Asbury Park, New Jersey natives Dogs In A Pile stopped in Buffalo for their latest tour on Sunday March 12. Although these guys are considered young in the jam band scene, their chemistry and talent on stage pays no mind to that.
Photo Credit: Maddie McCafferty
Opener Hayley Jane blew away the crowd with her infectious energy and emotive vocals. She brings various styles to the stage including 60s/70s rock, musical funk, blues, soul and more. She played a few songs with Dogs In A Pile which was captivatig to see the collaboration.
Photo Credit: Maddie McCafferty
The eclectic quintet is made up of Jimmy Law (lead guitarist/vocalist), Joe Babick (drums), Jeremy Kaplan (keyboard), Sam Lucid (bass), and Brian Murray (guitar). Babick and Law started jamming together as young kids. Later on they met the other three and formed the band in 2018. They have built their sound through instrumentation of aural mosaics as well as use of psychedelia.
Photo Credit: Maddie McCafferty
Dogs In A Pile played a wide range of material on their setlist full of funk tunes and covers. They also performed songs off of their newly released album Bloom. Some of which were “Today,” “Bent Strange,” and “Fenway.”
Photo Credit: Maddie McCafferty
The group played late into the night filling Buffalo Ironworks with their blend of genres and introspective soundscapes. Dogs In A Pile uses their storytelling techniques to make connective music and fun live shows. Additionally, their energy is undeniable to the crowd which left many new fans of the boys’ ever-growing Dog Pound.
Photo Credit: Maddie McCafferty
Dogs In A Pile are making several more stops in NY. These include Ithaca on March 16 and Saratoga Springs on March 17. Get your tickets here. Also Buffalo Ironworks has upcoming shows including Workingman’s Dead on March 17 and Desmond Jones on March 20.
Photo Credit: Maddie McCafferty
Dogs in a Pile – Buffalo Iron Works – Sunday, March 12
Set 1: Dogs to the Rescue Kids Set: Spongebob Theme, Bugle on the Shelf, Inchworm, Fruit Salad[1,2], Applesauce, Swim to the Middle[2], Jenny Jenkins[3], Ape Man [4], You’ve Got a Friend in Me [5]
Set 2: HJ & The K9s: Brand New Key [6], Hey Pocky A-Way [7], Brand New Key, Jungle Foot, Cosmic Katrina, Paper Fly, Little Bird, This Woman
Set 3Dogs in a Pile: Westward, Stevie Lew, Today, Let U Go, Look Johnny II, Boogie on Reggae Woman [8], Fenway, Craig and Pat, Go Set, Tillie, Trickery [9], Jack & Coke, The Other One [10], Look Johnny, Feel Like A Stranger, [10] Bent Strange
Encore: That’s Life[2]
[1] The Wiggles[2] w/ Hayley Jane[3] Jerry Garcia version[4] The Kinks[5] Randy Newman[6] Melanie[7] The Meters[8 Stevie Wonder[9] Dopapod [10] Grateful Dead
Transporting Albany to interstellar dimension, it was another hip shaking, foot stomping, groovy good time at Lark Hall on Thursday, March 9th as Daniel Donato’s Cosmic Country made their other-worldly debut at the recently revitalized venue.
Unleashing an absolute powerhouse performance, the rapidly rising band from Nashville has been on a freight train to stardom since breaking out at the annual Peach Festival last summer. After the performance on Thursday, March 9, it’s easy to see why and fair to say the Albany faithful are ‘all aboard.’
Taking the stage to a packed house with swagger, wearing vintage seventies garb, cowboy hats and each member having hair down past their shoulders, right away you could tell two things about this band: These guys weren’t from around here and that they came to Albany with intent to impress. Along with Daniel Donato on guitar and vocals, Cosmic Country also features Nathan “Sugar Leg” Aronowitz on keyboards, rhythm guitar and vocals, Will “Mustang” McGee on electric/upright bass, and Noah Winner on drums and percussion. The band was last in town on October 29th, 2022 opening for the Kitchen Dwellers in Saratoga Springs, but for this three hour, two set performance at Lark Hall, there was no opening act.
Coming out of the gates with a “Fourteen Carat Mind” > “Lose Your Mind,” > “Faded Lovin’” trifecta, it didn’t take the Cosmic Country band long to showcase their incredible songwriting and technically proficient chops. Easing the audience in with beautiful harmonies and tasteful melodies, the band effortlessly blended together genres like outlaw country and modern bluegrass with elements of funk, experimental jazz and rockabilly.
By the time the young guitarist virtuoso Donato and his teal-colored telecaster landed on “Sugar Shack,” the whole room was in the palm of his hands and grooving together as one. Seizing the moment and an opportunity to try something new, the band would then stretch their legs a bit on the unreleased song “Gotta Get Southbound.” A tune about departure, exploration and freedom, Donato described it as “encompassing many emotions, but mainly, is for the soul that needs to adventure to awaken and discover a better world and reality.”
Keeping with the positive outlook, bass player ‘Mustang’ McGee would switch out his electric bass for an upright one on “Half Moon Night” which features the lyrics “I’m gonna shine, shine, shine. No matter how dark it may be.” Next, one lucky fan would get their wish as Cosmic Country then played “Fox On The Run” which had verbally been requested several times earlier in the set. Up next was “Darlin’ Cory,” a timeless old murder ballad Danoto first started playing years ago when he was gigging with The Don Kelley Band around Nashville and now appears on his 2021 studio album Cosmic Country & Western Songs Western Songs.
“Arkansas Traveler” and “Rose In a Garden” would follow suit before Donato would lead us into set break with another homage to the Don Kelly Band, this time in the form of “Ghost Riders in the Sky.” Calling it “one of the most heroic songs of the great American Western catalogue of music,” Donato believes “the journey this song takes you on, musically, is a mutually understood and realized feeling that we all possess inside us. The truth of the sincere feelings this song conjures would be the only explanation as to why this vehicle of song has transcended nearly 70 years of cultural and musical change.”
After a brief break in the action, things would get rolling again as “Hi Country” was selected to kick off the second set. Bringing serious early 70’s Dead vibes with it, momentum would continue to build as Cosmic Country then segued their way through a “Luck of the Draw” > “Sugar Leg Rag,” which gave keyboard player and rhythm guitarist Nathan Aronowitz ample time to bask in the spotlight. Slowing the pace up for a bit was another unreleased new one called “Chore” that started off as a bluesy ballad and featured beautiful full-band harmonies before the improvisational section of the song launched the room into the next stratosphere with Donato’s lightning-fast finger work largely to blame.
Feeling the collective storm of energy, it was only fitting that “Weathervane” make in appearance in the set next, though some fans humorously confused it for a cover of “Peaches” by The Presidents of The United States of America at first. They did get a cover next, however, as Wille Nelson’s “Blue Skies” brought many smiles to the older folks in attendance. The outlaw train kept rollin’ next with a smokin’ version of “Mystery Train” followed up by Mustang McGee taking over vocal duties for a rollicking rendition of “Ten Feet of Rope.” Fully vibing off the shared frequencies felt in every corner of the room, “Double Exposure” felt particularly passionate, psychedelic and on point and even featured a dynamic guitar duel exchange between Donato and the multi-talented “Sugar Leg” Aronowitz. “When you find yourself running low on the colors that you need, keep searching through the afterglow for positivity guaranteed!”
Clearly having fun and sharing in the groove, the genre defiance reached a new level as “Dance in the Desert” crossed multiple boundaries and had everyone in the place cutting a rug before reaching its final soaring peak and bringing the second set to a close. Hungry for one more song, the audience was practically begging for an encore. Happy to oblige with a bit of showmanship, Cosmic Country returned to the stage with huge smiles on their faces.
While many songs on the evening felt reminiscent of early 70’s Grateful Dead, there was no mistaking that certain twang on the song chosen for an encore. Uncorking a red-hot version of “Cumberland Blues,” even the hardest Dead Heads in the room were loving it and clearly giving Daniel Donato’s Cosmic Country the coveted ‘Albany Seal of Approval.’ After the song, the band’s photographer would take a group wide shot and the guys would hang around meeting their newest fans and signing merchandise.
Reflecting on the show, Donato would later take post to social media “Albany still to this day has essence of a very original spirit, that spirit we all know and love, and search for when the music plays. It’s not my ability to name this sensation, but I do know when the room is feeling this strange, synchronous, and benevolently fleeting frequency. Albany delivered this to us in such a concentrated and positive way, and for that, we love you.”
Up next Cosmic Country will return to Garcia’s in Port Chester and then head to Lewes, De, followed by a pair of dates in Virginia, before they wrap up this winter run in Charleston, SC. Already booked for a number of major music festivals and high profile gigs throughout the summer, it’s easy to predict big things ahead for this band on the rise. Keeping the honky-tonk spirit alive by honoring their heroes like the Don Kelly Band, The Grateful Dead, Rory Gallagher and The Allman Brothers, Daniel Donato’s Cosmic Country Band is a special combination of something old and something new married together in a most profound way.
Complete, with great songwriting, a beautiful tone, a never-ending flow of fresh licks and an absolutely badass cast of musicians behind him, we suspect the portal to Danial Donato’s Cosmic Country universe has only just opened and their rocket ship to stardom is right on the cusp of hitting lightspeed.
Cosmic Country | March 9, 2023 | Albany, NY | Lark Hall
Set 1: Fourteen Carat Mind, Lose Your Mind, Faded Lovin’, Sugar Shack, Gotta Get Southbound, Half Moon Night, Fox on the Run, Darlin’ Cory (Don Kelley Band cover), Arkansas Traveler, Rose In a Garden, Ghost Riders in the Sky,
Set 2: Hi-Country, Luck of the Draw > Sugar Leg Rag, Chore, Weathervane > Blue Skies (Willie Nelson cover), Mystery Train, Teen Feet of Rope, Double Exposure, Dance in the Desert
On March 3, The Borgata in Atlantic City lit up with excitement and anticipation as the legendary Smokey Robinson took the stage for what turned out to be a night to remember. The audience knew they were in for a treat when the lights went down, and Robinson’s signature falsetto voice filled the room with his classic hit “Being With You.”
Smokey Robinson 3.3.23
Robinson, 83, took the audience on a musical journey that spanned five decades as he belted out hit after hit. From the ballads “Cruisin” and “Quiet Storm” to the upbeat “Tears of a Clown” and “I Second That Emotion,” Robinson kept the audience dancing and singing along throughout the night.
Smokey Robinson 3.3.23
Robinson’s backup singers and band were top-notch, and their chemistry with him was evident in the way they moved seamlessly through each song, taking the audience from slow romantic moments to uptempo dance numbers. Known for his smooth and soulful voice, Robinson’s performance showed that he hadn’t lost any of his vocal prowess. He effortlessly hit every note and captivated the audience with his dynamic stage presence.
Smokey Robinson 3.3.23
As the night drew to a close, Robinson finished with his timeless hit “Tracks of My Tears,” leaving the audience spellbound and begging for more. It was a concert that will undoubtedly go down in the history books as one of the best ever performed at The Borgata. Smokey Robinson proved that age is just a number as he delivered an unforgettable performance that left a lasting impression on his fans.
Setlist: Intro, Being With You, I Second That Emotion, You’ve Really Got a Hold on Me, Quiet Storm, Ooo Baby Baby, Get Ready, My Girl, The Way You Do The Things You Do, Tears of a Clown, Fly Me To The Moon, Just To See Her, I Love Your Face, La Mirada, The Tracks of My Tears, Cruisin’
Electrifying punk rock group Meet Me @ The Altar blew the roof of Gramercy Theatre on March 2 as part as their first ever headline tour. Along with their openers Daisy Grenade and their intense sound, and Young Culture’s standout stage presence, the Meet Me @ The Altar show was absolutely unforgettable for anyone in attendance.
Photograph by Chinaza Ajuonuma
Meet Me @ The Altar is a three-piece WOC pop-punk band, consisting of guitarist/bassist/singer Téa Campbell (Florida), drummer Ada Juarez (New Jersey), and singer Edith Johnson (Georgia). Originally formed in 2015, the three members—all of whom lived in different states at the time—worked on music remotely through the internet. The band went on their first tour in 2018 and were signed by Fueled by Ramen in 2020. Their creativity continues with their new album Past // Present // Future that came out on March 10.
Photograph by Chinaza Ajuonuma
Daisy Grenade is a power-punk bubble grunge band that serves a punch with a lip-glossed kiss on the side. Made up of the two gorgeously disturbed girlies Keaton Whittaker and Dani Nigro, they turned their unapologetically feminine angst into sickeningly catchy, morbidly worded bubble-grunge bops that are dripping out of a saccharine shell. With Pete Wentz as a mentor and the collaboration of The Ready Set for their sophomore EP, CULT CLASSIC, these two theater kids started making music in 2020 and haven’t looked back.
Daisy Grenade Setlist: Heavy Metal Parking Lot Kind Of Cool, Darby, Stone’s Throw, Skin, I Got It Bad, Rorschach, Dominoes, Colm’s, Veritas, Pocket Change
Photograph by Chinaza Ajuonuma
Hailing from Albany, the trio of Alex Magnan, Gabe Pietrafesa, Troy Burchett that make up Young Culture have been brewing their sound for the past couple of years and most recently have released their album You Had To Be There. Their music can be described as early 2000s-sunshine-rock-meets-modern-technology that pops with bright color and vibrant emotion. The band signed with Equal Vision Records in 2018 and have been releasing banger after banger ever since.
Young Culture Setlist: Not In Love, Drift, Smooth, Fantasy, Silver Lining, Shiver, Holiday in Vegas, Serendipity, Different Now, Kinda Over It
Photograph by Chinaza Ajuonuma
Daisy Grenade took the stage first, launching directly into a hardcore “Heavy Metal Parking Lot Kind Of Cool”. Embodying female angst and jumping around the stage, the energy in the room was electric. The crowd was moshing along as they played new songs, like “Skin” and “I Got It Bad”. After a quick shoutout to their parents in the crowd, the fans for bringing the energy, Daisy Grenade retired the stage with a bang after playing “Pocket Change.”
Photograph by Chinaza Ajuonuma
There was a shift in the room when Young Culture emerged. The chants from fans were almost deafening, as all you could hear was their little tagline, “YC F*CKS”. Launching right into “Not In Love” from their most recent album. The crowd’s enthusiasm skyrocketed as Alex left the stage to stand on the barricade, directly interacting with the fans during the set. With encouragement from the band, the crowd surfing began, putting security to work. From the constant chanting to the jostling of the fans around in the pit, the energy in the room built up to new heights.
Photograph by Chinaza Ajuonuma
By the time Meet Me @ The Altar took the stage, the crowd was buzzing with anticipation. With Téa and Ada tuning and prepping their instruments. Riding off the high of the crowd chanting their names, leading lady Edith hops out and launches into one of the bands most well known songs, “Say It (To My Face)”. With an energy equivalent to a pop punk rager, this hardcore show can only be described as feral and free. The chanting and the crowdsurfing didn’t cease, even long after they performed their final song. Only a week before the release of their new album, Meet Me @ The Altar is on an upward trajectory when it comes to their sound.
Meet Me @ The Altar Setlist: Say It (To My Face), Beyond My Control, Hit Like A Girl, King of Everything, Try, May The Odds Be Ever In Your Favor, Now Or Never, Feel A Thing, [unknown song], Complicated, Same Lane, A Few Tomorrow, Garden
Photograph by Chinaza Ajuonuma
In terms of upcoming shows, Daisy Grenade will be on tour with Meet Me @ The Altar until April. They’re then scheduled to head on tour supporting Fall Out Boy on multiple dates from June 23rd in Montana to July in Colorado. For any updates on future shows and tours, check out their website.
Young Culture will also be with Meet Me @ The Altar until April, but past that, there is nothing scheduled. For updates, check their website and socials.
After tour wraps, you can find Meet Me @ The Altar at an array of different festivals, from Adjacent Festival in New Jersey to Leeds Festival in the UK.
On a rainy Friday night in Brooklyn, fans eagerly lined up outside Elsewhere to catch New York native Skizzy Mars’ return to the venue after a few years. Despite the rain, the line on March 10 extended around the block, a testament to the rapper’s popularity in New York.
Inside the venue, Skizzy Mars delivered an exceptional performance, playing a mix of his most popular singles including “Do You There” with Marc E. Bassy, “Crash” with Pell, and “Recognize” with Joji, alongside his solo hits like “Leave Me,” “Calabasas,” and “STROBE LIGHTS.” The crowd sang along with every word, creating a lively and engaging atmosphere.
Skizzy’s interaction with the crowd was exceptional, showing his love and appreciation for his fans throughout the night. The production of the show was top-notch, with perfectly coordinated lighting and sound that elevated the performance to another level.
As the show came to a close, fans were left wanting more and cheered for an encore. People stayed behind to take pictures with Skizzy Mars and purchase merchandise, adding to the already charged atmosphere.
Skizzy Mars’ return to Elsewhere was a testament to his incredible talent as an artist, leaving fans eagerly anticipating his next show and the new music he has in store for them. His performance was exceptional, showcasing his growth as an artist and his connection with his fans.
In conclusion, Skizzy Mars delivered an unforgettable performance on a rainy Friday night at Elsewhere, leaving fans eager for more. The show had an exceptional vibe, with an enthusiastic and lively crowd that had patiently waited in the rain to see their favorite artist. The production of the show was outstanding, and Skizzy’s performance was exceptional.
Goose and their flock of fans have descended upon Port Chester for five nights of indie jam rock. With three nights down, there have been debuts, fresh covers and a sit-in from none other than Jimmy Fallon.
Goose closed out their five-night stand at the Capitol Theatre on Sunday night with a blazing hot show packed with pockets of dense improvisation.
Opening the night with “Time to Flee,” the quintet wasted absolutely no time and delivered a punchy 17-minute version highlighting guitarist Rick Mitarotonda’s scorching guitar tone and playing. The band next offered up the synth-drenched arrangement of “Indian River” coupled with its usual “Welcome to Delta” jam. The peppy piano-led groove felt more energetic than its normal laid-back vibe, blasting to more incredible peaks as the energy in the crowd seemed to continue rising.
A big trend for the final two nights of the Cap run was pure ENERGY. The 1800-capacity venue was amped from the first note of Wednesday night’s show but the weekend crowd took it to another level.
A deceptive cool-down song in the Peter Anspach-penned “Honeybee” quickly elevated to more soaring guitar licks from Mitarotonda before Goose fired up the dance party of “Jeff Engborg.” Named for Anspach’s old Great Blue bandmate, the fifth Goose performance of this song is a personal favourite of mine due to what I call “Big Clav Energy.” The rhythm section of drummer Ben Atkind, percussionist Jeff Arevalo, and bassist Trevor Weekz locked in as Anspach and Mitarotonda shredded over peak after peak.
Taking a moment to breathe and reflect with the 75-show bustout of “It Burns Within,” the band jumped into a fun “Butter Rum” to close the set. While a concise and energy-filled 8-minute version could have done just fine in this slot, Goose opted to deliver possibly the finest version of the song played to date, stretching just past the 20-minute mark. Anspach’s Prophet and Nord synths got a serious workout in the latter half as Mitarotonda riffed on a theme similar to Kylie Minogue’s “Can’t Get You Out Of My Head.”
The final set of the five-night run began with a lengthy “Arrow,” breaking its longest show gap in three years. Mitarotonda attacked the jam with the same animalistic ferocity he had been displaying all week, and while it stayed relatively within the song’s boundaries, it should NOT be overlooked. A calm and beautiful reading of ballad “A Western Sun” led to another dance party in “Into the Myst.” Atkind propelled the band into a steady jam as Anspach worked his Vintage Vibe electric piano through the segue into “White Lights.”
Looking at the setlist on paper, this relatively short song in the middle of the set may look innocent enough, but it is well worth a listen. One of the biggest peaks of the entire weekend took place as the incredibly positive energy of the band and crowd flowed. Anspach danced like a happy camper within his keyboard rig as all five members became pieces of the same improvisational brain and launched the Cap into orbit.
A patient build on iconic Goose song “Elmeg the Wise” brought the tenth and final set of the run to a close in fine fashion. Anspach took a moment before the encore to thank each and every member of the Goose crew as well as the venue staff for an unforgettable week before the band absolutely tore “The Empress of Organos” to shreds. Weekz got his final bass solo to cap of what was undoubtedly the week of the BASS.
Over the course of five nights, Goose played 64 songs – 60 of which were originals and three of those debuts. The band took new risks in improv, debuted new rigs and tones, a new light rig – the list goes on!
With an extensive spring tour beginning next week in Boston, their first proper “tour” since October, anticipation could not be higher for what is to come in the future!
Goose – Sunday, March 12
Set 1: Time to Flee, Indian River[1], Honeybee[2], Jeff Engborg, It Burns Within, Butter Rum
Set 2: Arrow[3], A Western Sun, Into The Myst[3] > White Lights, Elmeg The Wise
Encore: The Empress Of Organos
[1] 80s synth version. With Welcome to Delta jam. [2] With Coach on rainstick. [3] Unfinished.
Saturday, March 11
For night four of five at the Capitol Theatre, Goose delivered what some have called the best show of the run yet – two dense sets packed with energy, improvisation and incredible playing from all five members.
Opening up the show with an upbeat “Echo of a Rose,” guitarist Rick Mitarotonda quickly led the jam from an airy space into a grimy section propelled by drummer Ben Atkind’s persistent beat. Using that as a launchpad for a modulation into Bob Seger’s “Hollywood Nights,” the band and crowd alike blazed through the rocking cover with great aplomb.
Ripping through a thick “Bob Don” next, Mitarotonda and multi-instrumentalist Peter Anspach locked in on the outro “With” jam as the crowd’s energy continued to climb higher through the band’s return to the ending of “Echo.” The twin parts of “Seekers on the Ridge” offered a bit of a breather before another incendiary Mitarotonda solo blew up the building in Part II.
“Mr. Action” was tapped ahead of a set-closing “Same Old Shenanigans,” a perfect call for the energy-focused first set. Anspach and Mitarotonda shined once again during their respective solos as the rhythm section locked in underneath them on the path to several mountainous peaks that ended the first frame.
Returning with “Hungersite” to open the second set, Goose wasted no time before diving directly into a heavy-hitting space that Mitarotonda peaked massively. Atkind and percussionist Jeff Arevalo’s insistent drumming helped push the blazing improv. Post-peak, bassist Trevor Weekz stepped out as the band led into a thick and grimy motif that has popped up numerous times throughout the Cap run.
“Silver Rising” offered a cool-down after the intensity of the “Hungersite” jam before the band debuted Anspach original “Feel It Now.” This catchy and danceable song is highlighted by a peppy groove and bright guitar lines from Mitarotonda – there is also tremendous jam potential that I am certain will come to fruition as the song gets played more.
Where else to go in the middle of a Saturday night second set than with “Arcadia”? Weekz once again absolutely brought the house down with a deep and funky bass solo before an aggressive theme developed. Picking up the pace and energy once again, Goose blasted the capacity crowd with peak after peak as they shredded through the ending of the song. A heartfelt and tender “726” closed out the second set.
Ripping into “Dripfield” for the encore was a perfect choice, getting the crowd moving in time with the pounding drums as the title track to the band’s most recent album rocked the Cap to close.
Goose – Saturday, March 11
Set 1: Echo Of A Rose[1] -> Hollywood Nights[2] > Bob Don[3] -> Echo Of A Rose, Seekers On The Ridge Pt. 1 > Seekers On The Ridge Pt. 2, Mr. Action, Same Old Shenanigans Set 2: Hungersite, Silver Rising, Feel It Now[4], Arcadia, 726 Encore: Dripfield [1] Fast version [2] Bob Seger & The Silver Bullet Band [3] With [4] FTP
Friday, March 10
For the third of five nights at the Capitol Theatre, Goose delivered two blazing sets that were lighter on the improv that the first two shows but had possibly the highest energy of the run so far.
Opening up the night with a funky “Animal,” the band jumped into a concise “Flodown” next where multi-instrumentalist Peter Anspach threw in Prophet synth sounds as guitarist Rick Mitarotonda toyed with his delay pedals. Upbeat rocker “Everything Must Go” and Anspach tune “The Whales” continued the set before the energy really got taken up a few notches with “Turbulence & The Night Rays.”
The rocking Vasudo-penned song seems to reach new heights each time it gets played, and Mitarotonda’s emphatic solo had the packed Cap eager for more. Anspach took a second to introduce the next song, debut “Lead Up.” Displaying a rocking vibe similar to the Red Hot Chili Peppers at times, “Lead Up” retained that distinctive Goose song as well as showing off the band’s dual-guitar sound – the last two Goose original debuts with Anspach on guitar were “Butterflies” in June 2022 and “The Whales” in June 2020!
The momentum and energy of the first set came to a peak with crowd and band favourite “Thatch,” which featured its first extended improv and some mind-blowing work from drummer Ben Atkind and percussionist Jeff Arevalo, the latter of whom seemed to be at risk of breaking his cymbals from the sheer force of his hits.
Returning from a lengthy setbreak, Anspach took a stroll into the crowd during the intro to “Creatures.” The dance party song morphed into a gorgeous bliss jam distinctly reminiscent of its counterpart from Legend Valley in 2022. Bassist Trevor Weekz really stepped out in this segment, while Atkind spun a beat that made the jam feel like the beginning of an “Empress of Organos” jam. Slowly returning to earth, Anspach led the band into “Red Bird” as lighting director Andrew Goedde bathed the stage in that colour for the duration of the song.
The bird took flight with a rocking jam led once again by the rhythm section – Atkind’s pounding toms and Weekz’s bursting envelope filter playing propelled the quintet to a series of big peaks ahead of a transition into Peter Gabriel’s “In Your Eyes.” Offering up the finest improvisation of the night, the classic cover tune quickly opened up into a thrashing groove as Mitarotonda took the reins with some serious fretboard fireworks. Building into some darker themes, Goose exploded into an amazing major-key section with strong “SOS” vibes before landing in tender ballad “Arise.”
Most known for its acoustic performances with offshoot group Orebolo, this gorgeous and heartfelt song translated exceptionally well to an electric setting for just the fifth time ever. Arevalo made an inside reference to a well-known acoustic performance with a reminder for the crowd to “zip it” before the song began (note: his instruction was followed by some, but not all). A blazing “Hot Tea” complete with filthy wah guitar from Mitarotonda, crunchy clav from Anspach, and a bass solo from Trevor closed out the set.
Goose welcomed comedian Jimmy Fallon to the stage for an encore of “Mustang Sally” last night that had the crowd eating up every moment of the fun shtick.
Goose – Friday, March 10
Set 1: Animal, Flodown, Everything Must Go, The Whales, Turbulence & The Night Rays, Lead Up[1], Thatch Set 2: Creatures, Red Bird, In Your Eyes[2], Arise, Hot Tea Encore: Mustang Sally[3]
[1] FTP [2] Peter Gabriel [3] Wilson Pickett. With Jimmy Fallon on vocals
Thursday, March 9
Goose threw down another heater on Thursday night at The Capitol Theatre for the second of five shows at the historic venue. While nothing quite reached the improvisational heights of Wednesday’s show, the band but together two well-flowing and complete sets with fantastic moments throughout.
Beginning the night with a hot “Jive I”, guitarist Rick Mitarotonda and multi-instrumentalist Peter Anspach took their usual spotlights on the song with energetic solos as the crowd got warmed up. A jamless “Atlas Dogs” followed before the quintet fired up Anspach tune “Elizabeth.” The first extended jamming of the night, while just barely cracking the 10-minute mark, saw the band get into some nice churning themes.
The slinky vibe of “California Magic” fit the vibe of the first set perfectly before a new double-time arrangement of “Borne” was tapped next. Part of this new take on the song is a much cleaner slide into the jam which the band took full advantage of, developing a spacey theme with reverb-drenched piano at the forefront. Bassist Trevor Weekz led a slow build as the band worked together in a very democratic fashion. Drummer Ben Atkind pounded away at his toms as the jam build to a solid peak.
Anspach stepped out again on the Vintage Vibe outro to “The Old Man’s Boat” before Mitarotonda led Goose into “Rockdale.” Getting into the grime immediately, Anspach’s low clavinet colouring and Weekz’ deep bass accentuated Mitarotonda’s tension-building guitar as the band built to several phenomenal and explosive peaks to close out the first set.
The second set began in fine fashion with a long “Tumble.” The jam began with its classic dual-guitar churn groove as Mitarotonda got the energy of the crowd up. After hitting a first peak, the band took the vibe down and Anspach hit the keyboards. Displaying his impressive interplay with Mitarotonda that we’ve been seeing this week, Goose dove deep into a quieter section within “Tumble” that gave percussionist Jeff Arevalo an opportunity to really step to the sonic forefront of the jam.
Reaching a progression reminiscent of “Love is a Battlefield,” Mitarotonda took back the reins of the improv and built back to a final peak and return to the song. The guitarist then fronted the quintet on the debut of original “Not Alone,” a tender ballad that was received extremely well by the crowd – it acted as the perfect breather between two big second-set jams.
“Rosewood Heart” was tapped next and saw Anspach dialing up percussive loops on his Prophet synthesizer as Goose took a very different route in the jam. Eschewing the normal Type I section, they opted for a funky and percussive groove that had the venue getting down for its duration. A powerful rendition of Nina Simone’s “Sinnerman” came next before Goose ripped out “Madhuvan” to close the set.
Few songs elicit a crowd reaction on the level of this massive jam vehicle, and last night was no different. Beginning in a space not unlike its counterpart from Glens Falls this past November, Anspach laid down low tones on the Vintage Vibe while simultaneously creating feedback from his guitar, lending to the immediate dark and eerie tone of the jam. Patiently exploring every inch of this motif, Weekz dropped massive bombs as synthesizer loops and guitar arpeggios dominated the space. Gradually picking up steam, the improv took on a lighter tone as the band hit on their second “Loose Ends” tease of the week. Continuing the huge build, Mitarotonda led his bandmates into the ending of “Madhuvan” at full tilt, bringing an excellent set and show to a close. A brief encore of “Turned Clouds” sent the crowd home happy.
Goose – Thursday, March 9
Set 1: Jive I, Atlas Dogs, Elizabeth, California Magic, Borne[1], The Old Man’s Boat, Rockdale Set 2: Tumble[2], Not Alone[3], Rosewood, Heart > Sinnerman[4], Madhuvan[5] Encore: Turned Clouds
[1] Double time feel [2] With Pick Up The Pieces tease from Ric [3] FTP [4] Nina Simone [5] With Loose Ends teases
Wednesday, March 8
For the first night of Goose’s Capitol Theatre five night run, starting the run with what they ended Okeechobee Music and Arts Festival with, Eddy Grant’s “Electric Avenue.” Check out video and more photos from Cory Schwartz below.
Set 1: Jam -> Electric Avenue[1], All I Need[2] > Dr. Darkness, Butterflies, Jive II, Earthling or Alien?[3], So Ready Set 2: Wysteria Lane > Doobie Song, Drive[4], Yeti, Your Ocean Encore: Pancakes
[1] Eddy Grant. Ending only, finishing the version from 3/3/23 Okeechobee [2] Slow, melodic version [3] With Jive II teases from Trevor [4] With Loose Ends teases
Evanescence, the iconic rock band fronted by lead vocalist and pianist Amy Lee, lead guitarist Troy McLawhorn, bassist Emma Anzai, drummer Will Hunt, and rhythm guitarist Tim McCord, brought their “The Bitter Truth” tour to the Scotiabank Arena in Toronto on March 9th, and it was a night that will not be soon forgotten.
With a setlist that included a mix of old favorites and new hits, the band showcased their incredible musical talent and emotional depth, delivering a powerful and unforgettable performance.
Will Hunt
From the moment the band took the stage, it was clear that they were there to give their all. Opening with “Broken Pieces Shine,” a haunting and emotional ballad that set the tone for the night. Evanescence launched into a setlist that showcased their versatility and their passion for music.
Emma Anzai
Throughout the night, Amy Lee’s voice was as powerful and evocative as ever. Her voice soared above the instrumentation to create a sense of drama and intensity that was felt by everyone in the arena. Her piano playing was equally impressive, adding depth and texture to the band’s sound.
Troy McLawhorn
But the rest of the band was equally impressive. Troy McLawhorn’s blistering guitar solos and Tim McCord’s rhythm guitar and backing vocals adding a layer of complexity and energy to the music. Emma Anzai’s bass and Will Hunt’s drumming provided a solid foundation for the band’s sound, driving the music forward and keeping the audience on their feet.
Amy Lee
The setlist was a mix of old favorites and new hits, with songs like “Going Under,” “Call Me When You’re Sober,” and “My Immortal” drawing huge cheers from the crowd. But it was the newer songs that really stood out, with “Better Without You” and “Blind Belief” proving that Evanescence is a band that is constantly evolving and growing.
Tim McCord
One of the highlights of the night was “Lithium,” a haunting and emotional ballad that showcased Amy Lee’s incredible vocal range and emotional depth. As she poured her heart out on stage, the audience was transfixed, hanging on every note and every word.
Overall, Evanescence’s “The Bitter Truth” tour is a testament to the band’s incredible talent and enduring popularity. With each member bringing their own unique skills and energy to the stage, it’s clear that Evanescence is a band that is at the top of their game. If you have the chance to see them live, don’t miss out – it’s an experience you’ll never forget.
Their next show will be in New York City at Madison Square Garden on March 17.
For many Talking Heads’ fans, their 1980 album, Remain In Light, is the pinnacle. It’s groundbreaking blend of Afrobeat rhythms, synth textures, obtuse lyrics, Brian Eno’s crafty production and the searing “stunt guitar” of Adrian Belew made it a classic – the disc that put the funk into punk and New Wave. It was also the album that propelled this art school educated band of newbie groove nerds into the MTV mainstream. This was a non-stop dance party with cerebral trimmings, a collection of fierce tunes that were always the best parts of a Talking Heads’ live show, something evidenced in the peerless concert film made about their tour to support it, Stop Making Sense.
Last month, the band’s founding keyboardist Jerry Harrison teamed up with Belew and the band Cool Cool Cool to bring a concert celebrating the iconic album to 19 cities coast-to-coast.
If the March 8th performance at Albany’s Empire Live was any indication, they have achieved their stated goal – to recreate the excitement and joy of the Talking Heads’ remarkable 1980 tour.
The evening opened with a strong seven-song set by Cool Cool Cool, a super slick collective of funkateers with tight vocal harmonies, punchy horns, clavinet soul and stage presence to spare. The band is comprised of seven musicians who split – dramatically and en masse – from their former long-running band, the popular festival attraction Turkuaz, a year back. It includes Shira Elias and Sammi Garett (vocalists), Chris Brouwers (trumpet), Josh Schwartz (tenor/baritone sax/vocals), Greg Sanderson (alto/ tenor sax), Michelangelo Carubba (drums) and Craig Brodhead (guitar/keys). For this tour, the group is augmented by master bassist Julie Slick (Adrian Belew Power Trio/The Crimson ProjeKct) and percussionist Yahuba Garcia-Torres.
The Prince/Sly Stone/Tower of Power vibes were in evidence from the opener, “Gotta Give It Away,” sung with bravado and David Byrne-like hand gestures by Josh Schwartz (those would return in the next set too!). Shira Elias distinguished herself with lead vocals on “NAH” and “Tied Up,” while Sammi Garett shined on the ballad ,“With You,” and the baritone sax-driven set closer, “Try.”
Cool Cool Cool is not only a joyful party band but an ensemble of players’ players. In a duo of tunes, saxman Greg Sanderson slowly architected long spiraling solos that brought to mind the great Kenny Garrett in Miles Davis’ late 80s/early 90s band. On “With You,” Chris Brouwers offered up a muted trumpet solo with plenty of spacey echo. It was one that fused his own Milesisms with the prog/ambient leanings of ECM Records’ trumpet great Nils Petter Molvaer.
Harrison and Belew covered 14-songs in their set, most of Remain In Light, along with classics like “I Zimbra,” “Cities” and “Drugs” from their 1979 album, Fear of Music, and “Psycho Killer,” the set opener from their debut disc, Talking Heads: 77.
As he did in King Crimson, Belew handled most of the lead vocals in a style that bears more than a passing resemblance to David Byrne.
As anyone who’s seen him live can attest, Belew has boatloads of charisma. He’s got an amiable everyman vibe that invites everyone into the party, while sometimes obscuring his revolutionary talent as a guitarist. On “Psycho Killer,” he projected the appropriate amount of psycho and slayed with the first of his many animalistic guitar solos on the outro. The following tune, a rendition of “Houses in Motion,” greatly benefited from the backing vocals Shira and Sammi provided to Harrison’s lead. And here, there was another revelatory solo from Belew, who made his guitar sound like the Indian horn instrument heard on another Harrison’s The Beatles tunes, the shehnai.
Cool Cool Cool’s horn section ladled on added heft to many of the songs, especially “Cities” and “Born Under the Punches.” The latter was sung, more so preached with Byrne-like hand gestures, by Schwartz.
Jerry Harrison enjoyed a solo spot on two tunes, “Rev It Up” from his solo disc Casual Gods and “Slippery People” a much-covered song from the Heads’ 1983 album, Speaking in Tongues. The first number left space for an obtuse keyboard solo from Harrison and a nice guitar solo from Cool’s Craig Brodhead, who added some funky wah wah clavinet through both sets. Belew got his solo turn with a high-energy take on “Thela Hun Ginjeet” from King Crimson’s Discipline. More whammy bar guitar solo torment (a very VERY good thing) from Adrian on this track, one which featured a playback of his recounting his mugging in NYC from Crimson’s original recording.
Schwartz was back on lead vox doing his best Byrne for “Once In A Lifetime” and the set reached a peak with “Take Me to the River.” The Harrison/Belew version had even more punch than the Talking Heads’ original, bolstered by a Stax Records/Memphis stew of horns and backing vocal power.
The evening ended with a delightfully off-the-rails spin on “The Great Curve.” On Remain In Light, this tune percolates at 152 beats-per-minute, a hectic pace bettered in this live performance. It is also the song where Belew first got to fully stretch out on record. On record and at this concert, he stopped the show with his uniquely “apeshit” brand of Fender Stratocaster abuse, a step ahead in guitaring and stomp box logic that was the natural extension of Hendrix’s “Star-Spangled Banner” at Woodstock.
As fan well knows, the likelihood of seeing the original Talking Heads reformed in concert is quite dim. And Remain In Light itself is one of the sticking points, with songs that grew out of collective grooves and improvs at rehearsals for which Harrison, drummer Chris Franz and bassist Tina Weymouth may not have gotten their due.
And while he just dropped in to overdub his parts, Belew is another important ingredient without whom this album may not have been quite as iconic and continually relevant to new generations of music-lovers.
On February 24, Nas took the stage at Madison Square Garden (MSG) for his highly-anticipated One Night Only: King’s Disease Trilogy concert. This was the first time the Queensbridge native played The Garden. The concert included songs from all three of his King’s Disease albums, along with some of his biggest hits from over the years.
The first half of the performance kicked off with Nas performing tracks from King’s Disease I, II and III, including “Blue Benz” and “27 Summers,” both of which were met with a thunderous applause from the crowd. Other songs he performed from the trilogy albums included “I’m on Fire,” “Spicy” and “Reminisce.”
After delivering an energetic first half of the concert, Nas took a brief intermission before returning to the stage for the second half of the show. This time around, he performed some of his most iconic hits, including “If I Ruled the World,” “Hate Me Now,” and “NY State of Mind.”
Nas’s first Madison Square Garden show was truly a star-studded affair, thanks to his impressive lineup of special guests. Hit boy, the celebrated producer and rapper, joined Nas on stage for “Michael & Quincy.” The legendary Mary J. Blige also made an appearance, bringing her soulful voice and electrifying presence to the stage for “You Remind Me.” Meanwhile, AZ, one of Nas’s longtime collaborators, wowed the audience with his impeccable flow on “Life’s a Bitch.” And last but not least, Slick Rick, the iconic rapper and storyteller, joined Nas for a performance of “Hey Young World.” Together, these special guests helped make the show an unforgettable experience that will be remembered for years to come.
Nas – MSG – February 24, 2023
Setlist: King’s Disease, Blue Benz, Car #85, 27 Summers, Ultra Black, Spicy, YKTV, The Definition, Get Light, Death Row East, The Pressure, I’m On Fire, 40 Side, Store Run, Rare, Speechless, Wave Gods, Thun, Michael & Quincy (Feat Hit Boy), Reminisce, Your Remind Me (Feat Mary J. Blige), 30, Legit, NY State of Mind, Life’s A Bitch (Feat AZ), It Ain’t Hard To Tell, Hey Young World (Feat Slick Rick), The World Is Yours, The Message, Street Dreams, Represent, Hate Me Now, Made You Look, One Mic, Hot Boyz, Oochie Wally, You Owe Me, Memory Lane, Get Down, If I Ruled The World
Emotions ran high over the weekend as Buffalo jam band Aqueous made their final Albany appearance before setting off on indefinite hiatus. Braving snowy weather and treacherous travel conditions, there was no turning back for the plethora of die-hard AQ fans who made their way to The Hollow on Friday, March 3rd with Litz opening the night.
Selling out the venue one last time, Guthrie-Bell Productions has been bringing the acclaimed band to town for many years, however it was their first time back to this room since a memorable pre-Halloween show with Mungion back in 2018.
Aqueous performing for the final time in Albany before going on hiatus; 3/3/2023
Opening the show with about at much gear on stage as The Hollow could handle was high-octane funk rockers LITZ from Frederick, Maryland. Consisting of brothers Austin (vocals, keyboards, saxophone) and Logan Litz (bass) as well as guitarist Pat Shine and drummer Nick Thrasher, the hybrid party band has been around for almost a decade now.
Prior to their set, they expressed gratitude to the guys in Aqueous for the years of friendship and for having them out on this last run. Building momentum with long, trancey EDM-type grooves on songs like “Sunrise” and “New God”, the colorfully dressed Austin would spend the set going back and forth between his stack of keyboards, talk box and a large saxophone that remained anchored to the center of the stage. Trading off huge sax solos with guitarist Pat Shrine, it was bass player Logan Litz who would garner the biggest cheers of the set with his dynamic slap style bass playing and general sense of “cool.”
After working through a “Fifth Element”> “Straight to the Moon” sandwich, LITZ would play one of their most popular songs, “Morning Dew” off their 2016 album Illusion of Time before hitting us with a “Japanese Love Affair.” Perhaps pulling our fingers a bit, things would get a little weird before playing their final song of the set, announcing to the crowd that someone had spilled beer on Shine’s pedal board and that it had shorted out. As is the nature of improv music, LITZ rolled with the punches and somehow managed to bypass the problem and launch directly into their hip-shaking party anthem “Funkin’ Problem” to close out the fun filled opening set.
Brothers Austin and Logan of LITZ got the crowd fried up early at the Hollow on 3/3/2023.
Packed in like sardines, Aqueous’ most dedicated fans used the set break as an opportunity to push forward and claim a better spot for the main event. Many of these fans have been following the band since their infancy and have organically formed one of the most positive musical communities in the scene. Affectionately known as “AQuaintances,” the hugs were flowing all night long, as anyone “in the know” knew this could perhaps be one of the final shows they’d get to see of their beloved band from Buffalo. If you were an outsider trying to push closer to the stage, forget it. The territoriality here was fierce and it just wasn’t happening.
All tuned up and ready to rock, the band seemed to be in good spirits from the start. Consisting of Dave Loss and Mike Gantzer on guitars and vocals, Evan McPhaden on bass, and drummer Rob Houk, the guys joked they had each picked a song out and were all going to play it at the same time, hoping to be on the same page. They weren’t, at first, but they quickly settled in nicely on “Dave’s Song.” One of the founding members of the band, Dave Loss had taken much of the previous year off to focus on the birth of his first child. Too integral to simply replace, the band opted to recruit a revolving door of high-profile guests to help round out their sound while fulfilling remaining bookings in the beginning. Dubbing themselves AQ and Friends, it just simply wasn’t the same without Dave. Now back and with just the right touch, the contributions from Loss could be heard immediately.
Dave Loss performing with Aqueous in Albany on 3/3/2023
“Weight of the Word” would be played next before fan favorite and one of the biggest jam vehicles of the night, “Triangle,” landed in the three hole. The 2019 pop/punk singalong “Burn It Down” came next, complete with a heady “Shakedown Street” tease for good measure. Aqueous then segued into one of their most popular songs “Kitty Chaser (Explosions)” to bring the show to it’s halfway point.
As the snow continued falling outside, things were just starting to heat up inside. After a brief intermission, the guys returned to the stage as Chatty Cathy’s. Drummer Rob Houk was doing most of the talking as he lobbied his bandmates to cover the 1990’s smash hit “Hunger Strike” from the legendary grunge supergroup Temple of the Dog (Chris Cornell and Eddie Vedder). While Houk even began singing it, the rest of the guys pulled a fast one on him going into a tease of Collective Soul’s “December.”
All joking now aside, things got straight up funky as Aqueous then launched into the fan favorite “Mosquito Valley pt 1” which after about 12 minutes, transitioned into the hard charging “Eon Don” in silky smooth segue. During this standout version of the song, one of the most memorable moments of the night came when the band worked in a well-placed Metallica “Enter Sandman” tease before segueing into another homage to one of their biggest influences in Steely Dan’s “Josi.” The uninterrupted frame of music continued on as the band then landed on “Second Sight” which received a huge pop from the Albany crowd. You can check out fan shot video of that below:
Fan shot footage of Aqueous performing at The Hollow on 3/3/2023
Cooling down for a bit of tuning and some priceless banter, an impromptu cover of “Sweet Home Alabama” emerged, before Gantzer finally pulled the rip cord. What we got next had some fans calling it an “all time” rendition of “They’re Calling For You,“ which went the full distance and would return us back to an “Eon Don” reprise.
Fan shot footage of Aqueous performing at The Hollow on 3/3/2023
Already approaching 2am and the heavy wet snow now 4 inches deep, the band opted to skip the usual encore theatrics of leaving the stage. Perhaps disagreeing with the song choice, Houk would break the fourth wall a bit, peering out from behind his kit to ask the crowd ‘what’s the most depressing song [they] could play?’ An intriguing question that immediately sparked a dozen different responses, it was here when the ‘beginning of the end’ feeling suddenly became too difficult to ignore.
You see, until this point in the evening, there was never really any acknowledgement by the band that we were closing in on an end of Era, at least not during the show. Instead, they let their music do the talking and chose to send us home with “Realize Your Light,” a song that features some of Dave Loss’ most heartfelt crooning and one of Mike Gantzer’s most emotive and expressive guitar solos.
And we can see where this can go
Around the corner still unknown
And we can see where this will go
In chilling snow, the thrill can still grow
And all the time that slips away
Will come back to you someday
Be anything. Not just anything. Realize your light like a spark in the night
Lyrics from ‘Realize Your Light’
As the pseudo-balled reached its epic conclusion, you could just feel the band digging into it with a different level of purpose. They were making a statement. They were going out on their terms and while still at the top of their game. No one ever called this ‘goodbye,’ but looking around the room, you could feel the emotion and see it in peoples eyes. Aqueous was their band. Real, hardworking, blue-collar nice guys with a propensity for dank, groovy improv music, who at one time seemed poised for major mainstream success.
Why it didn’t happen for them we may never know, but it certainly wasn’t for lack of talent. Maybe the masses just weren’t ready for this type of greatness? After all, the biggest whale in the sea got that way by never getting caught. Leaving behind a treasure trove of spectacular soundboards to tide us over until the 2.0 era door optimistically opens, we can only consider ourselves lucky to have been a small part of this amazing journey with Aqueous, one of New York’s best and most underappreciated bands.
Up next before hiatus officially begins, Aqueous will head to Erie, Pa for a gig at Kings Rook on March 11th. After a few weeks off, they’ll be in Baltimore on April 7th and Ardmore, PA on April 8th. The last scheduled Aqueous appearance is set to take place at the Summer Camp Music Festival in late May 2023.
Aqueous | March 3, 2023 | The Hollow | Albany, NY
Set 1: Dave’s Song¹, Weight of the Word > Triangle¹, Burn It Down² > Kitty Chaser (Explosions)
Set 2: Mosquito Valley pt 1 > Eon Don³⁴ > Josie⁵ > Second Sight, Sweet Home Alabama⁶, They’re Calling For You > Eon Don
Encore: Realize Your Light
1) with ending 2) Shakedown Street tease 3) Enter Sandman full band quote 4) Second Sight tease 5) Steely Dan 6) Lynyrd Skynyrd
LITZ | March 3, 2023 | The Hollow | Albany, NY
Setlist: Sunrise > New God, Fifth Element > Straight to the Moon > Fifth Element > Kali, Eye of the Pyramid, Morning Dew, Japanese Love Affair, Funkin’ Problem
