NYS Music 2023

Category: Show Reviews

  • Spafford Sizzles in Saratoga Springs Debut

    Making their Saratoga Springs debut, the force was strong with Spafford on Thursday, May 4th. Delivering an awe-inspiring, booty shaking performance full of type-II improvisation, buttery smooth segues, spacey textures and more dynamic soloing than even Han could handle, the highly talented quartet proved once again that when it comes to pure jams, Spafford is light years ahead of the pack.

    Putnam Place served as our cantina for the evening, and while you will surely find a more wretched hive elsewhere, on this evening there were no villains here, only friends with plenty of character. You see, despite it being Spafford’s first time in ‘Toga, the electro-funk jam band has been around for more than a decade now. Developing a strong following via old-fashioned word of mouth and fan interaction, frequently sharing high quality live streams and relentless touring, those that already know, know, and these so-called “Spaff-Nerds” will happily travel far and wide to see these jam band Jedis play. For many in attendance, it was a no-brainer making the trip to Putnum Place, a venue with an almost mythical status as being a “rite of passage” for improv acts.

    Originally formed in a place far, far away in Arizona, Spafford is comprised of Brian Moss (Guitar), Jordan Fairless (Bass), Corey Schechtman (Keys), and Nick Tkachyk (Drums), and have actually orbited around the Capital Region numerous times, previously playing venues like the defunct Lucky Strikes in 2017, the Palace Theatre (supporting Umphrey’s McGee) and headlining “Jam Night” at Albany’s Alive at 5 concert series last summer, thus making their long awaited Putnum debut all the more surprising and overdue. Making up for lost time and determined to leave a lasting impression, the evening with Spafford kicked off with a spunky version of “Left on the Runway” from their latest album, 2022’s Simple Mysteries.

    Acknowledging the familial vibe early and flowing straight into “All My Friends,” the collective buzz in the room immediately went up a notch. That’s because longtime Spafford fans know “All My Friends” is almost always paired up with “Bee Jam,” one of their most coveted improv vehicles. Sure enough, the Bee would take flight on this night, soaring through Saratoga with an absolutely stellar, 18 minute rendition that contained everything from head banging grooves, crunchy funk-drenched breakdowns, the first huge guitar solo from Brian Moss and sonic exploration that effortlessly dipped into a murky type-II atmosphere, only to emerge on the other end with “Mind’s Unchained.” Corey’s Schechtman’s tasteful piano textures really came through here, adding a layer of beauty that made you want to close your eyes and live in the moment for as long you could. Slowly building to the song’s blissful crescendo, the song would cap off an impressive 40 minutes of uninterrupted music to start the show. Little did anyone know the biggest jam of the first set was still yet to come.

    As bassist Jordan Fairless slapped away at the intro of “Dog House,” his voice was in top form and so was his playing. Picking up the pace as the song shifted into “Part II,” we’d get another tasty organ solo from Corey, before the song would showcase some of the bands more jamtronic and improg influences with “the human metronome” Nick Tkachyk navigating the ship. Taking you along for a colorful, sonic journey into the musical unknown, the song would ultimately clock in at the 19 minute mark and bring the scorching first set to a close.

    After a smoke-filled intermission, Spafford would stay on target and turn the heat up even higher for set two. Once again choosing a song from their latest studio album to kick things off, the band came out of the gates swinging for the fences with a 21 minute “Diesel Driver” that was, simply put, a home run. Despite being a relatively recent song, Spafford played the ever-loving snot out of it, showing a maturity and patience well beyond their peers. Then working their way through the Braveheart-esq sounding “Pursuit of Madness,” for me, it was all about the “Broken Wing” that would follow. An absolute showcase of what this band is capable of, if you were able to stand still during this song, sorry not sorry, but you might want to check your pulse.

    Going with dank grooves for days and yielding an all-out dance party that reminded you of what the Putnum Place was like before the pandemic, the energy here was through the roof. Yet another 20 plus minute jam, it was around this time I realized, “holy smokes, they haven’t stopped playing this entire set!” Maybe that was their plan all along? Almost on que, as if they could hear my thoughts, “Broken Wing” then melted into “Plans” in the most buttery-smooth way. Giving guitarist Brian Moss and his custom Raven one last chance to shred, every time I get a chance to watch this man play is awe-inspiring. The entire second set alligatored together as one frame of music, I’ve been saying it for years, but if that didn’t make you a believer in this band, then I give up trying to convince you.

    Thanking the audience for packing out the place despite it being their first time there, Moss would speak from the heart and address the crowd by saying, “What a blast we had this evening. What a beautiful town, great food, great people. Should we come back?” After a resounding cheer, minus the one guy who jokingly gave a thumbs down, Spafford would cure us all and send everyone home happy with a 13-minute encore of “The Remedy.” While it may have taken them several years to find their way to Saratoga Springs, east coast jam fans won’t need to wait nearly as long to see the guys again. With the promise of planning something spectacular and unique, up next the band is preparing for an intimate three-night run of shows at NYC’s famous Blue Note Jazz Club beginning May 29th. Later in June, you can catch Spafford performing at the picturesque Lincoln Hill Farms in Canandaigua, NY.

    Spafford | May 4, 2023 | Putnum Place | Saratoga Springs
    Set 1: Left on the Runway, All My Friends > Bee Jam > Mind’s Unchained, Doghouse > Part II
    Set 2: Diesel Driver > Pursuit of Madness > Broken Wing > Plans
    Encore: The Remedy

  • Good Company: Kendall Street Co. Cheeses It Up In Albany

    Making their maiden voyage through Albany, Kendall Street Company had fans jumping for joy on Friday, April 28th when they brought their barefoot brand of high energy, jam-infused beach rock, along with their signature sense of humor, to Lark Hall for the first time.  As enlightening as it was entertaining, it was the kind of show that sent you home thinking you’d just danced with the stars of tomorrow, today. The type of band that makes sure everyone is having fun, and If you didn’t this night, why were you even there in the first place?

    Jumping for Joy: Kendall Street Company brought the fun to Albany for their Lark Hall debut on 4/28/23.

    Based out of Charlottesville, VA, the band originally formed in 2013 and has been riding a steady wave of momentum since the end of the pandemic.  Thanks in large part to constant touring, dedicated songwriting and finding a balance between humor, business and being the best of buds, Kendall Street Company consists of frontman Louis Smith on rhythm guitar and vocals, the dress wearing Brian Roy on Bass, Ryan Wood on drums, Ben Lederberg on electric guitar, and saxophonist/keyboard player Jake Vanaman. Their sound is often hard to categorize, a melting pot of various styles and influences ranging from soul-searching blues, to jazz inspired bluegrass, to psychedelic yacht rock, to straight up feel-good pop rock. Along with an equally diverse and impressive list of covers in their bag, Kendall Street Company showcased it all on this Friday night in Albany.

    Kendall Street Company opened the show on 4/28/23 with their brand new single, “Becca’s Dad.”

    Opening the performance with their latest single “Becca’s Dad,” followed by “Wineglass Television,” we got our first cover song of the night in the form of the Grateful Dead‘s “Bertha,” which the Lark Hall faithful happily ate up.  Having reviewed several Lark Hall shows in the past, it never once occurred to me what the bird actually sounds like. Thanks to one of the most memorable and educational moments of the night, however, it’s now a chirp I don’t think I’ll ever forget. In deadpan poker face, KSC frontman Louis Smith would take us to school by calling up a Lark sound effect and piping it through the PA system long enough to where it was funny, then unfunny, then hypnotic and then funny again. Amusing themselves and the audience alike, make no mistake, these guys are serious musicians.  

    Barefoot Boogie: Kendall Street Company rocked Albany’s socks off on 4/28/23.

    Continuing on with “Porridge,” “Unwind (Boiler Jam),” and a surprise cover of “Ode to Viceroy” by Mac DeMarco, the band would play another unreleased new song called “Trapeze”.  The highlight of the night came next when fans in the crowd approached the stage and gifted the band a few containers of Aged White Cheddar potato chips, clearly a request for the guys to play their song of the same name. After taking a moment for a mid-set snack, as if the knock-off Pringles were communion wafers, not only would the band grant the request, they would jam it out using the chip containers as percussion shakers! While everyone in the audience was legitimately laughing out loud, the guys made note how the chips were a little dry and made them thirsty. Whether it was a planned bit, or spontaneous like I hope it was, it was effective and endeared the guys to the Albany crowd even more.

     Shake It Up: Give an artist a can of chips and they’ll get you something out of it. 4/28/23

    After “Sweet and Clean,” we got our third cover song of the night with “Doctor Worm” by They Might Be Giants. Speaking from the heart and getting a little sentimental, Kendall Street Company would then play the first song they ever wrote together, the irresistible “Cars.” Showing promise from the very beginning, on this night, KSC took a hard left during the song, detouring to the 5 boroughs and mashing it up with the Beastie Boys classic anthem “No Sleep Till Brooklyn.” “Laura, I’m Sorry About the Cobbler” would bring the main portion of the show to a close and leave the audience hungry for more. Happy to entertain the intimate crowd, Kendall Street Company would get a little sexy on the humorous encore of “Stanley Birddogmouth,” resulting in full audience participation similar to what you might see during a “YMCA” sing-along. As ridiculous as it was fun, it was hard not to get caught up in the charming antics Kendall Street Company provided to the unassuming Albany audience. This unteachable charisma and their innate ability to connect will surely help them go as far as they want to.

    Kendall Street Company “cheesed” it up in Albany, Aged White Cheddar style on 4/28/23.

    After taking a little time off to celebrate drummer Ryan Wood’s wedding, the band is set to make several east cost appearances later this summer.  With upcoming stops in Pembroke, MA, Asbury Park, NJ and a late night Phish after party at The Cutting Room in NYC, Kendall Street Company will also take part in some major festivals like Strangecreek Campout and The Peach Music Festival in Scranton, PA.  A band on the rise and one you definitely need to see live, if you’re looking for some good tunes, a good time and good company, Kendall Street has plenty to offer.

    Kendall Street Company | 4/28/2023| Lark Hall | Albany, NY

    Setlist: Becca’s Dad, Wineglass Television, Betha  [1] , Porridge, Unwind (Boiler Jam), Ode To Viceroy  [2] , Trapeze, Aged White Cheddar, Sweet & Clean, Doctor Worm  [3] , Cars > No Sleep Till Brooklyn (Albany),> Cars, Laura, I’m Sorry About the Cobbler

    Encore: Stanley Birddogmouth (Sensual version)

     [1]  The Grateful Dead cover

     [2]  Mac Demarco cover

     [3]  They Might Be Giants cover

     [4]  Beastie Boys cover

  • The Academic “Sitting Pretty Tour” Stops at The Bowery Ballroom

    On Sunday, May 14th, The Academic stopped at the Bowery Ballroom. On their “Sitting Pretty Tour,” the young four-man band from Ireland brought their alternative Irish flair to New York City. An intimate crowd dotted the Bowery floor to swallow up any standing space. The venue selection ensured the audience was in for a treat, for the ballroom sound system holds the power of electric guitars and bass incredibly. This deemed important, because The Academic are proven rock revivalists.

    Photograph by Tharynn Olson

    Alternative/indie band, Summerdrive, opened for The Academic. Their set was short but effective, for their performance livened up the waiting crowd. With intriguing synths and intentional drumming, Summerdrive gave a tasteful while all the same riveting show. They heavily created a similar listening experience that the Bleachers or COIN would.

    Not long after Summerdrive left the stage and the instruments were swapped, The Academic made their way onto the stage. Hoots and hollers elevated the band’s excitement as they gazed upon the crowd. Bassist, Matthew Murtagh, and guitarist, Stephen Murtagh sauntered onto stage followed by drummer, Dean Gavin. Lead vocalist, Craig Fitzgerald amped the energy when he approached the mic with an electric guitar slung over his shoulders. “How are you doing New York? It’s been a while!”

    Photograph by Tharynn Olson

    The setlist rolled by too easily, sewn together by impressive guitar solos and conversation with the audience. They emanated a wildly unique sound that seemed to be in conversation with different decades of alternative music. Accents from melodies of The Talking Heads, guitar riffs from Led Zeppelin, and more modern personal lyricism like that of Cage The Elephant or The Neighbourhood were present in their performance. 

    Classic-rock married to indie, The Academic has mastered the art of the guitar. Their Irish origin gifted them with the ever presence of rock and roll, and since the U.K. never parted ways with the music genre like America did for a while, they had continuous exposure to the evolution of rock. I look like a million when I play my rock n’ roll.

    Photograph by Tharynn Olson

    At the end of a drum-heavy song, the guitarists and singer circled around the drumset. They surrendered their instruments’ sound to Gavin while he masterfully annihilated his drum solo and bowed down to him on his throne. The Bowery lights synced up with his percussion, creating a strobed visual. Gavin’s solo was absorbed by the audience as were the multiple guitar solos throughout the evening.

    After playing some songs from their new album, “Sitting Pretty,” released February 10th, Fitzgerald took a moment to give thanks to the crowd. He asked if anyone in the audience attended their show last year at Mercury Lounge in the city, and pockets of shouts volleyed amongst the crowd. In this interlude of crowd engagement, he complimented the high energy and inquired, “Any Irish in the crowd tonight?” A strong majority of the hands shot up. He grinned.

    Photograph by Tharynn Olson

    The Academic hosted a very engaging show. With dramatic dancing and conversational interactions with fans, the atmosphere was endearing. Towards the end of their set, lead vocalist Fitzgerald got onto the floor to be level with the crowd. While he sang, the crowd enveloped him. Phones shot up above heads to capture the moment, and fans sang excitedly around him.

    He returned to the stage to finish out the rest of their set. The vivacity was contagious. Small groups of friends merged with strangers. By the end of the show, there were no strangers in the room, only people with a mutual affinity for rock and four Irish musicians. Fitzgerald and his bandmates showered thanks to everyone for attending, and even more gratitude to the staff at Bowery Ballroom. “Give it up for everyone working in this beautiful venue tonight!”

    Photograph by Tharynn Olson

    The Academic put on a grand show in a small but iconic venue. Their musical future brightened on Sunday, for they collected many new fans. The “Sitting Pretty Tour” is only the beginning for this refreshingly genuine rock-band. 

  • In Focus: Andrew McMahon Headlines Syracuse’s Food Truck Battle

    Summer festival season could not have kicked off with a more perfect start on Saturday, as the Syracuse Food Truck Association hosted their third annual Food Truck Battle at the New York State Fairgrounds.  The event featured over fifty local and regional food trucks as well as a day filled with local and national music alike, culminating with a headlining set from Andrew McMahon in the Wilderness.

    Andrew McMahon performs at the 2023 Syracuse Food Truck Battle

    Festival attendees were treated to a line up of over fifty local and regional food truck of varying cuisine.  The trucks lined the road ways around the Fair’s Chevy Court.  Happy festival goers packed the streets, hoping to try some of their long standing favorites, or perhaps venture into a new cuisine.  A panel of local celebrity judges sat stage side, sampling fare from each truck, and would later present several awards.  Festival goers were also encouraged to vote for their favorites.  

    Quality food wasn’t the only thing on the menu, as the day’s agenda featured a diverse mixture of both local musicians and national touring acts.  The day’s music kicked off with a set by local favorite, Just Joe.  Just Joe, formerly of heavy metal band Brand New Sin, delivered a set of classic rock covers played entirely on the piano.   His set was followed by a high energy performance by My So Called Band, who played a set of 90’s rock covers.  Fondu was up next, and by now the festival grounds were starting to pack in with the afternoon crown.  The area around the stage began to fill with dancing concert goers, who were enjoying the disco-party atmosphere provided by Fondu.  The Brownskin Band followed, delivering a set of R&B music. Finally, Hard Promises wrapped up the local music portion of the day, with a set of 70’s classic rock covers.  

    Fondu performs at the 2023 Syracuse Food Truck Battle

    Following an intermission to present the day’s awards, national touring act Michigander took the stage.  Led by lead singer Jason Singer, the four piece band performed a set of indie pop-rock tracks.  They opened with “Superglue”, the catchy first single off the band’s latest EP, It Will Never Be the Same.  The song’s chorus is one everyone in attendance could sing along with, even if they had never heard it before.  The band’s set had fans dancing and swaying in the area surrounding the stage.  One group off to the side danced and sang along to every word and even caught the attention of Jason Singer.  “You guys are awesome.  When you play a new city, you never know if anyone will show up.  Thank you so much.” 

    Michigander performs at the 2023 Syracuse Food Truck Battle

    After a short stage change over, it was time for Andrew McMahon in the Wilderness.  The area surrounding the stage had filled in almost entirely by this point with fans of McMahon, both young and old.  Taking the stage promptly at 8:30pm, the band launched into the high energy “Stars”, off their latest release Tilt at the Wind No More.  McMahon, who sings and plays piano, bounced around the stage between stints on the piano.  He danced on top of the piano, at times leaping into the air.  He ran through the crowd singing, without missing a beat.  In all, the band delivered 90 minutes of stand out tracks spanning McMahon’s career, one that has seen him play in three different bands.   The crowd, who packed the area in front of the stage, sang and danced along the entire set.  They pleaded for an encore, one which McMahon quickly obliged. Returning to the stage with guitarist Bob Anderson, the two delivered a haunting rendition of “Nobody Tells You When You’re Young” followed by “Cecilia and the Satellite” the later which was written for McMahon’s daughter, who frequently accompanies the band on tour. It was a climactic ending to a wonderful day of food and music.

  • In Focus: Lewis OfMan rocks Elsewhere

    Lewis OfMan brought the crowd to their feet with a dynamic performance at Elsewhere on Friday, May 12. The French musician and producer curated a thoughtful setlist that left the audience begging for more, with a mesmerizing light show that added to the overall experience.

    As the lights dimmed and the crowd grew excited, OfMan opened the show with his groovy track “Boom Boom,” accompanied by strobes and dynamic lighting. The audience was instantly hooked, dancing and singing along to the infectious beat.

    OfMan showcased his musical prowess on the keys, blending live instrumentation with electronic beats to create a unique sound. His live band added an extra layer of energy to his already electrifying performance.

    OfMan’s setlist included his most popular tracks, like “Such a Good Day,” “Dancy Boy,” and “Las Bañistas,” among others. The groovy dance music combined with the captivating light show created an immersive atmosphere, transporting the audience to another world.

    The performance peaked with OfMan’s biggest hit, leaving the audience wanting more. The captivating light show and groovy dance music made for an unforgettable experience.

    Overall, Lewis OfMan’s performance at Elsewhere was nothing short of amazing, showcasing his unique blend of electronic and acoustic sounds and his high-energy stage presence. The immersive atmosphere created by the light show had the audience hooked from start to finish. Fans of OfMan’s music will eagerly anticipate his next performance, while newcomers to his sound will surely be hooked after experiencing his live show.

    OfMan’s performance demonstrated his ability to create a dynamic atmosphere, with his live band and the mesmerizing light show elevating the groovy dance music. It was an experience that left the crowd buzzing with energy and excitement, and one that won’t be forgotten anytime soon.

  • In Focus: Sabrina Carpenter’s Birthday Show at Terminal 5

    Sabrina Carpenter recently played her second New York show at Terminal 5 this past Thursday, May 11th. Fans sporting sparkly tops, cowboy hats and boots, and the color pink flocked to see Carpenter for her sold out emails i can’t send tour. Thursday’s show was especially memorable as it was her birthday show, and included many features like a “birthday button,” her first live performance of her pop-hit “Skin,” and two special guests of whom she brought on stage. 

    Sabrina Carpenter during her performance of “emails i can’t send”

    The 24-year-old pop-artist first began her career at age 10 and rose to fame through her many roles in Disney shows. Carpenter has been releasing music since 2014 but recently gained widespread recognition because of recent album release, emails i can’t send. Featured songs like “Nonsense,” “Tornado Warnings,” and “because i liked a boy” touch on past relationships, dealing with heartbreak and hate, and growing as a result of it.

    The Terminal 5 concert was Sabrinas’s 34th show of her tour, and she has five more scheduled in her North American leg. She is set to begin her European tour in June of 2023.  

    Sabrina’s show was truly magical. Featuring opener Blu DeTiger from New York City, she opened the set with incredible bass-playing skills and vocals. Whipping her rockstar-blonde hair across the stage and encouraging the crowd to jump along to beat, DeTiger created an almost-tangible energy in the audience of three-thousand. 

    Carpenter’s decorated stage featured a giant heart-shaped mirror and a tall pedestal in which she first entered singing “emails i can’t send.” During “skinny dipping,” she pushed the “birthday button” and the entire crowd joined in to sing her happy birthday. Fans turned on their phone lights during “how many things,” and towards the middle of it her band stopped and put on a quick “hype” performance to get the audience’s energy up before finishing the song. 

    Blu DeTiger opening the show

    As in every one of her past shows, Sabrina picked a random audience member and gave them the microphone with the freedom to talk about any past relationship experience. The chosen fan detailed her struggle in working with long-distance, recounted the increasing tensions that studying abroad created, and described her eventual moving on from that relationship. 

    During her encore, Sabrina sang a beautiful renditions of “Nonsense” and “because i liked a boy.” During “Nonsense,” she brought out her two friends Whitney Peak and Paloma Sandoval, both of whom were dressed as the characters they played in Carpenter’s “Nonsense” music video. During the high note of this performance, pink confetti shot out of cannons and pink balloons dropped from the ceiling, inciting a huge roar of excitement from the crowd. She does not have any more New York dates, but the rest of her tour schedule can be found here.

    Setlist: emails i can’t send, Read your Mind, Feather, Vicious, Already Over, Bad for Business, skinny dipping, things i wish you said, Tornado Warnings, opposite, bet u wanna, The Sweet Escape (Gwen Stefani cover), how many things, Fast Times, Paris, Honeymoon Fades, Sue Me, Skin, decode

    Encore: Nonsense, because i liked a boy

  • For a Night, the Bug Jar Becomes Acid Mothers Temple

    The Bug Jar, in Rochester, is “Your Bar on Earth” as the sign on the door proclaims. But what happens when five purveyors of deep psychedelia visit from Japan and launch it and everyone inside out into the cosmos? Such was the case on May 10, and for one evening, the Bug Jar became the Acid Mothers Temple.

    Acid Mothers Temple & the Melting Paraiso U.F.O, opened their set in cacophony, a deep unsettling rumble that announced the journey was about to begin. They settled into a Morricone-esque sound, a languid slow-motion trek, samurais navigating a desolate landscape. By journey’s end, the band was engaging in some supremely intense rocking, and from there we were off.

    No matter where the music started, guitarist Kawabata Makoto carved out space for some ridiculous shredding. Whether it was full-throttle metal, rhythmic rock, electric Miles Davis-style fusion, slow and spacey drone, or avant arhythmic weirdness, it all wound around to some showcase-level soloing from Makoto.

    Synthesizer shaman Higashi Hiroshi meanwhile was twisting and turning knobs, eliciting otherworldly whistles and squonks from his equipment. He kindly turned back a shot offered from the audience to grease his wheels, but he did use WD-40 to liberally grease up his keyboard throughout the set.

    Jyonson Tsu added vocals and rhythm guitar and bouzouki and Ron Anderson held down the low-end. Satoshima Nani sat behind it all, holding it together and driving it ever onward with masterful drumming and boundless energy.

    Repetitive grooves broke down slowly into weird nether regions, or otherwise built up to gloriously locked-in hyper-funk. It was music to get lost in. Then Makoto would light a fuse and the eventual explosion jarred you back to consciousness. In a final flourish, Acid Mothers Temple engaged an unadulterated full-band chaos, with Nani and Makoto reaching for new levels of craziness. It culminated in Makoto hanging his guitar from the ceiling, the burning embers of his last solo still glowing as the Bug Jar landed back home, one again “Your Bar on Earth.”

    My Education, a six-piece out of Austin Texas got things warmed up nicely. As the band tuned up on stage, it started to take shape into something more. Had the set started? The dissonance swelled and eventually congealed into a singular force. What followed was a set filled with rhythmic cinematic post-rock. Drummer Earl Bowers was the centerpiece, though as they locked into a rhythm, when they were all playing the role of drummer, was when the music shined brightest.

  • GoGo Penguin Mesmerizes Toronto’s Opera House

    On May 9th, the Opera House in Toronto hosted an unforgettable performance by GoGo Penguin, the instrumental trio hailing from Manchester, England. Since 2013, Chris Illingworth (piano), Jon Scott (drums), and Nick Blacka (double bass) have been praised for their originality and inspiration in the music industry.

    Jazz singer Melanie Charles opened the evening, captivating the audience with her soulful voice. Being a one person band for the evening , along with singing she played flute, piano and used backing tracks and a loop pedal. The near capacity crowd seemed to enjoy her performance.

    Melanie Charles

    As GoGo Penguin began their set, the room was filled with the jazz trio’s mesmerizing sound, beginning with “An Unbroken Thread of Awareness.” The group’s chemistry was undeniable, with Illingworth’s intricate piano playing complementing Blacka’s grooving bass lines and Scotts’s powerful drumming.

    GoGo Penguin’s setlist was a masterful blend of their original compositions, including “Signal in the Noise,” “We May Not Stay,” “Glimmerings,” “Wave Decay,” “Lost In Thought”, “The Antidote Is in the Poison,” “Friday Film Special,” “Saturnine,” “Soon Comes Night,” “Everything Is Going to Be OK,” “Ascent,” “Murmuration,” “Transient State,” “Hopopono,” and “Protest.”

    GoGo Penguin

    Despite the minor setback of the pedal on the grand piano breaking, causing a delay of about 20 minutes, GoGo Penguin remained professional and improvisational. This unplanned interlude allowed the audience to witness the trio’s skills of repairing a piano quickly.

    As the night progressed, GoGo Penguin’s performance reached new heights with each song. The highlight of the evening was undoubtedly their encore, consisting of “You’re Stronger Than You Think” and “Parasite.” The trio poured their hearts into these final songs, leaving the audience breathless and wanting more.

    Jon Scott

    GoGo Penguin’s performance was a testament to their talent and musicianship. Their music was complex, thought-provoking, and emotive, leaving the audience in awe. The trio’s ability to seamlessly blend their individual styles and create a sound that was uniquely their own was truly remarkable.

    Nick Blacka

    As the crowd left the Opera House, there was a sense of collective elation and satisfaction. GoGo Penguin had once again proven why they are one of the most exciting and original bands in the world of instrumental music. Their performance was a true masterpiece, and one that will be remembered for years to come. They last played the Western New York area in 2018 at the Rochester Jazz Festival.

    Talking to a GoGo Penguin Fan

    After the concert, we had the opportunity to speak with a GoGo Penguin fan named Shari who was completely blown away by the performance. “Emotionally, the band’s music splits my mind into millions of pieces,” she shared. “In the moments of listening, I do not want anything, being in meditation synchronization with all the moments of the past and the future at once. Incredible energy. I am grateful to them”

    It was clear that this Shari was moved by the music and had a deep appreciation for the trio’s unique sound. She went on to explain that they had been following GoGo Penguin for several years and had never seen them perform live before. “It was everything I hoped it would be and more,” she exclaimed. “Their music takes you on a journey, and you never want it to end.”

    When asked about their favorite moment of the concert, the fan had a hard time choosing just one. “It’s hard to pick just one moment because the whole concert was incredible,” she said. “But I think the encore was definitely a highlight. ‘You’re Stronger Than You Think’ and ‘Parasite’ were the perfect way to end the show. I felt like I was part of something really special.”

    As our conversation came to a close, it was evident that this GoGo Penguin fan had been deeply impacted by the concert. “I’m already looking forward to the next time they come to town,” she said. “Their music has a way of bringing people together and creating an unforgettable experience. I feel lucky to have been a part of it.”

    GoGo Penguin’s music is a unique blend of break-beats, minimalist piano melodies, powerful basslines, and drums inspired by electronica, combined with anthemic riffs. They compose and perform together as a unit, resulting in a cohesive sound that is both powerful and mesmerizing. Their music draws from a wide range of influences, including electronica, trip-hop, jazz, rock, and classical music.

    Chris Illingworth

    Music critics have praised GoGo Penguin’s sound, comparing it to other acclaimed artists such as Esbjörn Svensson Trio, Aphex Twin, Squarepusher, and Massive Attack. Additionally, they have been likened to renowned composers such as Brian Eno, as well as modern classical composers like Shostakovich and Debussy, or contemporary minimal music composers such as Philip Glass. These comparisons attest to the diverse range of influences that GoGo Penguin draws upon to create their unique sound.

  • Pink Talking Fish Celebrate Iconic Album Anniversaries at The Wellmont Theater

    On Saturday, May 6, Pink Talking Fish celebrated two iconic rock albums at The Wellmont Theater in New Jersey by performing them in their entirety. The albums being celebrated were Pink Floyd’s iconic Dark Side of the Moon & Talking Heads’ Stop Making Sense. One Eyed Jack joined the party to open up the night.

    Pink Talking Fish played Dark Side of the Moon in its entirety for the first set. Highlights included “Money”, “Great Gig in the Sky” and the sheer funk of “Any Color You Like”.

    The band took a break and proceeded to burn down the house with a faster paced, very funky Talking Heads album. Highlights included “Psycho Killer”, “Girlfiend is Better”, & of course a crowd favorite “Crosseyed & Painless”.

    The band encored with a thumping “Carini” & groovy “2001” filling the void of Phish covers of the night. Uncle Ebenezer performed many tasteful Phish covers at the afterparty.

  • Lizzy McAlpine’s “The End of The Movie Tour” Sells Out Terminal 5

    On Tuesday, May 2nd Lizzy McAlpine returned to New York City and sold out the west side’s beloved Terminal 5. Only a week prior, Lizzy sold out Brooklyn Steel. One night in the big city just wasn’t enough for McAlpine on her “The End of The Movie Tour.” Her debut in the past couple of years has been one to witness. She has accumulated superfans who worship her relatable lyrics and sweet sound-blend of it-girl pop with classic grunge. The success of this tour has been a testament to her talent.

    Lizzy McAlpine "The End of The Movie Tour" Sells Out New York City Terminal 5
    Photograph by Caroline Zeeman

    Opener, Olivia Barton, kicked off the night and made the warehouse stage her own. Emanating a similar sound to artists like Lizzy McAlpine, HAIM, Lucy Dacus, and so on – Barton culminated her own stage presence with her innocently raw lyrics. Her own sound. The crowd volleyed Olivia’s lyrics back to her from the pit and the balconies, and her excitement became a tangible energy. The set flew by, and when it came time for Barton to say her goodbyes, it was bittersweet.

    In between Olivia Barton’s opening set and Lizzy’s second show-face in New York City, the crowd hummed in a unified frenzy. The speakers were blasting popular Y2K pop-hits and nostalgic Disney songs by artists like Hannah Montana and Demi Lovato. Friends, couples, fathers and daughters, and solo-fans were conviving to belt the universally appreciated lyrics. Later in Lizzy’s set, she praised Olivia: “She really gets it. Her writing is so human. She’s so special, and I’m so grateful to have her on tour. I listen to her backstage, and I’m in tears!”

    Photograph by Caroline Zeeman

    Fifteen past nine o’clock, the lights cut and the bass rose to a body-shaking intensity. The infrastructure of Terminal 5 holds sound so impressively, but the deafening screams echoed riotously. Blue and purple lights slowly expanded their coverage across the stage to reveal a bedroom set-up. Framed posters and window panes clung to the back of the stage. The setting felt familiar, like the space that held so much of one’s life. The love, the heartbreak, the friendships, the sleepovers, the daydreams.

    After a lengthy instrumental introduction, followed behind her band, Lizzy skipped out onto the stage. Her outfits on tour have been widely complimented, and on Tuesday she did not disappoint. Adorned in a denim corset and casual blue jeans, she stood in pure happiness as she grinned out towards the crowd. “I’m gonna play some songs for you, and it’s going to be great! We’re gonna have a great time!”

    As Lizzy progressed through her setlist, she took intentional time to explain the story behind each song. The crowd bent their ears to listen to every detail she shared. “This song is about slurpees!” A roaring applause. “This song is about ignoring red-flags.” Friends grabbed onto their neighbor’s shoulder to shake in emotional duress. The entire show was a story-telling narrative, full of personal details of precious moments of muse.

    Photograph by Caroline Zeeman

    Her lyrics were something to hold onto and sit with. Such a fast-paced show left the crowd wanting more time with her music. All of Lizzy’s songs held a cruel casualness to them. I have no choice in the matter // Why would I, it’s only the death of me. It was jarring, quite surreal, to hear such a youthful and kind crowd shouting such intense lyrics. And the funny thing is I would have married you if you had stuck around. Nearby in the crowd, a father watched as his thirteen year old daughter belted the lyrics, clutching her chest as if she’d been wounded.

    There is an archetype on the rise in the realm of female artists. Singer/song-writers fanning out under the music industry umbrella of artists like Taylor Swift are leaning into the superpower that is vulnerability. Honesty is celebratory, and young women are writing about having their hearts ripped out, leaving their hometown, stepping into their strength, growing up, and existing as more than empathetic vessels but as a beacon of feminine independence. Barton and McAlpine have branded their names into this visionary artist-type. The influence the music produced by these experimental and brave artists has is unignorable and unifying.

    Photograph by Caroline Zeeman

    Half way through the set, the Terminal 5 stage setting changed from day to night, and the New York City sun casting through the windows on stage, turning to raindrops streaking down the panes. The familiar chords of Lizzy’s hit “Ceilings” strummed across the venue, and something shifted. The collective crowd voice overpowered Lizzy’s as she sang the notorious lyrics. Fans jumped and wept and sang with their hearts. Tears streamed into wide smiles, as the live performance of “Ceilings” seemed to change lives.

    Terminal 5 was blessed with Lizzy’s generosity, for she played two unreleased songs for the Manhattan crowd. The first song was titled “Broken Glass,” which Lizzy explained was about only ever being able to see someone when they’re at the bar. The other song was “I Guess.” Lizzy informed the crowd, “this one is one of my favorites!” While the unreleased songs were showcased, it was the only moment the crowd was silent. The audience wanted to hear every lyric, every note-change, every melody.

    The rest of the show rolled out with the same energy. The crowd savored every moment they shared with Lizzy, and when it came time to part, fans had a difficult time leaving. Hands waved goodbye from the packed balconies, and cheers overpowered Lizzy’s own departure. Manhattan  seemed to have an impact on her as she left the stage. It was the end of the “The End of The Movie” show in New York City.