Tesla rocked the Seneca Niagara Casino in Niagara Falls with an incredible performance on April 15th. They last played the Niagara Falls area in 2019 and the Buffalo area in 2015. The legendary hard rock band has been a staple in the rock world for over three decades. The crowd eagerly anticipated the show from the moment the band took the stage. Tesla began with “Ladyluck,” a high-energy classic that set the tone for the night.
One of the show’s highlights was the band’s tribute to their former bandmate, Tommy Skeoch. Jeff Keith’s powerful vocals soared over Frank Hannon and Dave Rude’s heartfelt guitar work during the touching rendition of “What You Give.” Fans sang along to the emotional lyrics, paying their respects to the late musician.
Throughout the night, Tesla played hit after hit, including “Modern Day Cowboy,” “Love Song,” and “Love Me”. Fans sang along to every word, their voices blending together in a chorus of appreciation for the band’s incredible music.
But it wasn’t just the music that made the night special. Tesla’s connection with the audience was undeniable, and the crowd responded with cheers and applause. Brian Wheat’s bass and Troy Luccketta’s drums provided a rock-solid foundation for the band’s sound. Frank Hannon and Dave Rude traded blistering solos, their fingers dancing across the fretboards with ease.
As the night came to a close, Tesla launched into a rousing encore, playing “Little Suzi” and “Signs” to the delight of the crowd. Fans sang along, their voices blending together in a powerful show of appreciation for the band’s incredible talent.
In conclusion, Tesla’s performance at Seneca Niagara Casino was a masterclass in classic hard rock. The band’s musicianship was impeccable, their showmanship undeniable, and their connection with the audience was electric. It was a night that will be remembered by all in attendance, a testament to the enduring power of rock and roll.
On Thursday, April 13, Sony Hall hosted a concert featuring three legendary names in hip-hop and jazz music: GZA, Big Daddy Kane, and Roy Ayers. Each artist brought their unique style and energy to the stage, creating a night to remember for fans of all ages.
The evening began with Roy Ayers, who delighted the crowd with some of his biggest hits, including “Searching,” “Everybody Loves the Sunshine,” “Running Away,” “Firehouse,” and “Apache.” Ayers, a prolific jazz-funk musician who has been active since the 1960s, is known for his use of the vibraphone and his signature blend of jazz, funk, and soul.
Next up was GZA, one of the founding members of the Wu-Tang Clan and a hip-hop legend in his own right. He took the stage to thunderous applause and launched into an electrifying set that included fan favorites like “Duel of the Iron Mic,””Living in the World Today,” “Cold World,” “Labels,” “4th Chamber,” “Shadowboxin,” and “Clan in the Front.” GZA’s powerful flow and sharp lyrics combined with the crowd’s energy to create an electric atmosphere that left everyone wanting more.
After GZA’s set, Big Daddy Kane took the stage to the delight of the audience. The rapper, who first rose to prominence in the late 1980s and early 1990s, performed classic hits like “Smooth Operator,” “Ain’t No Half Steppin’,” and “Warm It Up.” His performance was a testament to his status as a true hip-hop icon, and the crowd responded with thunderous applause and cheers.
GZA then returned to the stage to finish the show, performing some of the biggest hits of his career, including “Reunited,” “C.R.E.A.M.,” “Triumph,” “Liquid Swords,” and “WU Tang Clan Ain’t Nuthin to Fuck With.” The crowd was on its feet rapping along to every word, as GZA and his live band brought the night to a close with an unforgettable performance.
Setlists:
Roy Ayers Searching, Everybody Loves the Sunshine, Running Away, Firehouse, Apache
GZA Duel of the Iron Mic, Gold, Living in the World Today, Cold World, Labels, 4th Chamber, Shadowboxin’, Clan in Da Front, Killah Hills, Crash Your Crew
Big Daddy Kane Smooth Operator, Aint No Half Steppin, Warm it Up,
GZA Legend of the Liquid Sword, Reunited, Shimmy Shimmy Ya, C.R.E.A.M. Triumph, Liquid Swords, Wu Tang Clan Aint Nuthin To F With
The most prolific and exciting band in the jam scene, this side of Phish, is Pigeons Playing Ping Pong (PPPP), and they brought their rabid flock of fans and patented bevy of groovy tunes to the famous Brooklyn Bowl for the opening night of a 3 night run on April 13th. The 3 hour show showcased the band’s vast talents and was buoyed by a fervent fan base happy to see their favorite band return to New York City. The show was brought to us by Dog Fish Head and Record Store Day.
photo courtesy of Lee Melnikoff
Baltimore-based, Pigeons has been around longer than one might suspect. The members have been performing as a unit for over 15 years. The band formed at University of Maryland when Greg and Jeremy were in the dorms together in 2007 – the boys inform me that Wikipedia has this wrong. Drummer Gator was hired in 2015 to complete the current lineup of Scrambled Greg Ormont (Vocals, rhythm guitar), Jeremy Schon (lead guitar) and Ben Carrey (bass.) Some acts PPPP has opened for include Umphrey’s Mcgee, Moe., Disco Biscuits, String Cheese Incident, and Lotus. Some acts that have opened for PPPP include Goose, Kitchen Dwellers, Tauk, Karina Rykman and Magic Beans. PPPP present their own festival, Domefest, which is highly respected and regarded in the scene.. The band serves up a lively chat of all things PPPP in their FB group appropriately titled, “The Flock.” There is another FB group for merchandise and tickets. The band has released an initial EP and then 5 full length albums that all start with the letter P.
photo courtesy of Lee Melnikoff
Over a tasty dinner, I was able to ask Jeremy and Greg some questions. Greg ordered the salmon – a dish he orders almost every night for dinner on the road because it packs on protein and energy while being easy to digest before the show.
Chadbyrne: What’s the most challenging song you play live and why?
Greg: I find our newest songs are most challenging, especially when they have vocals. I’ve been focusing more on lyrics these days, sometimes finalizing them right before showtime, which makes them tricky to memorize. Instrumentally, our new song “Miyagi” is a doozy.
Jeremy: You’ll know when you hear it!
Chadbyrne: PPPP has blown up in recent years, is there a specific moment when you felt like you “made it”?
Greg: That’s really nice of you to say. I don’t know if I’ll ever truly feel like we “made it” per se, but it was so exciting when we decided to quit our day jobs to pursue music full-time about 12 years ago. I held a few jobs after college, but we were simultaneously touring almost every weekend of the year. We would go on these epic weekend runs and then I’d show up for work just so beat. Eventually we decided it was time to give this thing a real shot and tour full-time, and the fun hasn’t stopped.
Jeremy: Every time I look into the crowd and see people smiling and/or losing themselves to our music, I get that amazing feeling that “we made it”. We’ve had so many awe-inspiring moments at shows and festivals that it’s hard to just pick one, but a few big ones that come to mind are some of our Peach Festival sets, our first headlining shows at the 9:30 Club, and All Good Festival in 2015.
Chadbyrne: As a songwriter, what song are you most proud of and why?
Greg: All of them! Writing music is so fun because you always remember each song’s origin and development. Some ideas develop quickly, others take years, but in both cases it’s so exciting when they’re finally played live because you remember the journey.
Jeremy: I try not to pick favorites, but it’s always a proud moment when I hear people singing along with our songs!
Chadbyrne: If music hadn’t worked out, what profession do you think you would have undertaken?
Greg: I was in sales after college. I had a knack for it, but I wasn’t passionate at all. I don’t know if I could go back to a 9 to 5, but I could see myself getting into real estate as a means to an end to spend more time with my family.
Jeremy: If I didn’t find myself somewhere in the music industry, I’d probably be working some sort of IT job. I have degrees in Marketing and Business Information Systems, in case anyone is wondering the secret behind my playing.
Chadbyrne: Who is your favorite guitarist and why?
Greg: I always keep my ears open for inspiration and don’t play into the favorites game much. That said, I love Nile Rodgers, but I also love Shmeeans from Lettuce, Ryan from The Motet, Dan from Kyle Hollingsworth Band and countless others. They’re all great listeners, unique players, always melodic and in the pocket. Also since we don’t have a keyboardist, I often listen to those elements live. Huge fan of Joey Porter from The Motet and his funky approach on the clavinet, and everything Page from Phish plays.
Jeremy: I’m a huge Phish fan, so I can’t deny that Trey Anastasio has been a huge inspiration – he’s a master of tension/release.
photo courtesy of Lee Melnikoff
“Let Your Cup Overrun”
Yam Yam opened the night. Pigeons took the stage just after 9pm. This was the only night of the run anticipated not to sell out but that was just as well for the hard core members of The Flock in attendance as they were afforded more dancing room. “Distant Times” was the perfect up-tempo opener and the crowd knew all the lyrics. But it was “Live it Up” that was the highlight of the first set. The popular Pigeons staple builds and builds until Jeremy and Greg get locked into a tight call and response ultimately paying off with an exquisite crescendo.
After a Chili Peppers cover, as usual, Fun in Funk provided a spark near the end of the set. PPPP are masters of no matter the genre or the song – they can always find a groove and it is usually danceable. Manny Newman again demonstrated why he is one of the best LDs in music.
photo courtesy of Lee Melnikoff
PPPP is like going to the Circus. Greg is the affable and enthusiastic carnival barker who lures in patrons, Jeremy is the lion tamer guiding and patient who leads the posse to the next level and Ben is the charismatic clown always entertaining the masses with zest.
A highlight of the 2nd set was Gator on the drums – he is a heavy hitter adept at keeping impeccable time behind the kit as best exemplified by his bombastic extended drum solo at the end of “Water.” PPPP should do the soundtrack to a sci-fi film as the music is not of this world. Jeremy continues to demonstrate that he is the most underrated guitarist around – with the fastest fingers in the scene. The show was complete, with even Ben singing a tune. The encore was special with arguably the band’s best tune, “Dawn a New Day.” Upbeat and packed with lyrics ala “Strawberry Letter 23,” it is a lengthy joyous romp and a proper way to end the epic night on a positive note.
Pigeons Playing Ping Pong – Brooklyn Bowl, Williamsburg – Thursday, April 13
Set 1: Distant Times, Henrietta, Live it Up, Hit the Ground Runnin, Around the World, Overrun, Fun in Funk>Skinner
Set 2: Fall in Place, Water, Beneath the Surface, Bad for You, Melting Lights, Ha ha ha yeah, su casa, schwanthem
Bruce Springsteen performed a tour de force at the Rocket Mortgage Arena in Cleveland, Ohio on Wednesday, April 5th. Being just down Interstate 90 from Buffalo, many fans that couldn’t attend the sold out Buffalo show took the road trip three hours west to Cleveland.
Springsteen set the tone for the evening with a powerful performance of “No Surrender.” The Boss and his E Street Band set the tone for the evening with a passionate rendition that left the audience eagerly anticipating what was to come. What followed was a show that showcased Springsteen’s immense talent and musical prowess, and left the crowd spellbound.
Bruce Springsteen’s connection to his audience was palpable from the first note, as he masterfully worked the stage and engaged with the crowd throughout the night. The setlist was a perfect blend of old and new, with some surprises thrown in for good measure. Springsteen and his band delivered a night of music that had the audience on their feet, dancing and singing along to every word.
The band’s musicianship was exceptional, with each member delivering an outstanding performance. Bruce Springsteen’s voice was as powerful as ever, and his emotive guitar work filled the arena with sound. He seamlessly moved from one song to the next, delivering hit after hit. Some including “Ghosts,” “Prove It All Night,” “The Promised Land,” “Backstreets,” and “Badlands.”
One of the standout moments of the night was an emotionally charged performance of “Last Man Standing,” which Springsteen wrote for a close friend who had passed away. The song was a moving tribute that left the crowd in reflective silence. Springsteen’s musical prowess was further highlighted in “Last Man Standing” as he delivered a poignant and memorable performance.
The encore was a fitting end to a night that will be remembered by all who attended. Springsteen and his band delivered a medley of hits, including “Rosalita (Come Out Tonight),” “Dancing in the Dark,” and “Thunder Road.” The crowd sang and danced along, showing their appreciation for a performance that will be talked about for years to come.
Bruce Springsteen’s performance at the Rocket Mortgage Arena in Cleveland was nothing short of exceptional. Springsteen proved that he is still one of the greatest musicians of our time, with a performance that was both powerful and passionate. The Boss and his E Street Band left the crowd wanting more, and provided a night of music that will be remembered for years to come. Bruce Springsteen has proven he still has it at 73 years young.
When discussing the capital region’s vibrant post-COVID underground music scene, it’s impossible to ignore Troy’s No Fun. Founded in Dec. 2021 by August Rosa, originator of the Albany/Saratoga Springs craft beer business Pint Sized, the venue has quickly become a hotbed for DIY music in the capital area and greater northeast region.
More than just a place, Rosa views it as a project and a springboard for creativity in the area. “I built it here so we could have new and different artists come through,” he said. “I’m trying to involve the folks that I think have their head in the same place that want to bring new, challenging different artists to the capital region.” While Rosa initially intended for No Fun to be an extension of his first enterprise, he’s enjoyed seeing the space take a life of its own.
Performance by Algonquin singers/drummers The Medicine Singers at No Fun in September. (Photo credit: Rudy Lu)
Rosa fits the appearance of your prototypical mid-30s punk. He sports thick frame glasses and a brown beard, wearing a gray beanie, blue-yellow flannel, and gray jeans. Even though he scoffs a bit at his fashion sense, Rosa had an active eye for aesthetic when setting up the venue itself.
Made for 200 people, No Fun is an artsy yet minimalistic space, with a checkerboard floor, walls of white sheet rock, and a modest yet decently sized stage area in the back, complete with a disco ball. The single bathroom specifically emits a punk aesthetic, featuring a crude black paint jump and walls covered by graffiti and posters for future No Fun shows. Aspiring for a genuine atmosphere, Rosa modeled the space with DIY venues of NYC in mind. “I want it to feel like you’re more at an art space or your friend’s apartment than a business,” he said. “I think that’s resonated, for sure.”
While No Fun’s physical layout was very much intentional, Rosa feels its importance pales in comparison to the people actually occupying it. We’ve had packed houses on the regular here,” he said. “I think we’ve sold out about a dozen shows this year so far which is awesome.”
In terms of promotion and planning of shows, Rosa describes No Fun as a team effort. Describing his noteworthy act booking efforts, he mentions hauls such as NYC noise rock band A Place To Bury Strangers and global acts such as Algeria’s Imarhan and an upcoming show featuring Australia’s Surprise Chef. There’s Shane Sanchez, the frontrunner of Super Dark Collective, a capital region promotion which hosts shows on the grittier and experimental side. Rosa also credits Sanchez as having “amplified the hip-hop angle” at No Fun.
He additionally mentions bartender Shane Secor, the man behind promotion arm Hey Greasy!, shouting out his booking of Gibby Haynes from Butthole Surfers and his rock-and-roll and Rochester connections. Rosa also namedrops a couple peripheral figures such as Rachel Freeman, ex-runner of the Byrdhouse venue in Albany and current regional promoter through Byrdhouse Records. “I want to give massive credit to the team that I initially put in place here, and I’m so grateful that they’ve stuck around,” he said. “Between the people that were initially hired here, and the folks that evolved with it as it continued, the place wouldn’t be the same without them.”
Despite the hindrances of an Omicron-delayed beginning for No Fun, Rosa has found nothing but joy in the project so far, delighting in memorable and unique performances at the venue. He reminisces on hosting prolific New Jersey indie pop group Pinegrove and organizing for an interesting collaboration between Algonquin singers/drummers the Medicine Singers and members of legendary noise rock band Swans. “I’m seeing more of people just coming out to stuff where they’re like, ‘I saw some weird band that No Fun booked, it’s probably gonna be cool, I don’t know much about the band,’” said Rosa.
This same approach went into his program on Friday, March 3, a four-band showcase featuring some new and some native to the Capital District scene.
Tonight isn’t a sellout, but the crowd is still significant and full of enthusiasm. Up first is Aaron Wilson, co-owner of Herbie’s Burgers on Lark Avenue and tonight, frontman of a folk rock four-piece. The guitarist has long auburn hair and dons a light beard and glasses, singing about beer and romance. The five-song set starts upbeat before becoming wistful for a couple tracks, closing out with an energetic and quick number backed by thwacking drums.
Next is Binghamton dream pop act Pleasure Dome. They’re a six-piece with two keyboardists and one guitar, fronted by vocalist Cydney Edwards who softly sings over waves of reverb. Their six-track set ranges between slow, moody shoegaze and uptempo surf rock, featuring plaintive melodies. Their stage presence is expressive but not overzealous, inspiring dancing near the front of the crowd. “Tonight was really fun, but the venue is mislabeled because we had a good time,” said guitarist Brandon Musa after the performance.
Third is Precious Metals, a local alt-rock band. Lead vocalist J. Lee White reminisces of glam with frizzy brown locks and a jean jacket over a tank top, singing in a shrieky falsetto that harkens of Journey’s Steve Perry and Geddy Lee of Rush. The four-piece mixes groovy, urgent originals with covers such as Jimmy Eat World’s “Sweetness,” building the excitement and motion from the show’s earlier half.
Closing the night is singer-songwriter The Age, who steals the show. Age oscillates between blue-eyed soul and funk rock across his six song set, crooning Billboard-worthy melodies, dueling with his backing guitarist John Drabnik, interpolating Arctic Monkeys and the Outkast, and effortlessly engaging his audience. His four-man group’s musicianship is commendable and their enthusiasm is infectious, with the checkered tiles of No Fun becoming a dance floor by the second song. To finish, Age shreds the closing track in Purple Rain-esque fashion, capping off a magnetic performance.
The Age on March 3. (Photo credit: Kiki Vassilakis) The Age on March 3. (Photo credit: Kiki Vassilakis)
The scene at No Fun as the night ended is exactly what the venue is about: an excited swarm of people having enjoyed a wide-ranged and impassioned show of regional music over the course of three hours. Nights like these prove just how much the No Fun mission can pay off.
Rosa’s been patient, understanding that “just like anything, it takes time to develop your crowd, to have people feel comfortable to have them feel like the space is theirs.” If the space wasn’t theirs before, now it is.
Snarky Puppy took to the stage at Buffalo’s Town Ballroom on Thursday, April 6th to a sold out crowd. They gave an electrifying performance that left no doubt as to why they are one of the most exciting and innovative bands in the music industry today. Led by bassist and composer Michael League, the 12-piece ensemble showcased their exceptional musicianship. With each member contributing to the vibrant and complex sound that has made them a fan favorite.
From the moment they hit the stage, Snarky Puppy had the crowd on their feet with their unique blend of jazz, funk, and world music. The opening number, “Trinity” set the tone for the evening, with its infectious groove and intricate melodic lines. The band’s energy and enthusiasm were infectious, and their seamless and intuitive interaction created a rich and dynamic performance.
The rhythm section was tight, with drummer Robert Searight and percussionist Marcelo Woloski providing the perfect foundation for the band’s melodic and harmonic explorations. Michael League’s bass playing was exceptional, laying down deep grooves and leading the band with his melodic and harmonic sensibility.
The setlist featured a mix of old favorites and new material, all delivered with the band’s trademark energy and flair. “Thing of Gold,” another standout track, was a tour-de-force of jazz-funk fusion, with its driving beat and virtuosic solos. “What About Me?” was another highlight, with its funky bassline and catchy melody.
Throughout the evening, each member of the ensemble was given the opportunity to shine with captivating solos. The band’s ability to seamlessly blend different genres of music was a testament to their exceptional musicianship and creativity. Michael League’s leadership was particularly noteworthy, guiding the ensemble with precision and passion.
Snarky Puppy’s live show was an unforgettable experience that showcased their exceptional musicianship and creativity. Their unique fusion of jazz, funk, and world music is a breath of fresh air in the music industry. Their live performance left no doubt as to why they are one of the most exciting and innovative bands around. If you have the chance to see Snarky Puppy live, do not hesitate – it’s an experience that you won’t soon forget.
Snarky Puppy has five more tour stops in New York this year.
Snarky Puppy Tour Dates 2023
April 13 – Beacon Theatre – New York, N.Y.
April 14 – Union Transfer – Philadelphia, Pa.
April 16 – Cornell University Concert Series at Bailey Hall – Ithaca, N.Y.
April 19 – Warner Theatre – Washington, D.C.
April 20 – Stage AE – Pittsburgh, Pa.
April 21 – Newport Music Hall – Columbus, Ohio
April 22 – PromoWest Pavillion at Ovation – Newport, Ky.
April 24 – Ritter Amphitheater – Huntington, W.Va.
Fans of all ages wearing fancy attire attentively listened to Laufey’s captivating vocals as she sang multiple songs from her latest jazz album, Everything I Know About Love. People traveled from Puerto Rico, Florida, and New York City for this one time show.
Laufey
Laura Elliot opened the show with an incredible set, singing multiple songs off of her first album People Pleaser to celebrate one year since its release. Born and raised in the Hudson Valley she gained recognition after collaborating with Lizzy McAlpine on “weird,” and joining artists like The Walters on tour before having her own People Pleaser tour in 2022.
Laura Elliot
After a twenty minute intermission, Laufey took the stage at 9:05, causing a stream of excited screams to erupt from her eager crowd. The 23-year-old jazz-pop artist got her start in 2020 when her singing videos gained huge recognition on TikTok. Growing up in Iceland and now living in LA, Laufey attended Berklee College of Music and grew up around classically-trained musicians. Since she was young, she listened to jazz artists like Ella Fitzgerald and Billie Holiday, who largely inspired the type of music she writes today. Laufey is currently off tour, but previously played at the Bowery Ballroom in 2022 during her Everything I Know About Love tour across North America and Europe.
Laufey writes a majority of her songs about heartbreak, which is evident in both her raw and meaningful lyrics and in the short spoken monologues she gave to introduce each song. Her performances of tracks like “James,” “Let You Break My Heart Again,” and “Dear Soulmate” touched on her difficult experiences with past partners, breakups, and feeling lost in the realm of love. Lit by the starlike backdrop of the beautiful Mahaiwe theater, Laufey ran onto the stage with her shiny red guitar and played an incredible show with just her voice and her instruments. Her awed fans—consisting of elders, middle-aged adults, teenagers, and children wearing suits, ties, long flowy skirts, dresses, heels, and intricate updos—stayed completely silent during each performance. No phones were present, as people went to truly enjoy the show. Nearing the end of her set, Laufey announced the workings of a second album, and even performed two unreleased songs for the first time that would feature on it.
After playing her last song, “Falling Behind,” Laufey made a quick exit before re-entering to play an encore. She performed a beautiful rendition of “Two Sleepy People” on the stage’s grand piano, and called it a “lullaby” for her audience of one thousand.
Setlist: Fragile, Street by Street, Best Friend, I Wish You Love, Dear Soulmate, Valentine, Let You Break My Heart Again, Like the Movies, Promise (unreleased), From the Start (unreleased), Beautiful Stranger, James, Magnolia, Falling Behind Encore: Two Sleepy People (Hoagy Carmichael and Frank Loesser cover)
Bill Orcutt, one of the most distinctive voices in experimental and alternative guitardom, brought his latest disc, Music for Four Guitars, to life before a sell-out crowd at downtown Brooklyn’s home to all things sonically avant-garde, Roulette, on March 27.
Orcutt is the former guitarist and founder of the notorious ‘90s group Harry Pussy. His sound is a stuttered reimagining of blues guitar, one weaving looping melodic lines and angular attack into a dense, fissured landscape of American primitivism, outsider jazz, and a stripped-down re-envisioning of the possibilities of the guitar.
Bill Orcutt’s Music for Four Guitars is comprised of 14 brief pieces built upon tiny minimalist phrases which evolve into dense tapestries of sound, texture and mood. On the disc, Orcutt plays all the parts. For the performance at Roulette, he was abetted by three of the most noteworthy players who are bending and mutating the borders of guitaring – Wendy Eisenberg, Ava Mendoza and Shane Parish.
The 12-tune set began with “A different view,” the album opener. This is a knotty Gamelan guitaring affair, one that brings to mind some of the work of ‘80s era King Crimson with the dirty guitar tones reminiscent of Trout Mask Replica Captain Beefheart. For this and many of the compositions, the players stayed close to the tight arrangements on the record.
On “Or from being,” Mendoza was a standout riding the higher melody guitar parts and taking a lengthy solo spot followed by Parish. For many of the compositions, Orcutt and Parish held down the bottom while Mendoza and Eisenberg took to the melodic rafters. Eisenberg takes the prize for the most melodically out soloing, for an extended run across the pulse-y tune, “Only at dusk.”
In the dense jungle of weaving guitars and harmonies, a listener gets many musical cross-currents – a bit of fractal boogie, Irish reels, the dense orchestral guitar minimalism of Glenn Branca and, as mentioned earlier, elements of Beefheart, Crimson and Fripp’s League of Crafty Guitarists and Gamelan.
About six songs in Orcutt spoke to audience in an entertaining and self-effacing manner. No naming of the tunes played, just an introduction of his collaborators then a jump into one of the most pleasant chapters of the evening – a traditionally melodic, very spacious unaccompanied solo reminiscent of his “Odds Against Tomorrow” from his 2019 disc of the same name. All the players would get their solo moments and demonstrate differences in approach – unique melodic and textural languages that are adding a fresh face to this very been-around-the-block instrument.
A guy who does with words what Orcutt does with the guitar, the edge-pushing alt.poet and writer William A. Lessard, accompanied me to the show. A lover of pretty much every boundary pushing genre of music, he had his own observations:
“The surprise for me was the moments when the music would drift into Stained Class-era Judas Priest, then give way to microtonal playing by Wendy Eisenberg. Eisenberg, for me, was the big surprise of the night, bringing that Pete Cosey groove into a new context. Anyone who has the chance should see this band; watching them weave together all these influences is a delight.”
The set will soon be available for a limited time at Roulette’s Live Stream Channel on YouTube.
Setlist: A different view, Seen from above, At a distance, In the rain, Out of the corner of the eye, Or from behind, Only at dusk, On the horizon, Barely driving, In profile, From below, Or head On
On Thursday March 30th, The Yumi Kurosawa Trio showcased their new new album “Metamorphosis” in the intimate setting of East Village’s historic Joe’s Pub. The small public theater had a limited guest list, for Yumi’s sound pulled in a high demand of listeners. The contemporary Japanese composer commanded the dimly lit setting as she and her instrumentalists told phonetic stories to the audience.
Photograph by Emma Dowd
A multitude of instruments were perched on display before the trio and a couple of musical guests began to woo the crowd with their sound. A violin, a drumset, a variety of percussion instruments, a microphone, and Yumi’s infamous twenty-string koto. She grew up playing the koto, Japan’s national instrument, and eventually her talents transcended her into national stardom. On her koto, she composed her discography, and with the addition of strings, percussions, and horns her album “Metamorphosis” was fortified. Naho Parrini on the violin and Eric Phinney covering percussion completed the trio.
After performing some soothing introductory songs, Yumi took to the microphone. With gratitude overtaking her stage presence she beamed, “I have waited for today for a long time.” She proceeded to introduce the members of the trio, which elicited a warranted applause from the audience. Thanks were made to ZOHO Records, the Chamber Music Award, the Howard Gilman Foundation, and lastly those who chose to be there that evening.
Photograph by Emma Dowd
With each song came a story. While one song embodied the anxieties and thrills of traveling through South America on her previous tour, the other was meant to infuse life into the emotional stages she goes through when she composes. Her range as a composer was admirable. Traditional Japanese musical roots, Middle Eastern sounds, and contemporary instrumentals were living influences in “Metamorphosis.” She spoke on her ideas, calling them her most “beautiful and unusual” ideas, and referred to the term mandala – sequenced art.
The Yumi Kurosawa Trio surrendered to their music as the instruments seemed to be in control of their bodies. Yumi’s arms flailed into the air and swarmed across the koto strings. Her hands looked so natural. How new spring branches dance from the body of a tree. One couldn’t help but pay attention to their physical show, it almost seemed inhuman, the way they moved. Or perhaps it was the most human thing a person can do, devote their bodies to their instruments and their sound. Their expertise was magnetic, no one could pull their eyes away.
Two guests joined the trio on stage; Carlos Maldonado on the Latin percussion, and Zac Zinger on the shakuhachi and the alto saxophone. Their sound layered ethereally with the trio’s. All of their instruments blended to produce music of the elements. The very raw echo of the hand drums, the fine notes of the violin, the pluck of the koto, and the hollow whistle of the shakuhachi transported the audience out of New York City, to the forests of Japan. If a sound could float, “Metamorphosis” hovered above our heads as a soft rain cloud.
Carlos and Zac left the stage, taking their bows and waving their goodbyes. The trio thanked them and carried out the rest of their show. Once they arrived at their final song, Yumi spoke about her hometown Morioka-city, Japan. She told the audience about their annual event “Obon,” a tradition of welcoming back their ancestors and bidding them farewell again. She related the celebration to the closing of her show by performing their song “Departure.” Each instrumentalist on stage took turns soloing in the middle of the song to “display their roots.”
When Yumi signaled their outro, the audience erupted into lengthy applause. Yumi, Naho, and Eric took to their bows and expressed their grace. The trio reminded everyone to pick up their CD copy of their album, and to tell their neighbor about their sound. Yumi took the microphone and with a proud smile she bid farewell. “We hope to see you again somewhere.”
Photograph by Emma DowdPhotograph by Emma DowdPhotograph by Emma DowdPhotograph by Emma DowdPhotograph by Emma DowdPhotograph by Emma DowdPhotograph by Emma Dowd
Kicking off the spring with a tour in support of their twelfth studio album (Cruel Country, dBpm Records) released in May 2022, recorded live at their studio known as The Loft, Wilco played three consecutive sold-out performances this past weekend at The Capitol Theatre located in the center of downtown Port Chester. As one of 1,800 lucky participants to attend the Chicagoans residency finale on Saturday night (April Fool’s Day) and witness their multi-genre talents, all were treated to an eclectic blend of experimental rock, indie art rock and alternative country.
Dubbed the “American Radiohead” due to their stylistically diverse catalog, Wilco’s career-spanning trio of shows at the iconic concert hall constructed nearly a century ago boasted no repeat songs. Their setlists from Thursday, Friday and Saturday night included a whopping total of sixty-nine different offerings, making for the perfect recipe of deep cuts and crowd favorites that were presented to their adoring fans.
Promptly at 7:30 pm, fellow Chicago natives Horsegirl unassumingly strolled onto the stage. Formed a little more than three years ago when they bonded over their shared love for acts like Sonic Youth, Stereolab and Pavement, the punk-infused trio of indie-rockers comprised of Nora Cheng (guitar, vocals), Penelope Lowenstein (guitar, vocals) and Gigi Reece (drums) have been providing support each night of Wilco’s residency at The Cap, including Wilco’s three night residency a couple of weeks back at the Riviera Theatre in Chicago.
Speaking of Pavement, I first witnessed the immense talent of these young women back in October 2022 when they also opened for said band at Kings Theatre in Brooklyn. Although it was merely six months ago, their growth as a live act has blossomed since then, and they are surely on the right path to a bright future in the music business.
With a palpable, undeniable chemistry, Horsegirl performed a 28-minute set filled with guitar feedback and hypnotic melodies during a collection of songs taken from their debut album (Versions of Modern Performance, Matador Records) released in June 2022, including Homage to “Birdnoculars,” “World of Pots and Pans,” “Option 8” and “Anti-glory.”
As I stood in the photo pit talking with fans along the steel barricade, all of whom were waiting with eager anticipation for the roadies to finish preparing the stage and Wilco’s instruments, I reminisced about the very first time I witnessed the greatness of Wilco. It was here at The Cap, way back on October 30, 2014, when Wilco were celebrating their 20 year anniversary as a rock ‘n’ roll outfit. The night I was in attendance, like tonight, was also the third consecutive sold-out evening of a residency stint that has hosted legendary artists the likes of Janis Joplin, Traffic, Pink Floyd and the Grateful Dead.
At 8:30 pm sharp, when the house lights suddenly went dark, I raised my trusted Nikon “Kamera” to my eye as the sextet of frontman and guitarist Jeff Tweedy, guitarist Nels Cline, bassist John Stirratt, drummer Glenn Kotche, multi-instrumentalist Pat Sansone and keyboardist Mikael Jorgensen took the stage to thunderous applause. Tonight’s two-hour, 23-song set that would bridge nine studio albums altogether – only offerings from 1995’s debut album (A.M.), 2015’s Star Wars and 2016’s Schmilco would be absent – commenced with two tunes from their fifth studio album (A Ghost Is Born, 2004), including “At Least That’s What You Said,” followed by “Spiders (Kidsmoke).”
As I remained in the photo pit for the third song of the night (“The Universe”), taken from the newest addition to their discography Cruel Country, I reminded myself to unglue my eyes from the band in front of me and occasionally glance at the thousands of fan faces behind me. The expressions I witnessed included sheer joy and complete awe, and even one guy headbanging incessantly as he clutched the rail in front of him with both hands. Then, with the song nearing its end, Cline’s guitar tech quickly emerged from the dark shadows at stage right and began working on what appeared to be the pedal board.
While the technical snafu lasted for several minutes until it was successfully resolved by either a repair or a complete change-out of the rig, it resulted in an impromptu setlist change as “Jesus, Etc.” (Yankee Hotel Foxtrot, 2001) moved up to the fourth song slot – it was originally slated to be the last song before the encore. Tweedy, taking advantage of the rare down time, also executed a “Tight Five Comedy Set” where he explained the rules behind winning the “Best Behaved” trophy awarded to only one lucky audience member each night. He also enlightened us that even Horsegirl claimed the top prize back at one of Wilco’s recent Chicago gigs.
The bulk of the main set, which included one musical treasure after another, had Wilco fans dancing with each other, as well as in the aisles. Whereas queues of fans had inundated the venue’s bars and merch tables earlier in the night, they were non-existent now that Wilco was playing. With too many incredible tracks to dive into for this concert review, a few highlights (to name but a few) included the title track from 2011’s The Whole Love, two more songs from Cruel Country (“Mystery Binds” and “Tired of Taking It Out on You”), “Impossible Germany” from 2007’s Sky Blue Sky (there were six total tracks performed tonight from this formative LP) and “Laminated Cat,” a cover song dating back to 2003 by the indie rock supergroup of Tweedy and Kotche, along with multi-instrumentalist Jim O’Rourke of Sonic Youth.
After nearly 100 minutes on a non-stop musical journey, Tweedy and his bandmates, in prime form all night long, collected their breath backstage. After a short recess, our heroes reappeared onstage with Tweedy exclaiming, “I hope you all had as much fun as we have,” before launching into “The Late Greats” (A Ghost Is Born). The gifts kept on coming in the four song encore with “Heavy Metal Drummer” (Yankee Hotel Foxtrot), “A Shot in the Arm” (from 1999’s third studio album Summerteeth) and the final number, “On and On and On” (Sky Blue Sky).
From the box office to the security personnel to the bartenders to the ushers and of course, to the fans, it’s always a memorable time at The Cap, and Saturday night’s closing show was certainly no exception. One of America’s most critically acclaimed acts, Wilco’s rich history of music for nearly the past three decades has made them a beloved band on a generational scale. My NYS Music colleague Chris McShane, a diehard fan since 2007 who attended all three residency shows at The Cap and has seen them perform live more than forty times, proclaimed “What’s amazing is that Wilco is still getting better and better over time, and their three-night run at The Cap had all of their incredible skills on full display. If and when they return to the venue, you’ll want to grab a ticket, whether you’ve never seen them before or are a seasoned veteran of a Wilco show.”
Next up for Wilco is a trip to Reykjavik, Iceland for another three night, sold-out residency on April 6-8. The spring tour continues back in the United States with a stopover at the High Water Festival in North Charleston, South Carolina (April 16), followed by eleven more dates culminating in Athens, Ohio on April 30. Additionally, Tweedy will be performing solo at the Vic Theatre in Chicago, Illinois for a pair of dates on May 19 and 20.
Wilco are also set to release an alternate version to their seminal album Yankee Hotel Foxtrot for Record Store Day on April 22, dubbed Crosseyed Strangers: An Alternate Yankee Hotel Foxtrot. Only 4,500 copies of the vinyl will be available to purchase through participating record stores, so you’ll have to act fast!
Wilco Setlist: At Least That’s What You Said > Spiders (Kidsmoke) > The Universe > Jesus, Etc. > You Are My Face > Whole Love > Mystery Binds > I’ll Fight > Side With the Seeds > One and a Half Stars > Tired of Taking It Out on You > Everyone Hides > Impossible Germany > Sunken Treasure > Laminated Cat (Loose Fur cover) > Reservations > Either Way > Hate It Here > Dawned on Me > Encore: The Late Greats > Heavy Metal Drummer > A Shot in the Arm > On and On and On
