Guitarist extraordinaire Keller Williams drew a sold out crowd at Lark Hall on Saturday, December 2.
The master of looping has been at it for nearly 30 years, and his following has never waned a bit. From sell out shows at The Egg in 2006 to festival performances all throughout the state with unique projects, Keller always draws well in Albany.
Keller Williams at Lark Hall – photo by Dave DeCrescente
A chatty crowd took in the show on this pre-winter evening, a mirror ball providing subtle lighting that paired well with Williams’ sound and style. Even without his right hand man, Louis Gosain, the evening was full of fun, laughs and surprised, as well as a great deal of experimentation, particularly throughout set one, which would end with a fantastic “Naive Melody.”
“Freeker by the Speaker” would open Set 2 to great cheers, a segment of “Pets” by Porno for Pyros found worked into the original tune deftly.
Keller Williams at Lark Hall – photo by Dave DeCrescente
A subtle nod to Phish on their 40th anniversary was found in the form of “The Wedge” > “Stash” which segued cleanly into “Scarlet Begonias” and “Gatecrashers Suck,” one of Williams’ best known tunes for the autobiographical nature of the Grateful Dead’s ill-fated Deer Creek, IN run in 1995.
Whether you prefer Keller playing solo acoustic/looping as he did tonight, or with a unique project like Keller and the Keels, KellerGrass or More Than a Little, his shows are never one to miss when he rolls through. Catch him at Buffalo Iron Works on Saturday, December 9, part of NYS Music’s Jam for Tots series.
KISS’ End Of The Road Farewell Tour found them playing the second of two sold-out nights at the World’s Most Famous Arena, Madison Square Garden (MSG) in New York City on December 2. After 50 years of rock and roll music, KISS decided to go out where they started, at home in New York.
Photo Credit: Instagram/thegarden
The New York natives announced back in March of 2023 on The Howard Stern Show that the band’s final show was to take place where it all started. KISS was able to sell out The Garden for the second straight night ahead of their final curtain call.
All around the arena leading up to the show, the energy was through the roof. People dressed as their favorite members of KISS past or present and were walking around, dining in the local restaurants, or being interviewed by members of the press outside. Other fans flocked to the giant screens outside MSG promoting the sold-out show to snap a photo.
Before KISS hit the stage, Amber Wild got the chilly New York crowd in the right mood for the rock and roll domination that was going to take place. Amber Wild consists of Jacob Massanari on bass, Marshall Via on guitar, Thomas Lowrey on drums and Evan Stanley on lead vocals and guitar. Stanley is the son of KISS frontman, Paul Stanley, who is also a founding member of KISS .
Amber Wild performed just six songs for the audience. Despite the short set, the band made sure that the New Yorkers didn’t forget them. From the moment that they jumped on stage, fans immediately took notice as the band jumped into one of their first singles called “Breakout.” From that moment until they left the stage, fans listened intently as the next wave of rock and roll music debuted before them.
Photo Credit: Instagram/amberwildband
After pre-recorded interviews with the band and other interviews with family and friends that were being broadcast on PPV.com were complete, the house lights dimmed and Led Zeppelin’s “Rock and Roll” off of Led Zeppelin IV blasted through the speakers signaling that it was time for KISS to take the stage. This version of KISS consists of founding member Paul Stanley on lead vocals and guitar, founding member Gene Simmons on bass and vocals, Eric Singer on drums, and Tommy Thayer on lead guitar
Photo Credit: Instagram/kissonline
As KISS entered from the ceiling on platforms, the band blasted in “Detroit Rock City” off of Destroyer, and from there, they played 20 songs that spanned their entire catalog. From classic songs off their self-titled debut record to one of their most recent albums, 2009s Sonic Boom, every era of KISS was played. This is in part because KISS has become a generational band. Kids as young as three and people as old as their 70s attend this final show as the KISS Army joined and became one for one final time.
Photo Credit: Instagram/thegarden
For the entire two-hour show, the entire arena did not sit down once. From the fans on the floor to the bleacher creatures up in the rafters, fans stood the entire time as they witnessed the final show from their beloved band. Throughout the entire show, the classic KISS theatrics took center stage. Before “God of Thunder,” Simmons spat out fake blood and breathed fire after “I Love It Loud,” Thayer shot rockets out of his guitar after “Cold Gin” and Stanley flew through the air to a mini stage in the middle of the crowd to sing “Love Gun” and “ I Was Made For Lovin’ You.” KISS did not miss a beat the entire show.
They looked and sounded like they were at the top of their game. If you put them up against any version of the band, it would be hard to pick a winner due to the band being at its peak of performing.
Photo Credit: Instagram/thegarden
Stanley and Simmons were very thankful for all the fans who showed up to every one of their concerts as throughout the show, they kept saying “thank you” to the cameras as well as making hearts with their hands to show their appreciation. The band has cited throughout their career that the fans are the ones that got them there and that they will always be thankful to them for that.
Photo Credit: Instagram/thegarden
As the show powered through into the night, the anticipation of former members jumping on stage hit an all-time high when Singer sang “Beth.” For the other two encore songs that ended with the KISS anthem of “Rock and Roll All Nite,” no former members of the band jumped on stage with the current lineup which didn’t sour anyone’s mood as the band went out with a bang.
Photo Credit: Instagram/thegarden
As the band took their final bows and announced that a new era of KISS was coming (which ended up being digital Avatars of the band), fans excited MSG with commemorative 24 Karat Gold plated tickets. As fans spilled out onto 34th street in Manhattan, they knew that they helped write the final chapter of KISS-story that started in 1974 with their self-titled debut record and ended, where it all began, in New York.
KISS Setlist: Detroit Rock City, Shout It Out Loud, Deuce, War Machine, Heaven’s on Fire, I Love It Loud, Say Yeah, Cold Gin, Lick It Up, Calling Dr. Love, Makin’ Love, Psycho Circus, 100,000 Years, God of Thunder, Love Gun, I Was Made for Lovin’ You, Black Diamond, Beth, Do You Love Me, Rock and Roll All Nite
On a day where shoppers flocked to stores and malls in search of holiday deals, music fans made their way to the Middle Ages Beer Hall to see Mike Powell and the Echosound. The Echosound, a jam-rock band from Syracuse is the latest musical incarnation of singer-songwriter Mike Powell.
Opener Neil Minet got things rolling on Friday evening, with a blistering sixty minute set. Minet and his band have been turning heads over the last year in Syracuse, has included a notable performance at the 2023 NYS Blues Fest. The Neil Minet Band blends blues, funk and R&B sounds, resulting in a set that had the entire room swaying and dancing.
As Mike Powell and his bandmates took to the stage, Powell stepped towards the mic and offered a smile and the following words; “Let’s have some fun.” With that, the house lights dimmed and the band was underway. Opening with a cryptic musical jam, guitarist John Hanus was given the opportunity to step in to the spotlight early, and he did not disappoint. Hanus would deliver a guitar solo that was both beautiful and powerful, while backed by the strong musicianship of the remaining members of the Echosound. As the solo ended, Mike Powell quickly launched in to the raucous and upbeat “Submarine Gin.” The set was fully underway and the packed beer hall crowd pushed their way closer to the stage.
It was evident early and often that Mike Powell and the Echosound carried with them a loyal and devoted following, as fans danced, swayed, and sang back Powell’s catchy choruses, with the concert hall filled elbow to elbow with fans. While the band performed many of the dynamic tracks off their recent release Plastic Spoon Honeymoon, they dipped their toes into Mike Powell’s diverse solo catalog as well.
Songs like “Josephine” took on dramatic new life when paired with the talents of the Echosound. The song, which would stretch over nine minutes long, would build to yet another epic solo by Hanus, while bandmates Zak Masoud (bass guitar), Adam Manion (percussion) and Jeff Alderman (keyboards) kept pace, each taking their turn to shine. The song would eventually break down into a brief cover of “Come Together”, fusing both songs into one seamless piece. It was perhaps the standout moment on an evening filled with highlights, and one that will be sure to keep music fans coming back to see the band.
A music and emotion-filled weekend at The Capitol Theatre wrapped up on Sunday, November 26, as Twiddle, a band whose near two-decade tenure as a dominant Northeast jam band, came to a close. Using the annual ‘Frendsgiving‘ celebration to begin their indefinite hiatus, the group’s dedicated final performances (for now) matched the love and affection Twiddle fans poured out over three days and nights in Port Chester.
Frendsgiving has been a Twiddle tradition since at least 2017, a celebration around Thanksgiving that brings the Twiddle faithful together for a two or three night run at The Capitol Theatre. The fans who have made Twiddle a brand that goes well beyond the band are the core of this community, taking the music and lyrics, embracing them and incorporating them into their lives, as well as their artwork and inspired creations.
Celebrated Frend Art events have brought fans together in great numbers, showing the inspiration the band imparts on their fans. On Saturday, November 25 and Sunday, November 26, Coda Davidson once again brought Frend Art together for two shows, full of live music, workshops, live painting, and a chance to meet the artists and creators of these galvanized creators, for the first, or potentially, last time. Events like these are the reason Twiddle was head and shoulders above many of their brethren in the jam scene, creating a scene that was truly organic, mirroring the jams the band bring to the stage each night.
That was something that always stuck out about Twiddle – the band offered a fresh perspective of an organic fanbase and movement, one that was seen over the decades, bringing along comparisons to Phish, given their Vermont roots and tendency to jam off of oddly named songs. But Twiddle was not Phish, nor the ‘next Phish’; if anything, Twiddle was indicative of a generational swing for (primarily) millennials who sought to carve their own niche in the jam scene, being far more than a photostat of the ‘other’ four guys from Vermont. The comparisons between the two bands began and ended with ‘’well, they’re from Vermont and there are four guys in the band” simply because there was no reason for a ‘next Phish,’ which holds true even today with other bands from the Northeast.
One aspect of Twiddle’s legacy that may be overlooked is how effectively the band made sure to uplift bands in the jam scene that were just starting out, giving these artists with small followings a big stage by opening up for Twiddle at various points in the first half of the 2010s. Former Twiddle manager Kevin Rondeau was instrumental in this, seeing the promise of bands like Mister F, Wild Adriatic, and Strange Machines, offering them opening slots or late night at festivals across the Northeast. There were countless bands you could see at Frendly Gathering or Tumbledown who you might be able to see at some point at a club, but this elevation to festival billing or direct support at a show was a game changer for those bands lucky enough to have the opportunity, particularly for those who knew how to use this boost to their long term advantage.
So as Twiddle entered this final stretch of shows, I found myself nostalgic, wondering how many Twiddle shows I had seen since The Big Up 2010 – I ballparked the number to be around 30 but it could be higher still – and what the legacy of the band will be following this final run at The Cap. I recalled attending the band’s first Capitol Theatre show, seeing the joy from Rondeau and keyboardist Ryan Dempsey when they learned the show was officially sold out, a mere three hours before doors. The fans were alive with energy the entire night, knowing they were witness to the start of the band’s next step.
That energy was still seen outside the Capitol Theatre for Frendsgiving, with Twiddle fans lined up for early entry, aiming to ride the rail one final time, or displaying pin boards and their wares for advance arrivals who sought out the abundance of Hispanic food found throughout Port Chester (don’t sleep on El Rinconcito Salvadoreno, right behind the Capitol Theatre). Fans likewise lined up all through the venue to pick up the final run of merchandise, including three incredible prints from Vinny Naro, and even had a wide selection of prints and merch from the Twiddle archives for sale in Garcia’s.
And then there was the music.
The Kitchen Dwellers provided a great opening set, and sit-ins, on Friday, November 24 and Saturday, November 25, a connection going back over a decade that has seen Kitchen Dwellers making it to the east coast usually twice a year and finding a healthy audience wherever they play.
Friday night of Twiddle began with instrumental “Stroganoff” and “Syncopated Healing,” the latter echoing the phrase/advice “Heal your life,” something not lost on the faithful in attendance and streaming at home on Fans.Live, following with a big jam out of “Daydream Farmer” and inviting up Torrin from Kitchen Dwellers for “Cabbage Face.”
Set two’s “Brick of Barley” welcomed a familiar face in Scott Hannay, AKA ‘stage daddy’. Hannay’s musical journey has included stints with Capital Zen and later with Mister F, as well as his own 8-bit musical creations, and currently serves as keyboardist for Mihali’s band, which has a rosy future paved out for it. “Brick of Barley” also gave drummer Adrian Tramontano a worthy drums segment that made this one of the jams of the weekend. “River Drift” had Mihali coming out to the front of the stage, pouring emotion out of his DGN guitar as he fell to his knees during the peak, fans raising their hands up with requited love. A tease of “Hedwig’s Theme” from Harry Potter was found in “Amydst the Myst,” and sunflowers found space on the walls of The Cap during “Hattis Jam” > “When it Rains it Poors,” the latter an anthem for Twiddle if there ever was one.
The encore on Friday would have Twiddle bring up Kitchen Dwellers quickly, none leaving the stage, as they tuned up all nine musicians for “Glycerine Medley,” which had bits of “No Woman No Cry,” “Wagon Wheel” and “Farmhouse,” framing the first night perfectly with post-show music “You’ve Got a Friend in Me.”
Saturday night’s sets would feature songs that encapsulated Twiddle’s storytelling chops, including fan favorites in the first set, “Nicodemus Portulay,” “Fantastic Tale of Ricky Snickle,” “Mamunes the Faun,” “Beethoven & Greene.” Set two saw a cover of ALO’s “BBQ” inside of “White Light” (which gave its name to the band’s official charity) and the Beatles “Rocky Raccoon” with Torrin and Swain from Kitchen Dwellers joining in. Torrin would stick around for “Subconscious Prelude” and the entire band joining Twiddle for a raucous cover of “Burning Down the House” in the encore slot. Ryan Dempsey took the opportunity to crowd surf, with success, during the encore as Hannay took over on key, the stage lit up with smiles and excitement from the bands in this, their final live collaboration.
photo by Phil Hernandez
Sunday night featured three sets, each one piling on the classic Twiddle songs fans clamored to hear, as well as some rarities in the mix. The first set featured two of those bust-outs, “Bronze Fingers” and “Five,” with a set ending “Earth Mama.” Over the next two sets, the biggest jam vehicles took the crowd for a spin one last time – “Latin Tang” had a jam on Vulfpeck’s “Dean Town,” with Mihali ascending to the Stage Left box seats for an incredible solo; “Apples” made way for “Doinkenbonk,” one of the silliest song titles in the Twiddle catalog, but with a groove and jam that make up for it, and Primus’ “Too Many Puppies” sung perfectly by Zdenek Gubb, slapping the bass with precision to close the middle set.
Set 3 began with “Orlando’s,” a song that has given birth to a music venue of the same name in Burlington. “Jamflowman,” a song that became one of the most identifiable Twiddle songs, thanks to the line “Jamflowman don’t give a damn” found “Frankenfoote” to follow, Frankies projected all across the walls of the Capitol Theatre. “Gatsby the Great” was yet another song that lent itself to becoming Twiddle parlance and art (“Luva Duck“) and closed with an always mesmerizing “The Box.”
Before returning for an encore, Capitol Theatre owner and promoter Peter Shapiro came out to thank the fans, give Twiddle due credit for their longevity, and surprised the band with medals for each of them. After hugs and smiles, the band returned to a song played on Friday night, “When It Rains It Poors,” Mihali calling an audible and returning to their most streamed song, and with appropriate lyrics as they hit pause after 20 years:
Now listen to the words I’m Saying in this line that your life will be just fine and Troubles do not stay they Get replaced with good times Now you got a great life Smile as you walk by Thinking about the Day
Fare thee well Twiddle, we’ll meet again someday.
Twiddle “Frendsgiving”- Capitol Theatre, Port Chester – Friday, November 24, 2023
Set 1: Stroganoff, Syncopated Healing, Daydream Farmer, Cabbage Face (1), The Mission, Brown Chicken Brown Cow# Set 2: Collective Pulse, Brick of Barley (2), The Devil, River Drift, Amydst The Myst$, Mushrooms of the Sea> Dr Remidis Melodium, Hattis Jam > When It Rains It Poors Encore: Glycerine Medley (3) (1) – w/ Torrin Daniels (Kitchen Dwellers) (2) – w/ Scott Hannay (3) – w/ Kitchen Dwellers (no stage break before encore) $ – contained Hedwigs Theme
Twiddle “Frendsgiving”- Capitol Theatre, Port Chester – Saturday, November 25, 2023
Set 1: Nicodemus Portulay> Indigo Trigger, Fantastic Tale of Ricky Snickle, Every Soul> Mamunes the Faun> Every Soul, Beethoven & Greene Set 2: White Light> BBQ [1] > White Light, Rocky Raccoon [2], Subconscious Prelude [3], Polluted Beauty [4], Lost in the Cold [4], Slippin in the Kitchen Encore: Burning Down The House [5] [1] – ALO [2] – The Beatles w/Torrin & Swain [3] – w/Torrin Daniels [4] – Mike on Saxophone [5] – Talking Heads superjam w/Torrin, Swain, Joe Funk, Scott Hannay & Mike on Sax
Twiddle “Frendsgiving”- Capitol Theatre, Port Chester – Sunday, November 26, 2023
Set 1: Be There, Moments, Bronze Fingers, Fighting For, Hattibagen McRat, Five, Earth Mama Set 2: Frends Theme, Latin Tang#, Apples > Doinkenbonk > Too Many Puppies* Set 3: Orlando’s, Jamflowman> Frankenfoote > Gatsby the Great, The Box Encore: When It Rains It Pours > Over the Rainbow > When It Rains It Pours > Every Last Leaf II
# with Scott Hannay * “I Will Always Love You” tease
There was already magic in the air when Medeski, Martin and Wood took the stage on December 1, 2000 at The Palace Theatre in Albany. The night was cold but the rumors were hot that some very special guests would be joining MMW that night.
Those rumors turned out to be true. Elysian Fields founder/guitarist Oren Bloedow as well as Brazilian percussionist Cyro Baptista joined Medeski Martin and Wood for the entire show. Rumors had been swirling like an upstate snow squall that Phish frontman Trey Anastasio would be there and when He joined Medeski, Martin and Wood (plus Bloedow and Baptista) late in the second set, the energy of the crowd and the band reached some amazing heights.
The night began with some ambient improvisation from Medeski, Martin and Wood with special guests Bloedow and Baptista joining from the start. Instrumental grooves set the mood and seemingly took the audience from jungle to the tropics and through various soundscapes before leading in to “The Dropper.” The first pure melodies of the night then followed with “Nostalgia in Times Square.” From “The Dropper” to “Times Square” – the psychedelic journey had begun and the band took the crowd on what sounded like an audio description of a psychedelic experience through New York City.
One can almost see the different store fronts, streets, alleys, cabs, people and hallucinations as MMW and friends wind their way from Times Square through “Angel Race (I’ll Wait For You)” and “Shacklyn Knights”, the latter featuring some vintage psychedelic 60’s style guitar leads from Bloedow. A heavy trance like percussion jam brought a return to “Shacklyn Knights” before closing the first set with a dark and jazzy “Seven Deadlies,” again invoking the chaos of mixing psychedelics and The Big City.
Ticket stub for Medeski Martin and Wood, which featured sit-ins from Trey Anastasio, Oren Bloedow and Cyro Baptista.
Set two began with John Medeski laying down an eerie organ intro before Billy Martin kicked in a big beat on drums for “Big Time”. Chris Wood’s bass fueled the opening jam while MMW was once again joined by Oren Bloedow and Cyro Baptista. The Five-some took the music to deep, dark space before returning to planet Earth via the Jimi Hendrix classic “Third Stone From The Sun” which featured funky grooves and blistering lead guitar from Oren Bloedow and a percussion breakdown. The crowd erupted as Trey Anastasio appeared and it was announced that “another special guest” was going to join the stage. The new ensemble, armed with one of the world’s most talented guitarists kicked off with MMW’s “Partido Alto” with Trey adding his signature guitar style.
When asked about this show, Capital region resident Maria Levin, who was in attendance said, “Trey playing “Partido Alto” with MMW is still one of the highlights of my live music life.” “We Are Rolling,” “Start Stop” and a haunting, Roky Erickson-esque “Dracula” had Trey and company exploring the far reaches of the universe with a sound that seemed to encapsulate some of the best elements of Phish and MMW. Jax Why commented in the Facebook group PHISH TOUR 2014, “A superb evening. The “rumor” was not much of a surprise by the time Big Red (Trey Anastasio) emerged for the second set. However, the style and energy in which He played was. It was quite a different sit-in from when Trey joined MMW in Austin, TX about 4 years prior. Mature jamming and placement with intent and patience.” Following “Dracula,” Chris Wood captivated the Palace Theatre crowd with a bass solo that set the tone for a jazzy, funky and at times scary “Chubb Sub” that closed out the set.
After a standing ovation, Medeski, Martin, Wood, Bloedow, Baptista and Anastasio returned to the stage and sent the fans home into the Albany night with a “Swamp Road” for the ages.
The collaborations at The Palace Theatre in Albany on December 1, 2000 would not only lead to an unforgettable night for those in attendance but also change the course of jamband history. This magical night in Albany was the first time Trey Anastasio and Cyro Baptista joined forces together on stage. Trey would invite Cyro to join The Trey Anastasio Band in 2002. Cyro continues to be a part of TAB to this day.
Lukas Nelson and The Promise of The Real brought their fall North American 2023 tour to the Capitol Theatre on November 22, 2023. The band is currently touring in support of Sticks and Stones, their latest release. This is their second appearance at the Capitol.
Lukas Nelson + POTR
Nelson guided the POTR on a musical journey through peaks and valleys, exploring a range from soulful ballads to roots rock. Notably, The Promise of The Real, with Lukas Nelson, served as the backing band for Neil Young from 2015 to 2019. This baptism by fire equipped them with the experience needed to ascend to the status of a headlining band.
Lukas Nelson + POTR
The members of POTR—Anthony LoGerfo (drums, percussion), Corey McCormick (bass guitar, vocals), Logan Metz (keyboards, lap steel, guitar, harmonica, vocals), and Tato Melgar (percussion)—collaborated with Nelson to create an atmosphere reminiscent of a local bar with friends, rather than the formality of a theater.
Lukas Nelson backed by Anthony LoGerfo
As Thanksgiving Eve unfolded, a sense of family permeated the night’s theme. Lukas Nelson paid tribute to his mother by dedicating ‘Icarus’ from the band’s newest recording to her. In the middle of the show, the members of POTR stepped off the stage. Nelson then took center stage, donning an acoustic guitar, and delivered a heartfelt rendition of Willie Nelson‘s ‘Angels Fly Too Close to the Ground.’ The performance left us questioning whether Lukas was honoring his father or undergoing a transformative moment right before our eyes.
Ben Chapman
Originating from Georgia and currently residing in Nashville, Ben Chapman kicked off the night. As a self-described ‘broke ass songwriter,’ he set the evening’s vibe. Chapman’s honky-tonk flair had the audience tapping their feet throughout his set. Adding a personal touch, he covered the Grateful Dead’s ‘Friend of the Devil,’ imprinting it with his unique style.
The tour continues through mid – December with a final show at the Maui Cultural Arts Center in Hawaii.
It was inevitable that the band would get something going for their 20th anniversary run, as you just don’t disregard an occasion like that for any reason – you just play. Fans waited for the announcement by the time IT was over, figuring that the band would go on its first Halloween run since 1998, adding to anticipation that the band would put on another musical costume, with endless limits.
poster by Hollie Dilley
However, as the band inspected exactly what the date of the first show was, so that a 20th anniversary was correctly timed, it seems that the date of 10/30/83 was incorrect, even though they had a 15th anniversary out in Vegas of 1998. As it turns out, the first show for the ROTC folks was 12/2/83, and they arranged a four night Northeast run to celebrate, with special guests at the first show, and an elongated show at the final destination, Boston’s Fleet Center, with a myriad of special guests guessed at in anticipation of something spectacular. The Boston show had its highlight in the set break montage video, but no special guests to mention of. Fans were happy though, as it was by far the hardest ticket since NYE 2002 to obtain, and those who were warm inside had no complaints from where they were sitting.
By far the coldest Phish run ever, the shows had snow, ice, wind, and more snow as the band progressed from Nassau Coliseum on Long Island, to the Wachovia Center in Philly, to the Knickerbocker Arena (note: not the Pepsi) in Albany, and the Fleet Center in Boston as part of a four-day run of shows many fans attempted to see all four of. The run could even be characterized as one gigantic show: Nassau was a solid opener, Philly was the bathroom/cigarette/beer break, Albany was the second set heat, and Boston was the after-party.
Outside at all these shows, it was far too cold/rainy/snowy to have a lot scene of any kind, so fans simply piled into bars and parking garages to peddle what they had to keep the tour afloat for themselves, in hopes they might make the next show, and/or home in the coming days.
Artwork by Drew Suto
Some fans felt that this run was spectacular, and perfectly executed, even though others wondered where the spark from summer 2003 went. At least a few older fans looked at the run as sealing the bands fate in their eyes, with the best years clearly behind them, especially after the Vegas 2004 run. Many fans wondered what happened, although Miami might have swayed some opinions in the end.
Nassau featured not only the highly appropriate guest in The Dude of Life on vocals for a rare (and final) ‘Crimes of the Mind’, but also a setbreak wedding of two highly committed fans of the band and each other. Making a Phish show your wedding venue was only done previously at the Clifford Ball, and a tribute to the concentrated community spirit of Phish.
poster by TRIPP
Philly had high-energy crowds a day after Nassau, but execution had some fans wondering what was up. Tom Marshall came up to sing lyrics to ‘Buffalo Bill’, a departure from his regular appearances on ‘Run Like an Antelope’. The Philly show left fan waiting for more indeed.
Albany, the second hometown to Phish, one of the regular tour starts, endings and all-around in-betweens, the Knick was the home to famous Dead shows and disks, as well as memorable Phish shows (see 12/13/97 – Bring on the Dude!). The entire atmosphere of this show was positive, as special guests at the two previous shows made fans wonder who was next to sit in. Following “YEM” in the second set, Trey brought up a very special guest, the band’s first guitarist (aside from Trey), who left the band under mysterious circumstances – Jeff Holdsworth. The original songs that he had written – “Camel Walk” and “Possum” – were played with a degree of both difficulty and success by Holdsworth with the band he left behind almost 17 years ago. A cover of “Long Cool Woman”, by the Hollies was played by the part-time quintet, a tribute to the first show that Holdsworth was playing at. By the time the band broke into Antelope, you could no longer hear Jeff, as his guitar was turned down to inaudible levels, as his playing could not keep up with the boys who ventured beyond the three-year mark. Tom Marshall came up to sing the original lyrics that he penned, and the show ended with a monster version of Hendrix’s “Fire”, again with Holdsworth. Fans were pleased to see him on stage again, but a computer operator in Canada definitely overstayed his welcome that evening in Albany.
However, the overall purpose for bringing Jeff out was a symbol that Phish was and is about family. Boston featured a memorable second set and a video montage during the setbreak that fans clamored to see, particularly since the first notes of Fluffhead were heard in a dormroom video from the early 1980s. This more than made up for a first set that many wondered if anything special would be brought out for the second set, particularly the special guests everyone talked about coming – Santana, the Giant Country Horns, anyone and everyone?! Fishman handed out a cake towards the front row during setbreak for fans to dive into, as many did, regardless of sticky hands that would not be cleaned till after the show. The second set did bring the heat fans were looking for, with monster versions of “Maze,” “Frankenstein,” and “Piper,” that made this show and run well worth it. Regardless, the detractors are present on the vibe/performance of this run, as it was an asterisk to many between a hot summer and even hotter time in Miami for New Years Eve.
Phish – Nassau Coliseum, Uniondale, NY – Friday, November 28, 2003
Set 1: Bouncing Around the Room, Runaway Jim, Ghost > What’s the Use? > AC/DC Bag > First Tube, Frankie Says > Bathtub Gin -> Free
Set 2: Waves > Sample in a Jar > Down with Disease[1], Walls of the Cave, Two Versions of Me, Crowd Control[2], Mike’s Song > I Am Hydrogen > Weekapaug Groove
Encore: Crimes of the Mind[3]
[1] Unfinished. [2] Debut. [3] The Dude of Life on vocals.
Disease was unfinished. This show included the debut of Crowd Control. Trey introduced Mike to sing “his song.” Crimes of the Mind (first since July 10, 1994 at SPAC – 504 shows) featured the Dude of Life on vocals. During the song, the Dude congratulated Phish on their 20 years together, and wished them success for 20 more.
Phish – Wachovia Spectrum, Philadelphia, PA – Saturday, November 29, 2003
Set 1: Wilson > Cars Trucks Buses, Limb By Limb, Dirt > Seven Below, Divided Sky, Fast Enough for You > Julius
Set 2: Twist -> Simple > Taste > Makisupa Policeman[1], Buffalo Bill[2] > David Bowie, Strange Design > Character Zero
Encore: Friday
[1] Keyword referenced waking up in “Hempstead.” [2] Tom Marshall on vocals.
Trey teased San-Ho-Zay in Seven Below, Julius, and Twist. The lyrics to Makisupa referenced waking up “in Hempstead.” Later in Makisupa, Trey commented on the upcoming 20th anniversary of the band, and noted Makisupa as the first original Phish song ever played. Trey also commented on his long-standing friendship with Tom Marshall and said that Tom had written Makisupa when he was a child. Trey brought Tom out on stage and noted that he thought Makisupa was written in 1969, leading Tom to note that we “have a 60’s song.” Prior to Tom singing on Buffalo Bill, Trey noted: “Tom is now going to sing you a song about a boss, a log, and a piece of rope.”
Phish – Pepsi Arena, Albany, NY – Monday, December 1, 2003
Set 1: Chalk Dust Torture, Stash, Guyute, Thunderhead > Sparkle, Wolfman’s Brother > Good Times Bad Times
Set 2: Tweezer -> Also Sprach Zarathustra > You Enjoy Myself, Camel Walk[1], Possum[1], Long Cool Woman in a Black Dress[1] > Run Like an Antelope[2]
Encore: Fire[3]
[1] Jeff Holdsworth on guitar and vocals. [2] Jeff Holdsworth on guitar and Tom Marshall on vocals. [3] Jeff Holdsworth on guitar.
Tweezer was preceded by a Dixie tease. Camel Walk through Fire featured Jeff Holdsworth on guitar. This was Jeff’s first known performance with his former Phish brethren since May 17, 1986 (1,348 shows). Camel Walk, Possum, and Long Cool Woman (first since October 30, 1998, or 180 shows) also featured Jeff on lead vocals. Antelope featured Tom Marshall on vocals.
Phish – Fleet Center, Boston, MA – Tuesday, December 2, 2003
Set 1: Harry Hood > Cavern, Birds of a Feather, Ya Mar, Horn > Piper > Anything But Me, Water in the Sky, Down with Disease
Set 2: Rock and Roll -> Weekapaug Groove[1] -> Tweezer Reprise[2] > Frankenstein -> Kung -> Frankenstein, All of These Dreams, The Wedge, Boogie On Reggae Woman > Cities > Maze, Waste
Encore: Bug
[1] Unfinished. [2] Mike’s Song lyrics sung by Trey.
This gig commemorated the 20th anniversary of the first Phish show. In the audience, a section of seats were roped off to make way for a music stand. The music stand held a three-ring binder that contained lyrics from the Phish canon, but it did not play an active role in the performance. Ya Mar contained teases of The Tra La La Song (One Banana, Two Banana). At the end of Disease, a video screen descended behind the stage. As the house lights remained down, a 25+ minute video was played featuring retrospective highlights from throughout Phish’s career. Before the second set, Mike brought out a tray of desserts and shared them with fans in front of the stage. Highway to Hell was briefly teased by Trey before Rock and Roll. Weekapaug was unfinished. Tweezer Reprise included lyrics (sung by Trey) from Mike’s Song. Appropriately, the post-show house music was the Beatles’ song Sgt. Pepper’s Lonely Heart’s Club Band (which begins with the lyric, “It was twenty years ago today…”).
After four years, Guster made a return to the Beacon Theatre in New York City on Saturday, November 25. Billed as “A Night of Music & Comedy,” opening the show was comedian Chris Fleming who indeed provided the “Comedy” aspect of the night, followed by a whopping 24-song set by Guster.
Prior to their New York City show, Guster finished a series of early Fall Tour dates and the guys have been on “Dad duty” as Lead Singer Ryan Miller said from the stage, while adding it was “nice to get a chance to be a rock star for one night again.”
Full disclosure, this was my first Guster show, I knew nothing of the band other than the name, didn’t know any of their songs or hits for that matter. Musically, they were great, very tight on stage, all rotating instruments in a very impressive way, at times a full drum kit along with a full percussion station, bass and guitar players constantly switching, as pretty much every single band member sitting down at the keyboard for a song.
The crowd was really interesting as well, a mix of old and young, couples and even parents with their little kids, all singing along to pretty much every single song. Also admirable, was everyone stood up the minute the show started as if they knew what was coming. The band announced a new album that’s done and coming out in 2024, and even played a new track from it “Black Balloon”.
In order to keep things fresh, which as a first-time Guster concert attendee I appreciated, they broke the setup and mid-set embarked on a “Campfire” set, only two mics, seated at the lip of the stage they did six acoustic songs, all of which were fantastic, as the entire crowd sat down and sang along in true campfire style. Complete with a cardboard cutout of a little campfire and lighting to match.
Guster – Beacon Theatre – Saturday, November 25, 2023
Setlist: Diane, The Captain, Center of Attention, Mind Kontrol, Backyard, What You Call Love, Black Balloon, Communication (improv jam), Gangway, Manifest Destiny, Airport Song, Empire State, I Spy, Satellite, The Beginning of the End, Stay With Me Jesus, Happier, Amsterdam, Don’t Go, Come Downstairs and Say Hello, Do You Love Me, Mona Lisa, Terrified, Barrel of a Gun
I’ve known Willie Nile for almost 10 years now, been to countless shows, I’ve shot a dozen music videos for him, and consider him a friend. I was thrilled when he asked me to come shoot his show at City Winery New York on Wednesday, November 22.
Booked as a Career Retrospective, Willie was going to play one song from each of his 16 albums, from his first self-titled from 1980 to his latest The Day The Earth Stood Still from 2021.
Nile’s current band consists of long-time rockers such as Jonny Pisano on Bass, Jimmy K. Bones on lead Guitar, Rob Clores on Keys, and Jon Weber on Drums. For the show at the Winery, he included special guest James Maddock who opened the show and also joined the band on a number of songs as backing vocals and on electric guitar.
Playing to a sold-out crowd, the band hammered through the 18-song setlist, with the various album covers displayed on screens as Willie went one by one and gave a little background on the album and the song before playing it. Willie who turned 75 this year, looking younger than ever, vibrant and full of life and energy, was a sight to behold, a true Rock n’ Roll icon.
Opening the show with a 30-minute solo acoustic set was fantastic singer-songwriter James Maddock whose latest album “Night Works” came out earlier this year, his set included mostly material off that album along with a few old hits. James is currently on tour in Europe until the end of the year but currently resides in Brooklyn, so he’s often playing shows in the New York area and comes highly recommended. Make sure to add him to your radar for 2024.
Willie Nile – City Winery New York – November 22, 2023
Setlist: Vagabond Moon, Golden Down, Places I Have Never Been, Hard Times in America, Across the River, Cell Phones Ringing (In the Pockets of the Dead), You Gotta Be a Buddha (In a Place Like This), Streets of New York, American Ride, Forever Wild, Blowin’ in the Wind (Bob Dylan cover), Children of Paradise, House of a Thousand Guitars, Run Free, One Guitar, The Day the Earth Stood Still, Heaven Help the Lonely, A Hard Day’s Night (The Beatles cover)
The sounds of rock nostalgia echoed through out the historic Landmark Theater in Syracuse on Sunday, as Bush brought their “No Where To Go But Everywhere” tour to the historic theater. Bad Wolves and Eva Under Fire opened the concert.
It can be hard to fathom that Bush have been staples in the music industry for nearly 30 years. Led by frontman and heart throb Gavin Rossdale, the multiplatinum selling rockers recently released Loaded; The Greatest Hits 1994-2023, a retrospective chronicle of the band’s discography. Though many of the faces in the band have changed since 1994, they are still led by Gavin Rossdale (vocals, guitar). The remainder of the band consists of Chris Traynor (guitars), Corey Britz (bass guitar), and Nik Hughes (percussion).
The evening kicked off with a high octane set by Eva Under Fire. Led by vocalist Eva Marie, the Detroit natives took the early arriving crowd on a fast paced musical journey. Vocalist Eva Marie took immediate command of the crowd’s attention as she strutted along the platforms that adorned the front of the stage. Midway through their set, the band embraced their role as the opening act, delivering a clever take on Journey’s “Separate Ways.” Eva Marie engaged with the audience at every opportunity, at one point taking the cellphone of a fan (who was attempting to take a mid-set selfie) and sand into the phone as she danced about the stage.
Up next were hard rockers, Bad Wolves. Singer Daniel Laskiewicz crept through the shadows of the stage while performing tracks form the bands four album discography. They would close their set with a cover of the Cranberries hit “Zombie” which saw those in attendance rise to their feet and sing along.
After a dramatic introduction which saw strobe lights dance about the stage in perfect synchrony to drum beats, Gavin Rossdale and his bandmates took to the stage. They wasted no time getting the greatest hits party started, kicking off the evening with their 1994 breakthrough hit, “Everything Zen”. From the familiar opening guitar riff, fans pushed to the front of the stage to catch a closer glimpse of the stars. The band kept the momentum going early, with the intense rocker “Machine Head” and their 1997 hit “Greedy Fly”.
In between songs, Rossdale spoke about the experiences that led him to writing the songs, and encouraged the fans in attendance to reflect back on what the songs meant to them; on the memories of where they were and who they were with when they first heard them. Perhaps the most heartfelt story told by Rossdale was before performing the band’s 2000 hit “Letting the Cables Sleep”, a song written about when Rossdale learned a close friend of his had HIV.
Through out the evening, Rossdale and his bandmates wove through the many eras of the band’s music, with newer tracks like “Flowers On A Grave” and “More Than Machines” proving to be just as strong as the band’s earlier hits. The band would close out the evening with two of their more familiar tracks, a solo rendition of “Glycerine” followed by “Come Down”. Both songs had fans bellowing out the familiar choruses in the theater and as they their way into the streets following the concert.
