On Friday, May 5, Goth Babe’s performance at Pier 17 catapulted New York City into summer. On the East River below the FiDi skyline, the Brooklyn Bridge-facing venue hosted Goth Babe’s “The Lola Tour” with Yoke Lore. The outdoor venue could not defend against the on and off rain showers, but the risk of weather was made worth it when sunset rolled around.
The sky turned into something of pink brilliance, and a rainbow casted over the river. The colorful streak of spring arched over the stage to turn the evening into the ultimate setting for Goth Babe’s sound – light, natural, and vibrant.
Photograph by Emma Dowd
The crowd spilled onto the Pier 17 rooftop hours before Goth Babe’s show to see the opener, Yoke Lore. A renowned artist in the alternative/indie realm, singer Adrian Galvin attracted fans of his own and collected some new ones as he gave a dynamic performance. He spun around on stage in between verses and communed with the audience kindly. Yoke Lore’s sound strikes a comforting chord in the musical soul. With only raw vocals, percussion, and a banjo to seal his sound, he successfully composes a unique warmth with his music.
Photograph by Emma DowdPhotograph by Emma Dowd
The sun continued to set over the enthusiastic crowd, and an unbelievable flower moon took its spot in the sky. Its massivity attracted a volley of OOOs and AAAhhhs as everyone waited eagerly for the party to start. Eventually the twin screens on either side of the stage darkened, and blues and whites flashed in lengthy strobes over the crowd. The indie-electronic vocalist, Griffin Washburn, and his two touring bandmates on percussion, keys, and strings made their way onto stage. Washburn seemed to talk to himself in happy disbelief as a response to seeing Pier 17 crowd, “This is f*cking nuts! So cool! This is insane, it’s going to be awesome.”
Photograph by Emma Dowd
Griffin Washburn is a known nomad. He lives in and out of sailboats and tiny homes in the mountains of Washington, hence his new single “Alone in the Mountains.” His free-spirit is a light in the music industry, for he cares more about the connections and differences he can make with his music rather than his profits and status. The day of the show, he posted on his instagram story to invite fans to participate in a pre-show run club. Connecting with his fans who he sees as friends has been a tour priority. His kind and mellow persona shines through his music and could be felt throughout the show.
After getting the crowd warmed up with some songs, he asked for a volunteer to crowd surf. Once a member of the audience was elected, the stage crew brought out a watermelon slice pool-floatie. The fan was released to surf the hands of her fellow Goth Babe listeners. Griffin sent her off with a wave, “Be kind to her, and be safe with her!” She totally rocked the role, fist-bumping and belting song lyrics in a spell of pure joy.
Photograph by Emma Dowd
Goth Babe established a friendly community from the start. He encouraged the crowd to participate in dance-offs and sing-alongs, insisting “you’re all not too old for sing-alongs!” His stage presence consisted of audible yipping, head-banging, and epiphanic gratitude. It was impossible not to dance. The music seemed to lift the crowd into movement.
Photograph by Emma Dowd
Electronic music gets wrapped with the stigma of being synthetic and repetitive. Goth Babe’s sound strongly defies this tired narrative. The blend of guitar strings, light chimes, and seemingly element-inspired melodies composes a natural almost healing sound. Combined with relatable and celebratory human lyrics, Goth Babe has created something unique and informative of a lifestyle – unbound and transient.
Photograph by Emma Dowd
Towards the end of the show, Griffin spun around to take in the glory of New York City. The skyline lights shimmered on the water, and the traffic on the bridge strung red ribbons of light across the storm clouded sky. He encouraged everyone to introduce themselves to a stranger and tell them why they live in New York City, and why they love it so much. A minute from the show was sacrificed to organic conversation. The crowd seemed more tightly knit for the remainder of the show.
Photograph by Emma Dowd
Griffin and his fellow performers put on silly hats for the remainder of the show. He adorned a shark hat, the percussionist wore a disco helmet, and the keys player wore a cow-print cowboy hat. The last few songs rolled by too easily. Griffin conducted the gold-star concert move of commanding the crowd to get really low and jump up on the beat. He sang a crowd favorite, and what he deemed his favorite song, “Taking Over The Sun.” The crowd was electric.
“We try to make this more than a normal concert you’d come to for an hour. We want to make you a part of something and leave feeling better than you came!” That they did. When the show came to a close, the party did not. Fans poured out from Pier 17 and continued to dance and sing in the Manhattan streets. Goth Babe set the summer tone for New York City.
Fresh on the heels of the much loved Barton Hall show, the Grateful Dead followed up that evening with a show at Buffalo Memorial Auditorium the next night. Some consider this show to be superior to 5/8/77, one that is overshadowed by years of hype and adoration for the Cornell performance. While the debate will continue, we offer up for your consideration May 9, 1977 as a potentially equal if not better show than the night prior.
Starting with a “Help on the Way” > “Slipknot” > “Franklin’s Tower” opening trio, the energy takes off over more than 30 minutes to start the show. From there, stand out versions of “Cassidy,” “Tennessee Jed” and a set closing “The Music Never Stopped.” This first set stand out on its own as one of the best you’ll find among 70s Dead shows.
The second set kicks off with “Bertha” and The Rascals’ “Good Lovin,” before impressive versions of “Ship of Fools” and “Estimated Prophet.” With Donna and Keith Godchaux on board for this journey, the show features a pair of “Not Fade Away” and “Comes a Time” that stand up to any pairing from the previous night in Ithaca.
Including the shows on May 5 in Boston and May 6 in New Haven, May 1977: Get Shown The Light covers all four incredible shows, a stellar component of one of the Dead’s best years. Enjoy these two shows from Ithaca and Buffalo, a true sign that the Grateful Dead perform with the highest caliber when in the Empire State.
It was 46 years ago today that one of the most notable Grateful Dead shows ever was performed at Barton Hall at Cornell University on May 8, 1977. One of the most revered and traded shows in the band’s history, the Barton Hall show is a thing of legend, a perfect way to introduce new fans to the band and a performance for the ages with stand out versions of numerous Dead songs.
The band played its first of three shows at Cornell (1977, 1980, and 1981) on May 8, 1977, and were booked by the Cornell Concert Commission after some troubles with booking live acts in the years prior. However, this was not the first live campus appearance from the Grateful Dead members. Jerry Garcia Band had performed at Cornell’s Bailey Hall less than two years prior on October 27, 1975. The lineup for the May 1977 show included the core of Jerry Garcia, Phil Lesh, Bob Weir, Mickey Hart and Bill Kreutzmann, as well as Donna and Keith Godcheaux.
Cornell ’77 Poster designed by Cornell alumnus Jay Maybrey
In past years, the Cornell Chimes have commemorated the day with a performance of Grateful Dead tunes on a set of bells housed in historic McGraw Tower. One of the university’s oldest musical traditions, the 21-bells are played primarily by student chimesmasters.
Grateful Dead at Barton Hall, Cornell University, May 8, 1977
Set 1: New Minglewood Blues, Loser, El Paso, They Love Each Other, Jack Straw, Deal, Lazy Lightnin’, Supplication Blues, Brown Eyed Women, Mama Tried, Row Jimmy, Dancin’ in the Streets
Set 2: Scarlet Begonias > Fire on the Mountain, Estimated Prophet, St. Stephen > Not Fade Away > St. Stephen, Morning Dew
A quick walk through Syracuse’s Armory Square on the evening of Thursday, May 4 would have provided an astute listener the sounds to give hope that another winter was behind us. Conversation drifted from sidewalk tables, birds sang from nearby trees, and the music of Mikaela Davis poured from Syracuse’s Funk ’n Waffles, as the band kicked off their “Here Comes Sunshine” spring residency. This was the first of three scheduled performances at Funk ‘n Waffles for the band.
Davis, a native of Rochester, is a classically trained harpist who has toured extensively over the last decade. She has built the reputation of being one of the brightest rising stars in the music industry. In 2018 she released her debut solo album, Delivery. Soon after the release, she joined forces with her backing band Southern Star. The band, who consist of brothers Shane (bass guitar) and Cian McCarthy (guitar), Alex Cote (drums) and Kurt Johnson (pedal steel, guitar), have compiled an impressive touring resume. They have previously shared the stage with artists such as Bob Weir, Bon Iver, Lake Street Dive, and will tour with The Mountain Goats and later this year. The five members have contributed to the band’s unique and refreshing sound.
Of late, the band has become known for their seasonal residency concerts; three concerts over consecutive weeks in the same city. The concert consists of two sets of music; one set of original music, and a second set of Grateful Dead covers. After selling out many residency shows across New York State this past winter, the band have again returned for a spring slate.
Shortly after 8pm the band took to the stage and launched into the groovy “Don’t Stop Now”. The song’s drum and bass rhythm would soon be joined by the familiar sounds of Davis’s harp plucking and the night would be under way. The first set would consist of tracks from 2018’s Delivery as well as offerings from the band’s upcoming release And Southern Star. The songs placed Davis’s talents on full display, with her vocals and signature harp style blending beautifully with the band’s accompaniment. A highlight of the first set would be the band’s performance of“Far From You”, the the hauntingly beautiful first offering off of And Southern Star.
After a short intermission, the band would return to the stage for a set consisting entirely of Grateful Dead covers. The stage, which was draped in bohemian decor, offered a fitting backdrop for the remainder of the evening. During this portion of the evening, the band’s musical talent’s were really able to shine. Grateful Dead classics turned in to musical jam sessions, while the near capacity audience filled the area closest to the stage and danced along. During one jam session, Davis abandoned her seat at the harp, and each band member took a different percussive instrument. They led the audience on an extended drum solo jam, much to the audiences’ delight.
After a brief encore, the band returned to the stage and closed out the evening with their rendition of Grateful Dead’s “Bird Song”. The combination of Davis’s vocals and harp playing allowed for the classic track to soar to new heights. The evening’s combination of original music along with Grateful Dead classics make for an evening of must see music. Be sure to catch the band on one of their upcoming residency shows.
Friday, May 5th was the return of Billy Idol to Niagara Falls at the Fallsview Casino in Ontario, Canada. Before Billy Idol took the stage, Kelsey Karter & The Heroines opened the night with their unique blend of rock and pop. The energy of the crowd was palpable as they eagerly awaited the start of the concert.
Unfortunately, the band faced some challenges as two of their members were denied entry into Canada, resulting in a more mellow set than they had originally planned. Despite this setback, Kelsey Karter & The Heroines still impressed with their impressive vocals and dynamic stage presence.
Kelsey Karter’s voice was a highlight of the performance, soaring effortlessly over the band’s catchy melodies. Their set included original songs such as “Bad News,” “Harry,” and “God Knows I’ve Tried,” showcasing their songwriting skills and musical prowess. Despite the unplanned changes, Kelsey Karter & The Heroines still managed to get the audience excited for the main event. Their performance was a great warm-up for Billy Idol, setting the stage for an unforgettable night of music and celebration.
Overall, the night was a success, with Kelsey Karter & The Heroines paving the way for Billy Idol’s explosive performance. Despite the challenges they faced, they still managed to put on an impressive show and get the audience hyped up for what was to come.
Billy Idol
The setlist was fantastic, featuring a mix of Billy Idol’s classic hits and fan favorites. The show started with “Dancing With Myself,” a Generation X song that got the crowd pumped up right from the start. Other hits like “Cradle of Love,” “Flesh for Fantasy,” and “Eyes Without a Face” had everyone singing along. Steve Stevens’ guitar solo was a real showstopper, with him playing Led Zeppelin’s “Over the Hills and Far Away” and “Stairway to Heaven” to the delight of the audience. “Mony Mony,” a Tommy James & the Shondells cover, got the crowd moving and grooving.
The setlist also included lesser-known tracks like “Running From the Ghost” and “One Hundred Punks,” which showed off the depth and range of Billy Idol’s music. The Blue Highway/Top Gun Anthem medley was a lovely tribute to the late composer Harold Faltermeyer. The encore was phenomenal, with Billy Idol belting out “Hot in the City” and “White Wedding.” The night ended on a high note with the entire audience singing along to “Happy Birthday to You” in honor of Steve Stevens.
Overall, the Billy Idol concert at Fallsview Casino was an unforgettable experience. The setlist was impressive, and the performance was top-notch. Billy Idol and his band proved that they still know how to rock the stage after all these years, and the celebration of Steve Stevens’ birthday made the night all the more special. If you ever get a chance to see Billy Idol live, we highly recommend it! For more information about the tour, and to see Idol live, visit here.
It was a heavy night of sonic improv and heavy themes at Lark Hall on April 26th, when enduring jam band veterans Perpetual Groove made their long-awaited return to Albany. Tackling topics of loss and regret, redemption and hope, the band was at the top of their game and demonstrated a level of musical maturity and precision that can only come from decades of playing together. Commemorating 20 years since the group’s breakout album, Sweet Oblivious Antidote, the evening also marked the debut of the venue’s brand new disco ball.
Perpetual Groove made their Lark Hall debut on 4/26/2023
Kicking things around 8pm, The Social Assassins got things off to a loud and progressive start. Featuring fusion guitarist virtuoso Gabriel Marin of Consider the Source, the band has only played handful of live shows together since their debuting in October of last year. Marin, along with his trademark Vigier double neck guitar and a bevy of effects pedals, took us on a sonic journey through instrumentals like “Begrudging Acquiescence” and “The Red Hour,” while his high energy band of Assassins pummeled away on songs like “Hora Attik” and “Blood Boi.” Playing before a moderate crowd of concert goers on this Wednesday night, the band turned in a max effort performance for those who were there to appreciate it. A fusion of eastern influences mixed with everything from metal and disco, The Social Assassins surprised everyone with their unique sound, especially on their set closing version of A-ha’s classic sing along “Take On Me.”
Watch fan shot footage of Social Assassins performing “Take On Me” at Lark Hall on 4/26/23
After a brief intermission, it was officially time for Perpetual Groove to launch the Lark Hall crowd into orbit. Originally formed in 1997, the Athens, GA based quartet opened their single set performance with “Save For One” from 2007’s Live Love Die album. Sounding fantastic from the opening note to the last, guitarist/vocalist Brock Butler would lead P-Groove straight into a heady version of “Stealy Man” that saw the crowd let out collective cheers and head bangs when it’s extended jam dipped into the ‘heavy’ section before shifting gears into the first cover of the night with The Cars classic song “Drive,” and then finally returning to “Stealy Man” to complete an impressive 30+ minutes of uninterrupted music to start the show. After a few welcoming words, the groove would pick up again with another oldie in 2005’s “Andromeda.”
Watch fan shot footage of Perpetual Groove “Stealy Man” and “Drive” at Lark Hall on 4/26/23
Despite it being the 20th anniversary of the bands Sweet Oblivious Antidote album, Perpetual-Groove would only play one song from it, “TSM2.” Laying down the tastiest of bass lines, Adam Perry stole the show next on a well-received version of “Crockett and Tubbs” that got the whole place dancing. A bit of a deep cut in “Cairo” was next, allowing keyboardist Matthew McDonald a chance to stretch out both musically and physically. The burley chairman’s other-worldly synth textures were magnified all evening long thanks in part to the venue’s brand-new disco ball that was also making it’s Lark Hall debut during this performance.
It’s been 20 years since Perpetual Groove released their breakout album Sweet Oblivious Antidote
Perhaps the highlight of the show came next when P-Groove would uncork a monstrous version of the hard rocking “Speed Queen” bolstered by Butler’s trademark precision and the heavy hands of the newest member of the band, drummer Darren Stanley, who joined in 2022 after spending time with Jimmy Hearing and Col. Bruce Hampton. The thunderous and cathartic peak would seamlessly transition into a beautiful and introspective version of “Out Here,” a longtime live favorite that was only recently given the studio treatment. Following that up with one of Butler’s most personal songs was “It Starts Where It Ends.” Wailing away on his signature Stratocaster with eyes closed and his back arched, the song featured some of the most expressive playing of the night. Seamlessly transitioning into the set closing “Space Paranoids,” the band performed like a well-oiled machine and spoke a musical language unto themselves, effortlessly communicating changes just by exchanging glances at each other.
Watch fan shot footage of Perpetual Groove performing “It Starts Where It Ends” during their Lark Hall on debut 4/26/23
Rather than go through the typical rigmarole of exiting the stage prior to the encore, P-Groove would simply tell fans this will be their last song of the night and thanked them for coming out to their Lark Hall debut. Opting to go with a crowd-pleasing cover of Talking Heads “This Must Be the Place (Naïve Melody),” coincidently the same song had also been covered by Ryan Montbleau at the venue just one week prior. Whether by choice or by happy accident, an agreeable theme appears to be emerging at Albany’s newest concert spot. After yet another night of stellar musicianship, improvisation and overall good vibes, if Lark Hall isn’t the place, then I don’t know what is.
Perpetual Groove | April 26, 2023 | Lark Hall | Albany, NY
Setlist: Save For One > Stealy Man > Drive* > Stealy Man, Andromeda, TSM2, Crockett & Tubbs, Cairo, Speed Queen > Out Here, It Starts Where It Ends > Space Paranoids
Encore: This Must Be the Place (Naïve Melody)**
*The Cars cover
**Talking Heads cover
Social Assassins | April 26, 2023 | Lark Hall | Albany, NY
Setlist: Begrudging Acquiescence, The Red Hour, Hora Attik, Blood Boi, A Well-Placed Pen, Take on Me*
Sam Snyder is a guitar slinging legend on the Rochester scene, most notably as a member of Maybird, but if you’ve seen live music in town for any period of time, you’ve likely seen him play with countless bands. He has the highly unusual method of playing overhand, which is where the more familiar name Overhand Sam comes in. It seems like it would be inhibitive, or perhaps a fun gimmick, but neither is close to the truth. He’ll turn heads first with his style, but his playing commands full attention soon after.
His band, Overhand Sam and Bad Weapon, rose from the ashes of the great Thunder Body. Dennis Mariano and Snyder were both guitarists in that band, and Benton Sillick played trumpet. With Snyder still on guitar, Mariano on drums, and Sillick on bass, the core of Overhand Sam and Bad Weapon was born. They’ve been kicking around town with sporadic shows for years. 2023 however has seen them break out of relative obscurity with more shows, a fuller tighter sound and a greater sense of purpose.
At their headlining show at the Bug Jar on April 29, the Weapons were set to stun. Rounded out with Sam Hirsch on keys and Cooper Alexander on percussion, they took the stage and promptly erupted into a manic flourish of sound. The audience didn’t have much chance to get their bearings. The opening salvo called them into the room like a siren song, but they walked right into a hold-on-for-dear-life situation. The trap set, the prey caught, the band relented and settled it into a nice groove. Spinning heads reoriented into the more comfortable rock n roll head bob.
They weren’t in any rush, letting the grooves completely permeate the room and melt into the appropriately trippy walls and surroundings. Snyder broke in with vocals here and there, but the instruments commanded the night. Mariano’s drums were a maelstrom, pulling and pushing the music into new directions at will. Guitar, bass, keys and percussion swirled into one, sending off a typhoon of psychedelia. Snyder then took control, showcasing his shredding creds with piercing solos. He and Mariano found themselves in cooperative battles, and the victims in the audience were more than happy to submit and surrender.
Songs flowed from one to the next, flipping from jaunty and hooky to manic and driving to rhythmic and rocking. The set consisted mostly from their album, Bad Weapon. Initially out as a limited release vinyl, they just recently re-released it digitally, giving anyone with internet instant access to these stellar sounds. Highly recommended!
Another album recently out that is a must-hear is DM Stith’s Fata Morgana. The singer brought along folk duo Archimedes to present his new tunes, their gorgeous harmonies and sparse guitar accompaniment gave his stellar songs a beautiful rendering on stage.
Stith returned to Rochester during the pandemic after spending time in New York City, eventually working toward the music for the album, which is named for a phenomenon that occurs on Lake Ontario, a sort of mirage appearing just over the horizon, which fit in with the album’s theme of grace in nature. He described Rochester as cozy and welcoming, and that would be a pretty spot on descriptor of the music as well. It was about as lovely a set as you’re going to get at the Bug Jar.
Second up on the evening was Sun Parade, returning to the Bug Jar from their home in Northampton Massachusetts for the first time in many years. Missing their keyboard player, they played as a quartet, two guitars, bass and drums. Overhand Sam was playing from a re-released album, Stith playing from his brand new album, so it was only appropriate that Sun Parade was playing a bunch from their not-quite-out-yet-not-even-quite-finished album. Decades worth of rock influence came together for some catchy and groovy tunes that delighted the crowd. And a delighted and engaged crowd in turn delighted and impressed the band who were genuinely excited at the positive responses to their music. Hopefully they’ll be back a bit sooner this time, with new album in tow.
Each set took on a life of it’s own, it didn’t feel like one was opening for another. It was almost like getting three shows for the price of one, and for twelve bucks that was money well spent!
Overhand Sam and Bad Weapon continue their busy year with a show at Three Heads Brewing on Saturday, May 20. Don’t miss out!
On Friday, April 28th, the line of eager Valley fans spilled from the doors of Irving Plaza to wrap around the block. Despite the misting rain, the energy pulsing in the camped-out line was warm.
Photograph by Emma Dowd
On their “Lost In Translation Tour,” Valley sold out their New York City show. As the venue filled, it became increasingly undeniable that Valley deserved to be at a larger venue. They had performed at the lovely Irving Plaza a year prior, and since then it was clear they’ve collected a larger fanbase.
Photograph by Emma Dowd
The opener for Valley , Aidan Bisset, kicked off the night with his pop-grunge music. The crowd immediately received Bisset’s stage presence and relatable lyrics. He sang of toxic romances, new love, and break-ups. With two electric guitars and a drum set, he commanded a fast rhythm and infectious persona of youthful fun and passionate intensity. Bisset performed some of his hits, three unreleased songs, and even took on the vocally renowned cover, Kings of Leon’s, “Sex On Fire.” Bisset engaged with the crowd, taking their BeReals, getting level to level with them to chat, and wooing over new fans. Before leaving the stage, he graciously thanked Valley for having him on their tour.
Photograph by Emma Dowd
The set change was fascinating. Usually, microphones are changed and some of the instruments are shifted around. Valley’s upcoming set brought on multiple box-screen televisions to be stacked on top of each other, an ambiguous rectangular frame of notable size with drapes hanging over it, and countless additional lights. Valley’s pre-show setlist had the crowd belting familiar songs in each other’s embrace. Fog began to roll down from the balcony level and off the stage. This grabbed hold of the crowd’s attention. When the lights suddenly shut off and Irving was pitch black, the curious murmur rolled into an uproar of excitement.
Photograph by Emma Dowd
The TVs stacked on top of each other switched on. Their screens matched the static sound emanating overhead. Flashes of the band members’ faces and old television clips emerged sporadically through the static. The lights slowly faded from a hint of color to a bright broadcast of a Valley inspired color palette. Bass vibrated the floor, and the crowd stood in awe.
Eventually the band ran onto the stage. Drummer, Karah James, took her throne behind the drums. Guitarist, Michael Brandolino, and bassist, Alex Dimauro ran to their instruments. They played an adrenaline inducing intro for their lead singer, Rob Laska. Laska ran onto the stage, with an electric guitar slung around his shoulders. The crowd’s response was deafening.
Photograph by Emma DowdPhotograph by Emma Dowd
Valley opened with one of their most popular songs, “There’s Still A Light In The House.” The song is a tribute to love and the endless possibilities of finding one’s self in New York City. The lyric on the bridge that goes Is it New York? Or Heaven? I can’t think twice now, was sung proudly by the New York City crowd. Laska, infatuated with the crowd’s energy, encouraged their singing. The audience sang back to the band with one collective voice that shared an affinity for their conversational lyrics.
As the show went on, the performance became more personal. Laska jumped into the pit that separated him from the crowd to sing with some fans. In between songs, he conversed and told stories about band memories in New York City. Laska reminisced, “New York City is special to us, we wrote our first record in this damn city! We’ll be coming back forever.” This led to Valley announcement of their new record Lost In Translation, set to release on June 23rd.
Photograph by Emma Dowd
The draped frame that was brought onto the stage during set transitions became a crucial filament of the show. Over half way through the concert, the TVs turned back on and the lights dimmed. Laska approached the frame and tore the drape off to reveal a reflective mirror surface with strobe lights hanging from it. A phone began to ring, and Laska tugged a landline phone from the structure. He sang one of their hits, “A Phone Call In Amsterdam,” into the phone. The entire show was an artistic performance, rather than a band just performing on stage. The appreciation for the theatrics and the attention to detail resembled The 1975’s “At Their Very Best Tour.”
As Valley trailed towards the end of their setlist, Laska emphasized his gratitude for everyone choosing to be at their show. “There’s a lot of cool shit going on in New York City on a Friday night, so I’m happy we all found each other in this vortex.” Underneath the twirling Irving disco ball, the fans really unified in their fandom. He invited everyone to join them in a state of appreciative awareness for the last couple of songs. Without a clear goodbye, Valley left the stage. The crowd was not going to leave without an encore.
Photograph by Emma Dowd
Heads turned in a whiplash from the front of the stage to the back of the venue. A murmur of eager confusion echoed throughout the venue. Suddenly, a spotlight shone on the back of the crowd. Laska began to make his way through the crowd towards the stage, singing “Paper Cup (sorry for myself).” The audience parted like the red sea for him to make his way towards the front of the crowd, where he sang for the remainder of the song. The rest of the band took to the stage, and Laska joined them to finish out their set with their popular song, “hiccup.”
Photograph by Emma Dowd
The encore applause was impressive. The sounds of cheers and screams took over Laska’s volume as he thanked the crowd. All the band members joined him at center stage to take their hard-earned bow. Karah James tossed her drumsticks, kisses were blown, and hands clasped in praise for New York City. Laska closed out the night with a sweet send off, “Take care of each other, love one another, and we’ll see you very soon!”
On April 22 at the Westcott Theater, reggae jam band Giant Panda Guerilla Dub Squad performed the last show of their 2023 Tour. The band was originally founded in 2001 in Rochester, best known for their authentic reggae and dub live performances.
The energy of the night started strong at the Westcott, with two opening performances Flying Object and Dirty Blanket. Flying Object, is a smaller group who feature an upright bass, keys and drums into their music. The band kicked off with an upbeat spunky groove engaging the audience awaiting Giant Panda.
Dirty Blanket incorporates guitars, upright bass, mandolin and banjo. For the past six years the band has remained local to the Finger Lakes Region. Their song “Better Days” led the crowd roaring and dancing as they closed their act and gave a warm welcome to Giant Panda Guerilla Dub Squad.
Giant Panda consists of James Searl, Chris O’Brian, Dylan Savage, Tony Gallicchio and Eli Flynn. Some of their top hits include “Time and Reflection,” “Love You More”, “Steady,” “Trouble Deep” and “Good Love.” This tour honored their latest album Love In Time released on April 7th. The diversity of the songs and various production styles truly compliment the album as a whole. This was one of their first times working on music with outside collaborators.
Although it was announced to be the last show of their 2023 tour, Giant Panda did a fantastic job and put on quite the show for their fans at the Westcott Theater. As fans danced to their mix of reggae, electric beats and rhythm, the band members yelled out to the crowd while engaging with one another on stage. The band is notable for connecting people to the sound of their music and authentic roots. We look forward to what the band has to come as fans anticipate future performances.
It was a night that deserves more words and praise than I can possibly articulate, but for people like John Darnielle, the mastermind behind The Mountain Goats, finding words has never been a problem. Making a career out of shouting whatever comes to mind and never sitting on an idea long enough to question it, the acclaimed novelist and songwriter has toured all over the world and released a staggering 21 studio albums since adopting The Mountain Goats moniker in the early 90’s.
More than 600 songs and countless miles later, it’s almost hard to believe the band has never played a gig in Albany before. On Tuesday, April 18th at Empire Live, that surprising fact was finally laid to rest. The night would have extra special meaning for one member of band, as the cathartic show would also serve as a birthday celebration for keyboard player/multi-instrumentalist Matt Douglas.
The Mountain Goats, making their Albany debut, have plenty to celebrate this year
Opening the evening was Knoxville, TN singer-songwriter Adeem the Artist. Dawning a Canadian tuxedo and resembling a look somewhere between Jeff Tweedy and Ryan Adams, you could already tell he wasn’t like the other boys. One fan immediately yelled out “What’s your name?” “My name? I don’t have one. I’m Adeem the Artist. It turns out there was already a rapper.” Demonstrating spectacular stage presence and finding a balance between serious and sarcastic, the lyrics to his songs were nothing to joke about. Beginning with the opening song “I Never Came Out,” the audience listened intently as the soul-searching lyrics poured out of the man originally born Kyle Bingham. “Fervent For the Hunger” came next before we would learn a little bit more about Bingham’s roots and his Aunt Peggie on “Painkillers & Magic” from his most recent, fan-funded 2022 album White Trash Revelry.
Adeem the Artist performing in Albany, NY on 4/18/23
While the structure of the songs came off as rather traditional, by this point in the set, it was clear Adeem the Artist was doing something very special and very brave. A queer, southern Christian, blue-collar country songwriter. As unpopular as that may be in some areas, the Albany crowd here was totally down with it and fully invested in every word he had to say. Things would pick up for the foot-stomping “Run This Town,” before an eager fan requested a rare song that stopped Bingham in his tacks. “Tiger Prince of Knoxville”? How do you know that one? I wrote that a long time ago when everyone was trying to cash in on the Tiger King phenomena, so I figured I would too. I can’t believe someone here has actually heard it! Let’s see if I remember how it goes.” He did and the crowd loved it. They got even more into it on the next song, “Going to Hell,” which featured a fun, full room ‘call and response’ and made you think “it won’t be long before this guy is a very big star.” Filled with strong social commentary and hilarious banter, Adeem the Artist played the title track from his 2021 album Cast Iron Pansexual to round out his fantastic opening set. After a brief intermission, it was finally time for the main event.
The Mountain Goats made their long awaited Albany debut on 4/18/23
Walking out to Foghat’s “Fool For the City,” The Mountain Goats would methodically craft the story they wanted to tell. Consisting of front man and vocalist John Darnielle, this incarnation of the band also includes longtime collaborators Peter Hughs on bass, multi-instrumentalist Matt Douglas and Superchunk/Bob Mould drummer Jon Wurster. Beginning with the brooding buildup of 2008’s “In the Craters of the Moon,” the tempo picked up during the dreamy, reverb drenched “Hostages” from the bands most recent album, Bleed Out. Darnielle would introduce the next song by saying “this is about the incipient android takeover” before launching into “Incandescent Ruins.” Slowing things down a bit with “one of them bible songs” in “Hebrews 11:40.” “We’re still working out how this one goes and we’ve been doing that for at least 10 years,” he chuckled. The energy continued to build straight into the song “Younger,” which on this night, meant a little more to birthday boy Matt Douglas. Uncorking one of his most expressive saxophone solos of the night on the song, the entire crowd would sing “happy birthday” to him prior to his beautiful piano duet with Darnielle on the song “Wear Black.”
Mountain Goats multi-instrumentalist Matt Douglas celebrated his birthday on 4/18/23
Darnielle would then play a series of solo songs, beginning with “Jenny,” which the crowd knew every word too. He would remark that he doesn’t plan this section of the set, he just waits for the spirit to move him. “That’s why I envy the Quakers. They’ll sit there for 20-30 minutes waiting for the spirit. I don’t have that kind of confidence. And the other thing is I’ve never been to Albany before, right, so there’s a conflict. I tend to prefer the newer songs with my band, but some people have been waiting a long ass time to see me play some old songs.” Darnielle continues, “So then I feel obligated to play the super old songs, but then the people mainly into the newer ones are like, “I don’t know what that one in the middle was about. Some guy who wanted to kill somebody?” he joked. “This is one of those,” before playing “Black Molly” from 2002’s Bitter Melon Farm.
The crowd became noticeably more exited at the opening cords of another 2002 song, “Color in Your Cheeks,” to the point Darnielle had to stop them from clapping along. “Not to be ungracious, but I don’t recommend the clapping because it loses it’s place and my timing is inconsistent.” “When people start yelling the words along with me, I’m like ‘no, to get into the zone of this song I need people not to be yelling it back at me. It’s just a personal song about somebody I know.” After it’s conclusion, he would remark “I changed the chorus because somebody thought it was too mean. It was my wife.”
The Mountain Goats performing at Empire Live on 4/18/23
A laidback lounge version of “Abandoned Flesh” came next before Darnielle would profess his love for The Grateful Dead and say he “just noticed the next three songs on the setlist are alligatored together, so can the tapers in the crowd please refer to this section as “The Goths Suite,” ala The Dead’s Terrapin Station Suite. The trifecta would include the songs “Abandoned Flesh,“ flowing directly into “Andrew Eldricth is Moving Back to Leeds,” and finally into “Rain in Soho” to complete the so-called Goths Suite segment. Bouncing back “Lizard Suit” and “Palmcorder Yajna,” Darnielle would remark that he was in awe of the Albany audience. “When your back in the dressing room and hear that there’s 800 people in a town you’ve never played before, it could go a couple of ways. You know, like there’s people waiting to hear one or two songs, and you know, you’re not going to play those at the top of the set because you’re not stupid. You’re so amazing, I thank you so much.”
John Darnielle of The Mountain Goats performing in Albany on 4/18/23
An intimate and powerful rendition of “Tallahassee” would follow, prompting Darnielle to call an audible and add a song on the fly. Turning to his bandmates and saying, “Guys, we gotta add another one. That was second to last, but this has been a pretty special show for me. And if they are being amazing, you need to play something from The Sunset Tree.” With that, the well-behaved crowd was rewarded with “Song for Dennis Brown” from the bands iconic 2005 album. Playing off each other and jumping from side to side with huge smiles, a hard rocking “Training Montage” would bring the main portion of the set to a close and leave the Albany audience begging for more.
Make a Wish: The Mountain Goats had their cake and ate it too during their Albany debut on 4/18/23
After walking off stage, the band would return with a birthday cake to present to multi-instrumentalist Matt Douglas. Easing into the encore portion of the show with “You and Your Memory,” one of the bands trademark songs came next with the anthemic “Heretic Pride.” With anticipation reaching a fever pitch for the bands two most popular songs still on the table, Darnielle would have some more fun with the audience. “You may not know this, but there’s like a shadow version of “No Children” forming, waiting for its chance. It’s called “Jazz No Children.” It’s the way mellower version. “Jazz No Children” is the one you sing ten years after you needed no children. “Jazz No Children” is the one that comes when some of the details are funny to you instead of sad.
On the preview side of “No Children,” there’s the people who ask me to play it at their wedding, because they think it would be funny. I say to them, ‘friend, I’ll tell you what. I’ll play it at your ten-year anniversary.” I am safe under these circumstances because anybody who would ask me to play “No Children” at their wedding won’t be having a ten-year anniversary. They’re not taking the whole matter seriously. As my drummer would say, “It’s all a big joke to them.” And yet, I hope when those people sit in a lawyer’s office, they have a little song in their head that helps. This is that song and this, such as it is, is the nature of that help.” Seamlessly shifting from a jazz monologue to an all out punk assault, The Mountain Goats would finally deliver the goods and unleash a cathartic version of “No Children” followed up by their biggest hit to date, “This Year,” which took on a life of its own during the Covid-19 pandemic and has become the calling card of the band.
Giving everyone a chance to shout out the lyrics that meant so much to them during lockdown, it was the kind of reaction that made the hair-on-your-neck stand up. Basking in the sustained adulation, Darnielle said “he kinda feels like playing two more.” Opting to go with “Broom People,” the show would finally come to a close with a rambunctious version of “Spent gladiator 2,” which gave Douglas one final sax solo in the birthday spotlight. “Stay alive. Stay alive. Stay forever alive. Thank you, goodnight.”
Watch fan shot footage of The Mountain Goats performing “No Children” on 4/18/23
Just an incredible performance that reinvigorated your spirit and made you feel alive. Part poetry, part social commentary, part punk rock fury – all delivered with a sense of urgency and passion that simply could not be faked. There are no posers in this band and that sentiment deeply connected with the blue-collar Albany audience. Fortunately fans in New York won’t have to wait nearly as long to see The Mountain Goats perform again. Kicking off their lengthy summer tour in early June, the band will play The Rooftop at Pier 17 in NYC on August 4th.
The Mountain Goats | April 18 | Empire Live | Albany
Setlist: In The Craters on the Moon, Hostages, Incandescent Ruins, Hebrews 11:40, Dance Music, Younger, Wear Black, Jenny, Black Molly, Color in Your Cheeks, You Were Cool, Abandoned Flesh, Andrew Eldritch is Moving Back to Leeds > Rain in Soho > Lizard Suit, Palmcorder Yajna, Tallahassee, Song For Dennis Brown, Training Montage, You or Your Memory, Heretic Pride, Jazz No Children > No Children, This Year
Encore: Broom People, Spent Gladiator 2
Watch fan shot footage of The Mountain Goats performing “This Year” on 4/18/23
Adeem the Artist | April 18 | Empire Live | Albany
Setlist: I Never Came Out, Fervent for the Hunger, Painkillers & Magic, Run This Town, Tiger Prince of Knoxville, Going to Hell, Cast-Iron Pansexual
