Vegas native who first gained prominence in the 1980s as a child actress took to the CSMH stage at 9:15 pm. Bathed in a sea of red, purple and blue lights and accompanied by a foursome of all-female musicians, Lewis gracefully glided about the stage, frequenting an elevated circular platform adorned in red roses or taking a seat at her piano which was positioned front and center.
Lewis’ evocative lyricism was on full display from the jump with “Psychos,” the lead single from Joy’All and her first No. 1 song on a Billboard chart that she earned only two days prior to the CSMH show. Lewis would go on to gift her fans four more songs from Joy’All, but she was sure to spread the wealth around from her discography, including “Red Bull & Hennessy” (On the Line, 2019), “Head Underwater” (The Voyager, 2014) and the title track from 2008’s Acid Tongue.
Jenny Lewis | Photo: Michael Dinger
During the sugary-sweet “Cherry Baby” (Joy’All), red, white and silver balloons were released into the air, much to the delight of the audience, many of whom were in their late-teens and early-20s and sung along to the chorus on several songs. Several of the flailing balloons that were being batted around by the fans depicted the likeness of Bobby Rhubarb, Lewis’ beloved two-year old black Cockapoo who even has her own Instagram account with more than 5,600 followers! Two tunes later, during “Just One of the Guys” (The Voyager), one of the balloons mysteriously hovered between Lewis and her bassist at stage left. Static electricity? A demonic possession? Check out the video below and you decide what the strange occurrence may have been attributed to.
Speaking of Lewis’ dog, as the show turned for the home stretch, the rotary dial telephone sitting atop her piano suddenly rang. It was Bobby Rhubarb on the other end of the line, and she had a joke for all of us! Because most of us in attendance did not speak the “bark” language, Lewis translated, “Why is it so hot at the Grateful Dead show? Because their fans don’t work!” As part of the four song encore, Lewis offered up two wonderfully rendered covers – “Lust for Life” by Girls and the night’s finale, “With Arms Outstretched,” by none other than Rilo Kiley from 2002’s The Execution of All Things.
Following its New Haven stopover, The Joy’All Tour continues for three more weeks, including scheduled dates along the west coast in early-August. For the final three shows of the tour – Bend, OR (August 3), Concord, CA (August 5) and Inglewood, CA (August 7) – Lewis will be joined by the aforementioned Beck and Phoenix, who are embarking on a split bill of their own next month.
Jenny Lewis | Photo: Michael Dinger
No rest for the weary, Lewis and the indie pop supergroup The Postal Service, a trio that she has been a part of since 2002 with Ben Gibbard and Jimmy Tamborello, will be hitting the road on a co-headlining, 30-date U.S. tour (performing Give Up in its entirety to celebrate the album’s 20th Anniversary) with Death Cab for Cutie this fall. So, in case you missed Lewis this time around, or you just cannot get enough of the “redheaded indie wet dream,” as the rock critic Robert Christgau fittingly referred to her in a 2004 piece for The Village Voice piece, she’ll be back soon!
Jenny Lewis Setlist: Psychos > Do Si Do > She’s Not Me > Late Bloomer > Joy’all > Red Bull & Hennessy > Heads Gonna Roll > Head Underwater > Giddy Up > Cherry Baby > Little White Dove > Just One of the Guys > Puppy and a Truck > Acid Tongue > Encore: The Next Messiah > Lust for Life (Girls cover) > With Arms Outstretched (Rilo Kiley song)
Sly Fox and the Hustlers opened classic rock night under I-787. They formed in Albany in 2010 after Sly’s long time friend decided to embark on a solo career. He enlisted the help of guitarist, Zak Young and drummer, Sean Ireland to form the band. They created a classic blues rock and roll sound which has so far produced two albums. Sly Fox and the Hustlers are working on releasing their third album sometime this year.
Sly Fox and the Hustlers played about an hour set with the addition of three members. Saxophonist, Luke McNamee, Brian Mangini on the keyboard and John Dievendorf on the bass took the stage to with Sly Fox to modest crowd of Albany’s most loyal rock and rollers. The mood was a bit more mellow as their music leaned more towards a classic blues sound than a typically head banging rock n’ roll beat. Many of the songs were centered more around love, which may have helped to audience understand Sly more. Most of crowd saved their energy by resting in their lawn chairs in anticipation for Sweet. They were left off with a warm farewell before the night was revved up.
Sweet was a band in the 70s who gained popularity in the UK with from their single “Blockbuster!” They had many songs reach the charts in both the UK and England before they disbanded in 1981. Most of the founding members died between 1997-2020, but they did not stop the legacy from continuing. Guitarist Andy Scott, has formed his own version of Sweet that continues to play shows today and even make music. His version of Sweet, however, was not the version that was in Albany.
Bassist Steve Priest came out of retirement in 2007 and formed his own version of Sweet. This version shares similarities with Scott’s version, but are not actively making new music. They still are keeping the legacy alive by playing some of Sweet’s best songs at their shows. Their show in Albany was no show for the week hearted as they really gave it their all with the short window they had.
The show was moved to Albany’s rain location under I-787, but a torrential storm was so strong the highway could not protect everyone. Nonetheless, the show still went on with a few changes to the set.
Coming out strong with hits like “Teenage Rampage” and “Set Me Free”, there was not one person still sitting in their seat for the show. Lead singer, Patrick Stone, really meshed with the crowd well by encouraging participation from all. Stone stuck his mic over the crowd, stood on the front speakers, and even ran through the crowd twice to keep everyone energized.
Patrick Stone singing with fan at Alive at 5 – Photo by Jarron Childs
Even though they could not complete their whole set, they were able to get off their two most notable songs before they departed early. “Fox on the Run”, which regained popularity after being on the The Guardians of the Galaxy soundtrack, still hit the same as it probably did back in 1974. Crowd members needed very little encouragement to sing it word-for-word with Sweet. The set ended early with “Ballroom Blitz,” which still left the energy on high just before the downpour.
Steve Priest’s Sweet continues to tour with their next stop being Louisville Kentucky on August 25th.
Sly Fox and The Hustlers Setlist: Back in Funk, Rough Patch of Road, Giving Dream, Revolution 2012, Look At You, Let Me Down Easy, Smooth, Home By Morning, Forever Young, Find Someone, S.U.N.Y. Girl, American Gypsy, Sympathy
Sweet Setlist: Action, Teenage Rampage, Set Me Free, Love Is Like Oxygen, Sweet F.A., No You Don’t, Done Me Wrong, Willie/Block/Wig, AC/DC, Fox on the Run, Ballroom Blitz
One could not have asked for a more pristine summer evening, on Wednesday, July 12, when Fleet Foxes brought their sounds to the Beak and Skiff Orchard in Lafayette.
There is perhaps no other band more in touch with the various seasons these days than Fleet Foxes. Hailing from Seattle, Washington, Fleet Foxes continue to tour in support of their latest release, 2020’s highly praised Shore. The album, which was released for public consumption precisely at the autumnal equinox, drew much praise from critics and fans alike. Known for creating acoustic folk-rock with exquisite harmonies and musicianship, they have released four studio albums, several EPs as well as 2021’s live offering A Very Lonely Solstice.
Nigerian-born singer/songwriter, Uwade opened the evening. She is well known to fans of Fleet Foxes, having sung extensively on their latest release. Taking the stage by herself and armed with only an acoustic guitar, Uwade quickly took a captive hold of the audience. She delivered a thirty-minute set of acoustic folk tracks, intimately and honestly. It seems often this type of permanence can get lost in a large venue such as Beak and Skiff, however, this was not the case on this evening. The area surrounding the stage was quiet enough to hear a pin drop, as Uwade performed tracks dealing with topics such as the illness of her father. he was joined by Fleet Foxes members Christian Wargo and Christopher Icasiano to finish out her set.
After a brief intermission, the Fleet Foxes took to the stage. Boasting an impressive eight-piece band, and accompanied by opener Uwade, they immediately launched into “Sun Giant.” It was an appropriate opener to showcase what was to come, featuring a beautiful acapella track with layers of harmonies that floated about the concert field. The band followed with the mellow “Wading In Waist-High Water,” which saw Uwade again take lead vocals (as she did on the studio track) as layers of the band’s instrumentation built. The band then followed with the more upbeat “Can I Believe You,” which had the audience singing and dancing along.
As their set rolled on, the band would dig deeper into their catalog. Backed with a video board that showed nature scenes and other colorful visuals, the band churned out fan favorites such as “White Winter Hymnal,” “Montezuma,” and “Mykonos.” In what is becoming a tradition at their concerts, the band pulled an audience member from the crowd to sing and play guitar on “White Winter Hymnal.” For the uninformed, one would not have known this fan was not a lifelong member of the band.
In all the band would perform over 20 songs followed by a three-song encore. The band would close the evening with “Helplessness Blues,” a track about longing for a simpler life. Featuring the lyrics “If I had an orchard, I’d work ’til I’m raw,” it was a near-perfect ending to a brilliant evening of music.
New York City’s soundscape was on full display at the second annual Bronx Summer Jam this past Saturday, July 15. Local Bronx artists encapsulated the Bronx’s vast musical environment, performing everything from rock and hip hop to reggae and soul.
Bronx Summer Jam participants and audience members ’23. Photo courtesy of Michael Nickerson.
This wide array of genres not only reflects the Bronx’s sound but the individuals that create it. Take Emelia Vero for example, who performed on the Kings Stage from 1:30-2:30 pm under her stage name Bombii. In between her silky-smooth songs, she explained why her lyrics switched from English to Spanish. She said by singing in both languages, her music was able to fully represent herself. As such, she loves when people call her by her stage name. If they know her music, they know her. The notes bind audience and singer together, creating a family.
Audience member Francesca echoes Bombii’s sentiments. “I remember being a teenager, and a lot of people from different high schools would all go to these concerts. These would be people whose real names I didn’t even know. But when we were there, we were best friends. We were family.”
For some, it truly is family. From 4:30-5:00 pm, DJ F1rst Class performed. His wife Alina and daughter were front and center to watch him. Alina said the reason they are together is because of their passion for music.
Alina was glad she was able to bring her daughter to relish in the music as well. Most of the time, it isn’t easy to bring children to concerts. But the Bronx Summer Jam was outside at a local park, making it easily accessible for everyone.
“Usually they have it at places where there’s alcohol or it’s indoors. I couldn’t always bring my daughter,” Alina said. “But the Bronx Summer Jam is for all ages.”
Wastewood performing for the crowd at Bronx Summer Jam ’23. Photo courtesy of Michael Nickerson.
Bronx Summer Jam was produced by Sirens & Kings, a co-production company made of two Bronx music collectives, Sounds & Sirens and The Fox & King. They hoped that by locating the festival at a park, it would allow everyone to be able to participate. It was a hope that was achieved.
“I live right across the street, and I came out for just a few minutes to sit on the park bench. Then I started hearing the music and walked right over here,” said Ivecte Lopez.
Despite the scorching heat, the crowd grew throughout the day. Those walking through the park stopped by to enjoy the music. Some set up hammocks or chairs under the trees’ shade and within hearing distance of the festival. Others took on the sun’s beating rays, standing within feet from the stage.
With a bigger crowd, the musicians began to engage with the crowd. Bombii did a call-and-answer. Everytime she said “Para,” the audience sang back “Siempre.” Later in the day, artists Ray Pearson, Ki Storii, WIN, Kony Brooks, and July Quinn left the confines of the stage. They moved across the park’s lawn to the beats of their rap and hip-hop songs.
Their performances were contrasted with the full rock sounds of Wastewood and Balcony Talk. The bands’ sounds were then further contrasted by the acoustic sounds of Drew Torres.
Drew Torres performs at Bronx Summer Jam ’23. Photo courtesy of Michael Nickerson.
During his set, Torres sang an original upbeat song titled “Minus 4,” named for his glasses prescription. He later ended his set with tapping, a technique that involves tapping one’s hands on the guitar’s body.
“This is not just a hobby for me,” Torres said. “This is my therapy. This is the way I personally express myself. I just want to inspire others.”
Audience member and devoted member of the Bronx music scene, Mocha said it was concerts like the Bronx Summer Jam that inspired him to play music. “I was inspired to pick up an instrument at a local show back in 2004. I saw bands and immediately was like, ‘This is what I’m going to do.’ I was sixteen then. Without that concert, I don’t have any clue who I would have been now.”
Perhaps this festival inspired someone in the audience to learn an instrument or to start singing. The festival’s music definitely reached a number of people ranging from those who knew about the festival to those in the park who happened upon it.
To see more of what Sirens & Kings will produce, click here and here.
Lewiston, NY is a beautiful little hamlet that backs up to the mighty Niagara River and not far from the infamous falls that bring in millions of visitors every year. ArtPark is a picturesque State Park in Lewiston, that sits atop the gorge of the Niagara, that houses a spectacular amphitheater which hosts numerous events throughout the season. After my first visit there last year, I said to myself that the venue kind of looks like a place for a church retreat of sorts. Not that I am a religious person, but that was one my first thoughts. Here we are, about a year later, as Lauren Daigle bringst her religious based music to the venue that I saw had retreat vibes.
Starting the night off around 7:30 was Josh Garrels. Playing for about 30 minutes, Garrels immediately brought the crowd together with his smooth vocals as he preached through lyrics. A well rounded musician, he has been releasing music since 2001 and is a well regarded composer and writer, in addition to his singing.
Hitting the extra large pulpit AKA the stage around 840, the Lafayette, Louisiana native was welcomed with boisterous cheers from music fans as young as 3.
For nearly 90 minutes, she bounced around the stage telling stories as interludes to her songs, talking about how God got her through some anxiety riddled times during the pandemic, and reminiscing about her time in Guatemala.
The trip to Guatemala really touched Lauren, as she befriended Maria. Maria is a child, now 16, who due to reasons out of her control is now the matriarch of her family. It was this situation, as well as time in Kenya that has driven Lauren to create and really push Lauren Daigle | ChildFund. With this, fans can sponsor a child in need in selected countries.
While not a show I would normally choose to cover, my daughter convinced me to do this one, and I am glad I did. Lauren is a world class performer with a broad range of vocals that make you think of Pink, Adele, Shawn Colvin, with some hints of blues scattered about. Her stage presence was amazing, as she interacted with her band throughout the performance, kept the crowd involved and was waving to young folk in the front rows. The backdrop was a colorful piece that looked like a collection of unfinished latch hook projects. The colors and layers were perfect match for the lights used all night.
Joining Lauren on stage was her 11 piece band that was just as active as she. There were 2 percussionists, 3 person brass section, 3 dancers/backup vocalists, a bassist, guitarist, and a DJ to round out the sounds.
Songs, while religious based, weren’t all about ‘you need to listen to the word’ and ‘this is the way’. They all told stories about her life and how she got to where she is today. “Kaleidescope Jesus” is her take on finding God unusual spots and forms. Colors, shapes, movements, the results of an action. The setlist included “Thank God I Do,” “You’re All I’ll Take With Me,” “Rescue,” “St. Ferdinand,” “Tremble,” “Be Ok,” and “You Say.”
“St. Ferdinand” was not on her set list for this show, however after recent interview where the interviewer requested it, it was added. After the song, as she was talking, she realized the person was in the front row and immediately thanked him for actually showing up. Rumor has it that most people who say they will be at a show, don’t show up. Lauren was thrilled to not only see this person, but see them up front.
As the show concluded, Lauren played a 2 song encore of “Be Ok” and “You Say/How Can it Be”. The first encore was bone chilling as it was her poignant vocals backed with the pianist. The sounds echoed through the amphitheater like an empty chamber, a true testament to the power of her voice. Very award worthy.
Making music for over 10 years, Daigle is no stranger to those awards. 4 AMA’s for Contemporary Inspirational, 6 Billboards in Cristian Music categories, 11 GMA Dove Awards (Gospel Music Awards), and 2 Grammy’s. Very respectable career so far, and chances are good that the finish line is not in sight.
Her final song, a blend of 2 songs was powerful and moving. Belting out the lyrics, she stopped about half way through as the crowd took over and sang word for word and crystal clear. Nearly 6 minutes of playtime, fans were in tears and holding hands while swaying side to side. A perfect ending at the venue I thought was could host a religious retreat.
Learn more about Lauren Daigle and her charities, as well as the forthcoming Kaleidescope Tour.
Spafford is a band that deserves more: more fans, more coverage, and more respect. With a signature sound amphitheater-ready and a technical proficiency seldom heard in today’s music, the fact they haven’t reached greater heights yet is truly one of life’s simple mysteries. Hooked from the moment I first heard them in 2017, I’ve been singing their praises to anyone who will listen for years now. That being said, a recent fan post in the band’s “Spaffnerds” group got my blood boiling a bit. It read something to the effect of “Guys. Spafford is destroying the northeast right now and not a single jamblog is writing about it. WTF.” Having written about this band several times in the past, at first I took offense, but then I took it as a personal challenge to get these guys some more ink. So in a completely irrational, last second decision, I loaded up the car in Albany and made the two and half hour drive across state lines to catch Spafford’s headlining show at the Homestead in Morristown, New Jersey on Monday, July 10th.
Spafford brought weekend vibes to Morristown, NJ on Monday 7/10/23.
Having never been to the Homestead before, I initially found parking to be a bit of a situation. With the summer night life of Morristown hustling and bustling right through showtime, I ultimately ponied up at a nearby municipal garage. Following my ear, I knew exactly where to go once I stepped out of the car. That’s because you could hear Spafford’s opening reggae-styled cover of “Soul to Squeeze” by the Red Hot Chili Peppers’ firing up from almost a block away. The colorful and luscious guitar tone of Brian Moss’ custom ax, Raven, was like a beacon calling to everyone nearby, ‘lend us your ears and we’ll send you home happy.’ By the time the band landed on “Plans,” the entire outdoor patio was packed with people. Even the curiously vacant parking lot adjacent to the venue started filling with people who were at least interested enough to listen, but on the fence about paying for it.
Spafford fans made themselves at home in Morristown on 7/10/23.
Inside the Homestead was a completely different vibe. A combination of danceable and sweaty energy, the smell of chicken wings and comfort food, and more mesmerizing than anything, the sound. The high ceilings of the venue made Spafford sound huge. Admitted audiophiles, the band which consists of Brian Moss (guitar,vocals), Jordan Fairless (bass,vocals), Nick Tkachyk (drums,vocals), and Cory Schechtman (keybords), work tirelessly before every show to achieve peak tones in whatever room they’re playing; they always sound great on whatever stage you put them.
Originally formed in Arizona, the last few years have seen much of the band return to their east coast roots. With Moss growing up in Jersey, the show would take on a bit of a “hometown throwdown” feel. Close family and friends could be seen dancing along on the side of the stage, including Moss’ adorable little rock star, Henry, who appeared to be having a blast watching his dad shred into our third song of the night in “Todd’s Tots.” While I don’t know who Todd is, I do know this was the musical highlight of the opening set. Things would then get down right “untzy” then “reptilian” with a well-placed combination of “Funkenseven” that alligatored into the Jordan Fairless led “Salamander Song” to send the Morristown crowd dancing the whole way into set break at the Homestead.
Keyboardist Corey Schechtman played his first show with Spafford at this same venue in 2023.
Walking out for second set accompanied by music from Rage Against the Machine, you could just feel the boys were about to get down to some serious business. Launching into the nights only track from their most recent studio album, 2022’s Simple Mysteries, “Fake the Fate,” the dance party resumed almost instantly. Some fans expressing themselves by spinning in circles, showing their moves to drift away while the surging groove carried us straight into “Windmill,” one of the band’s most sought after originals. Perhaps the centerpiece of the show, Spafford let it all hang out here, tongues included. Sustaining those high notes for added emphasis, when Moss starts making unintentional stank face, you know things are going pretty good. People who were seeing the band for the first time simply could not believe what they were hearing. As Brian’s complicated guitarwork reached soaring new heights reminiscent of what you might hear in the peak of Phish’s “David Bowie,” one older gentleman near the soundboard commented how he hasn’t heard chops like that since his days of seeing Jerry.
So Raven: Spafford’s Brian Moss plays his custom ax in Morristown 7/10/23.
Exchanging rays of mental dues Accepting moods that new grooves proves A simple song, it has no cost Through this rif my troubles’ lost You’ve got me dreaming again Open my mind to a new way A long way from fine
-Lyrics from “Windmill”
Up next came another Fairless special with “Lonely,” a track that has continually showed itself to be one of the bands biggest jam vehicles. This exceptional rendition proved that true once again with Jordan crooning his heart out while the band stretched its legs into some beautiful type II territory. Keyboardist Corey Schechtman also really shinned here. Schechtman, who played his first Spafford gig at this same venue one year prior, has really settled into his role nicely; you can just see how much more confident he is now. With other-worldly skills dripping out of his fingertips, Schectman has the ability to completely change the direction the jam is going…and that’s usually for the better. Often locking eyes with Nick on drums, the two seemed to have formed a strong bond over this past year.
Spafford drummer Nick Tkachyk played Jersey in a jersey on 7/10/23.
Showing amazing musical maturity by building the groove up, then holding onto it until they have everyone’s undivided attention, imagine how difficult it must be to show this kind of restraint. Like driving a Ferrari through a 30mph school zone, Spafford’s patience has always been one of their biggest assets. They always seem to know just the right moment to step on the gas and when to let off of it. Closing the four song second set was our second cover of the night, a crowd-pleasing version of “Love Song,” as popularized by The Cure. It was only the second time they’ve played it this year.
Spafford bassist Jordan Fairless had his fingerprints all over the Morristown setlist on 7/10/23
With a hard 11pm curfew rapidly approaching, it was from here to “Eternity” as another Jordan led song was selected as the lone encore of the evening, capping off another stellar performance by a band that’s currently at the top of their game. Afterwards the guys could be seen hanging out by the merch table, signing posters and taking selfies with fans. Their approachability is yet another endearing quality.
While the high-flying bird band Goose is currently commanding most of the jam scene headlines, bubbling just under the surface is a whole litany of other amazing acts of the same genre. Right at the top has got to be Spafford. Using music as their weapon and perhaps benefitting from all the recent attention the improv community has been getting, we can only hope this band will get their big break soon. Worth every penny of the $20 ticket and worth traveling for every time I’ve seen them, these guys are the real deal. Real people with a real shot at achieving their dreams. Still finding the balance between touring life, raising toddlers, and writing new songs, these hardworking guys are putting it all on the line every time they go out there, both musically and personally. When I asked Moss point blank if filling amphitheaters is even what he wants, without hesitation he said, “Of course, that’s what I’m in this for. We’re here to take over the world.” A true rock n’ roll answer if there ever was one, well Mr. Moss, I believe you can do it and I believe in Spafford.
Spafford | July 10, 2023 | The Homestead | Morristown, New Jersey
Set 1: Soul to Squeeze*, Plans, Todd’s Tots, Funkenseven>Salamander Song
Set 2: Fake the Fate > Windmill, Lonely, Love Song **
In the summer of 1999, amid an extensive tour, Phish held a two-day festival in the small town of Volney, NY at the Oswego County airport. While reliable numbers are not available, somewhere between 15 and 20,000 attended the two day show, arriving a full day early in some cases to enjoy the scene that set up on the tarmac for a mere 60 hours, before the band moved towards the Midwest and the end of the tour a week later.
Phish had played three prior festivals at the end of large tours, but never a festival during a tour. The result were two memorable nights amid the most unbearable heat and humidity, leaving fans with a lasting memory of guests sitting in with Phish and an “Icculus” for the ages. Editors Pete Mason and Tim O’Shea attended Camp Oswego, albeit separately. Below is their look back at Camp Oswego.
Phish Oswego poster by Pete Tschudy
The Ride in and Arrival
Pete Mason: I happened to have no issues with arrival, and managed to avoid nearly all traffic. I was living in Syracuse, taking summer classes at SU, and proceeded to leave the day before the festival starts, on July 16th, a Friday. We left around 4pm and were at the gates by 5pm. Syracuse to Oswego is about 45 minutes, so getting to the festival, without much traffic, was a pretty nice start to the weekend. We camped about one car length in from the tarmac, about a five minute walk to The Green, where there was a wall of payphones and place to leave messages for friends. Ah, the days before cellphones.
This was also the last time I encountered little to no traffic arriving at a Phish show. 13 hours for Big Cypress was a comeuppance in a way, for dealing with no traffic getting to the Oswego and Lemonwheel festivals
Tim O’Shea: The two hour drive started off just fine with all parties wildly throwing out predictions and wishes for the weekend. Beeps and head nods from other like-minded cars on the road were aplenty and increased in frequency the closer we got. Towards the end of the two hour drive, as festival traffic began to pile up and the sun was at its peak, the bus’ engine temperature began to skyrocket. In an effort to prevent it from overheating and making sure we had a ride back on Monday, we actually wound up pushing the bus for the last half hour of our journey through the stop and go traffic with the engine off. What better way to get stretched out for long weekend of music than with some cardio and light weights? It would certainly not be the last time all weekend that heat played a factor.
The Heat
TO: For anyone who attended Camp Oswego, the first words out of their mouth generally have something to do with the ridiculous temperatures that weekend. To say it was a dry and steady heat would be doing it a disservice. Roasting and oven-like are two of the words that initially come to my mind. Shade was at an ultra premium and there were constantly long lines for the few communal water spigots. If you weren’t staying hydrated, you had no chance. In addition to the blazing temperatures, discovering this communal atmosphere and something that was way bigger(and more fun) than just myself really resonated with me since this was all so new at the time.
PM: The heat was unbearable, oppressive and constant. It was humid and well into the 90s. There was no relief either. We had 3 tents among myself, Madison and Dave. No tarp, no EZ-Up, nothing. Not that that would have helped either, but we did find solace in the air conditioned car, only to walk out into the heat moments later. Hydration was key, and led to little drinking of alcohol that weekend. It was just too damn hot to do much of anything but see Phish, just as the sun was getting lower in the sky and started to cool down.
A week later, I attended Woodstock 99. The weather was almost as bad, but the result of patrons who had to deal with the heat was far different. At Oswego, people were misting you as you walked by, offered water to strangers, my friend Madison used a Supersoaker to hose down random passersby, with a reaction of ‘Whoa WTF?!’ followed immediately by ‘Ah, that feels great! Thanks!’ At Woodstock, it was pure hell. Little running water, expensive bottled water ($4 even then was highway robbery) and patrons were not as kind as you would find at Phish. More than a few late 90s bros found their way to the front of the drinking line without waiting, didn’t take care of their neighbors and more or less let the festival community and vibe go to shit. Phish fans took care of one another – that was my big take away from the two weekends, and one that drew me into the Phish community.
Phish Oswego inspired art by Alfred Sohn
Day 1 Music
PM: I honestly recall little of the show on the 17th. Two sets, and all I can definitively remember was Son Seals sit-in, which made me wonder if the other guests at The Green stage were going to sit-in the next night. “Down with Disease” was solid, but I was still somewhat new to Phish and hadn’t yet enjoyed the long jams. Beyond that, I became a fan of “Squirming Coil” in the encore. I blame the heat and adult beverages.
TO: While my memory certainly isn’t pristine as it pertains to all the music that weekend, there are certain moments and images that still resonate strong. I remember baking in the sun (literally) as the first night’s sunset was accompanied by a scintillating Tweezer jam and hearing the first of many, many Character Zeros to end the first set. I remember legendary bluesman Son Seals gracing the stage in the second set for ‘Funky Bitch’ and being amazed at how well he was able to manage that Phish song.
Phish Oswego sticker
Day 2 Music
TO: I remember being delighted at the Del McCoury sit-in the following day and feeling a real strange sense of pride as I danced along to ‘The Meatstick’ in the Guinness Book of World Records attempt that was in vain. And above all else, I remember a mind bending ‘Piper’ in the third and final Sunday set that I still consider one of the best ever played which seemed to seal the proverbial deal for me. Throw in a hilarious ‘Smoke on the Water’ jam/banter and the ever whimsical ‘Icculus’, and you’ve got a set for the ages.
PM: I could write a book on the music from Sunday, but I’ll keep it short. Set 1 was pretty solid, with the sun setting and a ‘Punch’ opener. I was still a noob back then, so “Farmhouse, Water in the Sky, Bathtub Gin” were all familiar and made me happy. I was far more focused and rested than the night before, and recall a great deal of the show to this day. When Del McCoury and sons came on stage, I smiled because I sort of predicted that, heard a bunch of bluegrass songs, which I credit to my initial interest in bluegrass music, and a sweet ‘Reba’ that was a highlight of the set for me.
Second set was fun because “Runaway Jim > Free” meant more music I knew, then finally, this ‘Meatstick” song that I had heard about, which had a dance. Complicated music interests me, and dancing to such music was just feeding the addiction. I danced around with what I thought was the Meatstick dance and loved every second. The rest of the set I was just smiling like I never had before.
Third set, which I had no idea was happening – I thought second set was it – started out with more music I knew, “My Soul > Piper”, the latter of which went on for a while, and had the slow start. “Prince Caspian” was kinda cool to me back then, and then shit got weird. “Wilson > Catapult > Smoke on the Water > Icculus” and “Quinn the Eskimo” were pretty mindblowing, for the banter alone. Whatever was going on onstage, I wanted more of. Fluffhead finale and Hood encore as we walked back to the car, beating all traffic, I was in my apartment by 2am, learning of David Cone’s perfect game earlier that day.
Takeaways from the Festival
PM: Oswego was simply the best Phish festival experience I have had, after Big Cypress of course. It was the right time and place for me, right mindset, friends, and music, all in one place. I go back there every so often and find that same giant smile, every time.
TO: 111 shows later, I guess you can say I took a shining to this band and all they can deliver. But for me, Oswego will always hold a special place in my heart not only because it was my first Phish festival in my first string of shows, but because it was my first large scale festival of any kind which opened my eyes to a whole new way of experiencing music. After Camp Oswego, I knew what I wanted to do every summer for the rest of my life. And how to do it in frying pan-like conditions.
Download both nights of Oswego here (July 17/July 18) – recording by Lenny Stubbe
The West Side Tennis Club welcomed Weezer to Forest Hills in Queens with open arms this past Thursday night (July 13) for the SoCal quartet’s 22nd stop on a 30-date “Indie Rock Road Trip” summer tour that launched in Huntsville, Alabama on June 4. Dubbed the Indie Rock Road Trip, Weezer’s tour is divided into three legs, the first of which saw them link up with indie rockers Modest Mouse and Momma. Future Islands and Joyce Manor took over support duties for Rivers Cuomo and Co. at the Columbia, Maryland gig back on June 23, and tonight’s show marked the magical end to the tour’s second leg.
Rivers Cuomo of Weezer | Photo: Michael Dinger
One of NYC’s best concert venues – indoors or out – Forest Hills Stadium has a rich, storied history that is celebrating 100 years this season. Originally designed in the 1920s as the home of the U.S. Open tennis tournament, the Romanesque stadium and its grounds hosted 60 editions of the major tournament before it moved to its current home in Flushing Meadows in 1978. In the 1960s, the tennis club began booking concerts and attracted some of the most culturally significant artists of our generation – The Beatles, Jimi Hendrix, Frank Sinatra, Barbra Streisand, The Rolling Stones and Bob Dylan, to name just a few.
However, by 2011, the 14,000-capacity facility had fallen into a “crumbling ruin.” After narrowly escaping demolition, the stadium re-opened on August 28, 2013 with Mumford & Sons performing the inaugural concert (my wife and I were there!). Although the music that night was fantastic, the overall experience, not so much. But over the next four years, Forest Hills Stadium underwent multi-million dollar state-of-the-art renovations including optimized acoustics, patching up concrete exterior walls, old seats were removed and replaced, a permanent stage was installed, the concourse was redesigned and expanded to twice its original size, the General Admission central tennis courts were replaced and easier access to concessions and restrooms was provided, finally!
Scoreboard Marquee | Photo: Michael Dinger
Arriving early to guarantee a painless parking experience (parking is limited in the surrounding area), I also wanted to explore the stadium and its grounds ahead of the first opening act. After securing my media credential at the box office, I proceeded through the main entrance where I was greeted with a plethora of things to do, along with welcoming staff at every turn. Although the craft beer huts and local food eateries were tempting, I opted to walk the periphery of the cherished coliseum to discover for myself what had changed since my last visit nearly a decade ago. The answer, a lot!
A history buff, I was pleasantly surprised to see banners, plaques and artwork depicting the images of past rock iconswho played here. As I made my way to the bands’ merch table, I came upon a WFUV kiosk – a non-commercial radio station owned by Fordham University and an affiliate of National Public Radio (NPR) who presents Forest Hills Stadium’s live broadcasts – offering patrons free goodies such as stickers and beverage Koozies. An avid fan of all sports, it was also thrilling to witness the hanging banners of by gone tennis legends including Stan Smith, Althea Gibson, René Lacoste, Billie Jean King, Rod Laver and Arthur Ashe.
An hour after doors, Joyce Manor took the stage promptly at 6:00 pm. Despite the sweltering, 90-degree heat, the band formed in 2008 and hailing from Torrance, California did not seem to mind very much, if at all. Named after an apartment building that co-founder Barry Johnson would often pass by on his walks, as Joyce Manor’s pop-punk sound has evolved, their feverish fanbase has grown right alongside them.
Barry Johnson of Joyce Manor | Photo: Michael Dinger
Over the course of 30 minutes, the trio of Johnson (singer-songwriter, guitar), co-founder Chase Knobbe (guitar) and Matt Ebert (bass), who were also joined by touring musicians Neil Bertheir (acoustic guitar, synthesizer) and Neil Hennessy (drums), performed songs with inspiration drawn from emo acts like Weezer themselves. The band of thirtysomethings offered up tracks spanning four of their six studio albums, with the heaviest dose coming from 2014’s Never Hungover Again.
The showstopper, however, which incited a mosh pit (albeit short-lived) near stage left half-way through their pummeling set, was ripped from their sixth and most recent album 40 Oz. to Fresno (Epitaph Records) released in June of last year. Titled “NBTSA,” short for Never Be The Same Again, the number perfectly exemplified Joyce Manor’s signature blend of melodic guitar leads, rock-solid bass and driving drums in a no-filler, concise package.
In keeping with the strict, mandated curfew of 10:00 pm due to the stadium’s location within a residential neighborhood, the party kept rolling along in a timely fashion. At 6:55 pm, next up were Future Islands, a synth-driven pop band based in Baltimore, Maryland. Formed in 2006 and fronted by Samuel T. Herring, the quartet is rounded out by Gerrit Welmers (keyboards and programming), William Cashion (bass, acoustic and electric guitars) and Michael Lowry (drums).
Future Islands | Photo: Michael Dinger
Ahead of tonight, I knew very little about Future Islands, other than their live performance of “Seasons (Waiting on You)” on the Late Show with David Letterman, the lead single from their fourth studio album (Singles, 2014), became the television show’s most-viewed video on their YouTube page. But after tonight, which included witnessing firsthand a live performance of the same song, I knew much, much more.
Backed by a supremely talented band, I was most blown away by Herring and his stage persona. Despite the heat, he was dressed head-to-toe in black, and it did not take long for him to become drenched in his own sweat. Once Future Island’s first song of the night kicked in, “For Sure” from 2020’s As Long as You Are, Herring feverishly jumped, kicked, spun and fist pumped his way from one end of the stage to the other, repeatedly, and for all 13 songs in the emotionally thrilling set. When Herring finally stopped to catch his breath, he engaged directly with the audience members, staring intently while continuing to gesture with his arms and hands in continual flowing motions. I would later learn that Future Islands was originally meant to be a performance art piece, which completely makes sense to me now.
Herring’s vocal delivery is also something of a marvel. Despite being diagnosed with Reinke’s edema (vocal cord swelling) nearly 10 years ago, his delivery is striking and distinct. Along with an extensive background in hip-hop and rapping that began as a teenager, a solo act that he engages in via the moniker Hemlock Ernst, it is also not uncommon for a loud, stadium-shaking growl to be thrown into his vocal recipe.
Weezer Fans | Photo: Michael Dinger
With the time approaching 8:30 pm, the stage roadies were putting the final touches on the stage, most of which was being performed behind the gigantic opaque curtain swallowing the stage ahead of the big reveal. Making my way back into the pit with my fellow photographers for the third time, Toto’s “Africa” came across the stadium’s PA system. If you are not an avid fan of Weezer, you might ask “Where’s the connection?” Long story short, back in 2018, the two bands released reciprocal covers of each other’s hits, with Weezer covering the perennial 1982 classic and Toto covering “Hash Pipe” from 2001’s The Green Album. Then suddenly, the curtain dropped and it was time to hit the road!
Brian Bell of Weezer | Photo: Michael Dinger
One by one, our lovable, geeky power-pop kingpins entered stage left. Brian Bell (rhythm guitar, keyboards) led the charge, followed closely by Cuomo who was sporting his staple Buddy Holly-esque retro specs. Bringing up the rear were Scott Shriner (bass) and Patrick Wilson (drums), the latter taking to his stool atop an elevated riser. The Los Angeles foursome played in front of an impressive and clever set design built to resemble a stage-sized car dashboard, complete with a steering wheel emblazoned with a Weezer logo, a radio with a tuner and a volume knob. And if that wasn’t cool enough on its own, video graphics were displayed across the massive windshield and a rearview mirror.
Rivers Cuomo of Weezer | Photo: Michael Dinger
The nostalgia shifted into high gear with the adrenaline inducing “My Name is Jonas” from 1994’s The Blue Album. A smooth segue transported the stadium to “Beverly Hills” (Make Believe, 2005), with Cuomo substituting the song’s closing lyrics with an homage to the neighborhood of “Forest Hills.” There was also a special guest appearance for two songs from 1996’s Pinkerton – “El Scorcho” and “I Just Threw Out the Love of My Dreams” – as the indie rock solo project of singer-songwriter Lindsey Jordan (better known as Snail Mail) joined Cuomo atop the dashboard.
Scott Shriner of Weezer | Photo: Michael Dinger
For a show that could have lasted hours longer with all the career-spanning material that Weezer has to offer – a three decade discography comprising 15 studio albums, and as per Cuomo during his introduction to “Falling for You,” 672 songs! – they did a wonderful job of gifting their fans the classics (“Undone – The Sweater Song,” “Island in the Sun,” “Say It Ain’t So,” “Hash Pipe” and “Surf Wax America”), deeper cuts outside of their studio catalog (“Susanne” and “Blast Off!”) and newer material (“All My Favorite Songs”), including a couple of tracks from two of their four seasonal inspired EPs released in 2022, “Thank You and Good Night” from SZNZ: Summer and “Run, Raven, Run” from SZNZ: Autumn.
Patrick Wilson of Weezer | Photo: Michael Dinger
The festive evening closed with a three-song encore capped by fan favorite “Buddy Holly.” With Cuomo perched at the edge of the stage apron, he soaked in the applause raining down on him from the sold-out house engulfing him on all sides. After several moments, before the band took their final bow, he ripped off his shirt and hurled it into the front rows before throwing down the signature “W” hand sign. And with that, we had all been officially Weezer’d, and better for it. Now it was time to take it easy brah.
Up next for Weezer is a trek to Naeba, Japan for Fuji Rock on July 30, followed by shows in Osaka and Tokyo on August 1 and 2, respectively. Then, it’s on to West Vancouver, Canada for the Ambleside Music Festival on August 19. The next night, August 20, the third leg of the Indie Rock Road Trip resumes in Auburn, Washington where the boys will be accompanied by Spoon and White Reaper as opening support.
Forest Hills Stadium | Photo: Michael Dinger
The 2023 summer tour culminates at PETCO Park in San Diego, California on September 3, at which time the band will take a much needed rest to refill their collective gas tank. And in case you missed the Forest Hills Stadium show, or just cannot get enough of these darling alt-rockers, Weezer will be traveling back to the tri-state area for an appearance at the Sea.Hear.Now Festival in Asbury Park, New Jersey on September 17.
Joyce Manor Setlist: Heart Tattoo > Beach Community > Gotta Let It Go > Ashtray Petting Zoo > Don’t Try > Schley > Falling in Love Again > NBTSA > Big Lie > Victoria > Constant Headache > Christmas Card > Catalina Fight Song
Future Islands Setlist: For Sure > Hit the Coast > Plastic Beach > Peach > Walking Through That Door > Light House > A Dream of You and Me > Before the Bridge > Long Flight > King of Sweden > Seasons (Waiting on You) > Vireo’s Eye > Little Dreamer
Weezer Setlist: My Name Is Jonas > Beverly Hills > Return to Ithaka > The Good Life > Pork and Beans > Pink Triangle > El Scorcho > I Just Threw Out the Love of My Dreams > Blast Off! > Undone – The Sweater Song > Falling for You > Susanne > Only in Dreams > The Greatest Man That Ever Lived (Variations on a Shaker Hymn) > Island in the Sun > Perfect Situation > All My Favorite Songs > Say It Ain’t So > Run, Raven, Run > Hash Pipe > Thank You and Good Night > Encore: The Waste Land > Surf Wax America > Buddy Holly
