Queer DJ and rapper Wreckno made a stop in Rochester on November 10 for their Takeout Tour. This growing producer is known for creating safe and fun LGBTQ+ spaces at their shows. That night at Photo City was evidence of that.
Photo Credit: Maddie McCafferty
Rochester doesn’t have a ton of popular gay spaces so this night served as a reminder to locals of the positive environment they can create. The LGBTQ+ vibes were overflowing from the outfits, to the flow arts, and obviously the upbeat dancing.
Even the openers were representative of the queer community and all its love. Rochester’s local DJ Brian Buttlett kicked off this night and was followed by the producer Eyezic. Then Baby Weight took the stage with their house music tunes steeped in emotional integrity.
Photo Credit: Maddie McCafferty
Later on Wreckno finally took over the stage with an undeniable presence and ability to bring energy into a crowd almost instantaneously. Dressed in their cheerleader uniform and use of heavy bass, the riveting producer had their fans raging.
Photo Credit: Maddie McCafferty
Wreckno has popped off just in this last year or so due to their effortlessly catchy songs. Their production skills is without a doubt top tier considering the amount of singles that have charted. Which of course made them obvious songs that fans had to hear live. Some of which includes, “Baseline,” “Medusa,” and “Bounce.”
Photo Credit: Maddie McCafferty
Wreckno adds another signifier in their music that makes them stand out from the rest which is their rapping. They create fun, sexy, and confident lyrics that make them perfect songs for a love filled room of LGBTQ+ people who just want to have a good time. And that is exactly what happened inside Photo City.
Photo Credit: Maddie McCafferty
Aside from their own singles, Wreckno also creates countless remixes to popular songs. One of which they performed was a remix from Kim Petras and Alex Chapman’s song “Horsey.” However, nothing got the crowd more hyped up until Wreckno teased some unreleased material with the producer Of the Trees.
Photo Credit: Maddie McCafferty
That night in Rochesher was a must see for anyone and everyone. The inclusivity, high energy, and overall positive vibes is often hard to find in the concert space these days. Although, Wreckno is one who has always been about changing the scene and leaving it better than you found it.
In case you missed a fun night at Photo City, there’s a lot more shows coming to the Rochester area. G-Space is coming on November 25 and Jimkata performs December 2. Get your tickets here.
The line between stage and crowd was blurred at Mulcahy’s in Wantagh, New York on Friday, November 10, as New York’s thirstiest Irish band, Shilelagh Law, engaged with the crowd. For two hours, Mulcahy’s was filled with Irish music that ranged from the band’s original songs and classic Irish ballads to covers of Temple of the Dog and Indigo Girls.
Shilelagh Law’s lead vocalist Richard Popovic (right) performs with fiddler Dennis McCarthy (left) at Mulcahy’s
Hailing from Yonkers and the Bronx, the band consists of Richard Popovic on lead vocals and acoustic guitar, Terence Brennan on bodhran, Stephen Gardner on bass, Dennis McCarthy on fiddle, and Kevin McCarthy on piano accordion.
With two members part of the FDNY and another a retired member of the NYPD, along with many of their fans in the service, this Veteran’s Day Weekend show was of great importance to the band. Lead vocalist Popovic stated, “It’s always humbling to play on Veteran’s Day. It’s a small thing we can do for people who do so much for us.”
At approximately 9:30 pm, Mulcahy’s green lights shone upon Shilelagh Law as they took to the stage. The band opened with a cover of The Pogues’ “A Rainy Night in Soho,” a soft introduction that might have misled any newcomers. They might have presumed this concert would be like that of a mellow session. But Shilelagh Law had no such plans. After all, they’re ‘New York’s Thirstiest Irish Band.’
Living up to their reputation, Shilelagh Law riled up the crowd with a speedy rendition of “Whiskey in the Jar” that rivaled the fast-paced nature of “Lanigan’s Ball,” where it’s a challenge to sing at such a rate, let alone pronounce the lyrics correctly. Riding off that energy, Shilelagh Law did what they do best – engage with the crowd.
Shilelagh Law took the first request of the night, “Glorious.” With lyrics, “Glorious. Glorious. One keg of beer between all of us. Glory be to God that there ain’t no more of us, cause one of us could drink it all alone,” it surely became a party.
It was a party that resembled a family reunion. While the chorus for “Glorious” focuses on the party aspect of the concert, the verses speak to Shilelagh Law’s fanbase, the Shilelagh Army, who’s united through their love for Irish music. “The Shilelagh Army is the best family.” This sentiment is what allows Shilelagh Law to work with the crowd in such an organic manner that dissolves the barrier between the artists and audience. Popovic stated, “To recognize the fans and make them feel they are a part of the show as much as possible is important to us.”
The band continued to include the audience in their show, taking more requests as the night lingered on. Following “Glorious” was a request for “Linger” by The Cranberries. Shilelagh Law performed the classic with a slight twist. Rather than play the opening with an electric guitar, band member Dennis McCarthy performed it on the tin whistle, leaning into the song’s longing plea for love.
Popovic spoke to the band’s take on classics, such as “Linger” and “Hungry Strike” by Temple of the Dog, which was sung towards the end of the show. “Usually one of us will come in with the bare basics. Everyone halfway learns their parts. We mess around with it for a few sound checks, and then just go for it. It’s not always smooth sailing, but it does leave lots of room for surprises and improvisation.”
Even more room is left for improvisation due to the fact Shilelagh Law doesn’t have a setlist. Without a the strict confinement, Shilelagh Law is able to lean into the energy of the audience (and with the energy of more than a few Rangers’ fans present, a couple “Go Rangers” chants were shouted by the band here and there).
Shilelagh Law closes out their Veteran’s Day Weekend show with an electric performance of “The Star Spangled Banner.”
Even though the setlist is always changing, there’s one song that always makes the list, “Christmas in New York.” As the opening notes of it played, the lights dimmed. In place of the bright lights were tiny stars that glistened across the venue along with an American flag displayed behind the band. The song pays respect to New York’s finest and any friends who passed during the year. The audience joined in paying their respects, pouring out their hearts while singing along.
“Christmas in New York” was followed by a couple classics, such as “Rattlin’ Bog” and “Grace,” before Shilelagh Law concluded their performance around 11:30 pm. But that didn’t stop the audience from demanding more. The band came back for not one but two encores, both of which continued to pay respect to veterans. Their first encore consisted of a cover of Flogging Molly’s “If I Ever Leave This World Alive,” which was dedicated to all veterans.
The band then concluded their Veteran’s Day show with their rendition of “The Star Spangled Banner.” Fiddle player Dennis McCarthy played with such vigor and in a style similar to that of Eileen Ivers that transformed the fiddle into an electric guitar. The result was a Jimi Hendrix-styled rendition of “The Star Spangled Banner” to close out the night.
Luckily it won’t be long to catch Shilelagh Law back again in Long Island. They’ll be at the The Inn of Long Beach on Nov. 25 at 9pm. Know that if one attends their concert, they’re bound to catch Shilelagh Law fever and leave part of the Shilelagh Army family. For more information about Shilelagh Law’s upcoming shows, click here.
Setlist: Rainy Night in Soho, Whiskey in the Jar, Glorious, Olé Olé & Notre Dame Victory March Mashup, Linger, Shipping Up to Boston & Drunken Sailor Mashup, 1 and 9, Funky Ceili, Hunger Strike, The Liver Song, Ring of Fire, The Fighting 69th, Meet Me on McLean, Ham and Cheese with Mayo, When New York Was Irish, Christmas in New York, Closer I Am To Fine, Fields of Athenry, Rattlin’ Bog, and Grace. Encore 1: If I Ever Leave This World Alive Encore 2: The Star Spangled Banner
When I was growing up in the early 70’s, a hazy time captured in Richard Linklater’s movie Dazed & Confused, we were very, very serious about our music. As hyper-hormonal, aspiring teenage guitar heroes in middle-class Queens, we had an especially deep allegiance to one particularly muscular strand of music – the power trio.
Many an argument and more than a few fist fights erupted as we debated which threesome was ultimo. We weighted our own preferences with those of the critics at the major music weeklies like Rolling Stone and Hit Parader. These were the opinions of purported wiser men, ones that we consumed with blind Biblical fervor. They were words of praise, and just as often snark, that had a big and, in the cases like the below, misguided in hindsight influence on our views.
Was it Cream, the Jimi Hendrix Experience or the guitar-less ELP who were the best rock trio? Maybe it was Rush, Blue Cheer, The James Gang or Beck, Bogert and Appice? Or was it those rock quartets that were essentially three-piece instrumental bands, if you didn’t count their peacock strutting, axe-less singers – Led Zeppelin, The Who or Black Sabbath?
By 1970-71, with the demise of Cream and the death of Hendrix, and from a strict fan popularity sense, it was Grand Funk Railroad.
Grand Funk were a prime exponent of high energy, no nonsense “Rust Belt Rock.” It was a hard rockin’ trio that roared out of Flint, Michigan with a powerhouse drummer with a hot air balloon-sized Afro (Don Brewer) and a bassist who made you dizzy by incessantly sliding up and down the neck of his axe into his riffs (Mel Schacher). Then there was the lead singer/guitarist/principal songwriter, Mark Farner. He was a Mexican jumping bean of a man who proudly showcased his slim Cherokee heritage by striding the stage shirtless and with ass length locks, just like Geronimo.
Grand Funk had the fortune and misfortune of being managed by Terry Knight, the quintessential shifty Svengali who did all the talking for them and, ultimately, made off with their royalties, song publishing and oil well investments.
A few short months after forming, Grand Funk broke out nationally with three show-stealing sets secured by Knight at the Atlanta Pop Festival in 1969. By the end of the year, they would hit gold record status twice –with their debut disc, On Time, and the self-title “red” album.
And just like Led Zeppelin and Black Sabbath, the wisenheimer critics at Rolling Stone and other magazines hated them… as much as millions of fans loved them.
And while the band was of Midwestern origin, many of the most memorable moments of their early career unfolded in New York City, beginning with several shows in 1969 at the Fillmore East and their debut at Madison Square Garden in December 1970.
“We always really loved the New York audiences,” says Farner. “They were always super enthusiastic and would send us waves of emotion as we played. It made New York City the site of some of our biggest and best gigs.”
With the release of their third album in 1970, Closer to Home, manager Knight and Grand Funk would do what no other band before them had – purchase a street-long billboard in Times Square.
“Terry spent $100,000 of our money on that sign,” says Farner. “Mel Schacher and I went down there in a cab, walked around the corner and were stunned by what we saw. This was a time before cellphones, so we took a picture with our eyes. We had only purchased it for a month but got lucky when the billboard workers went on strike. It stayed up there for four months total and probably helped sell a lot of albums.”
Another New York apex took place when Grand Funk returned to the Big Apple to play Shea Stadium on July 9, 1971.
“We sold out way faster than The Beatles – 72 hours vs. five weeks,” continues Farner. “We chose Humble Pie to be our opener because we had done a tour with them in Europe. We would hear them singing Motown and R&B chestnuts in their dressing room before the show and knew they were our kind of guys. Steve Marriot was a truly great singer and showman.”
“When I see the video of Shea, it all comes back. I get goosebumps and can see myself fighting back the tears and floating three feet above the stage as I’m trying to sing ‘I’m Your Captain (Closer to Home).’ With a crowd of 50,000 like The Beatles, we really didn’t hear much of what we were playing.”
In 1972, Grand Funk would return to NYC for two shows to raise money for Phoenix House, the pioneering drug rehab center. It was here that they would also dramatically part ways with their manager.
“We were 19, 20 when started Grand Funk with Terry and he wanted to create a mystique, so he wouldn’t let us talk to the press, something I think soured them on us right from the start,” adds Farner. “He took out a centerfold ad in the holiday edition of Billboard Magazine where he was literally giving the finger to the industry, flipping off the world. When we found out how much of our money he was taking as manager and producer, we decided it was time to fire him.”
“He actually tried to confiscate our equipment at the first Phoenix House benefit because we fired him,” continues Farner. “But we had some big Michigan farm boys like Big Tree working as our roadies. We went ahead with the shows, with our equipment, and raised enough to open seven Phoenix Houses.”
“Our December ’72 show was also shot and aired on ABC’s Rock Concert. What I remember most is our lighting engineer Steve Graff putting dance wax all over the stage which made it super slippery and really restricted my dance moves!”
Grand Funk would continue to return to New York for many shows throughout their career. They also recorded one of their most successful albums here, 1974’s All the Girls in the World Beware!!!,with producer Jimmy Ienner at the famous Record Plant. It was a disc that spawned two Top 5 hits, the cover song “Some Kind of Wonderful” and the Farner-penned “Bad Time.”
Farner also has fond memories of another lost chunk of New York music history, its famous strip of music stores on West 48th Street.
“I especially loved visiting Manny’s,” adds Farner. “Bill Eberline from Sunn Amps told me about it and it really was like a candy store for guitar players. There was nothing of this magnitude until Guitar Center and Sweetwater came along.”
Though he was the front man and writer of 92% of their classic material, today Farner is no longer a part of Grand Funk. He was voted out of the corporation (and band) in 2000 by bassist Schacher and drummer Brewer, who went to law school during a band break to better manage the music business.
But Farner and his old bandmates are gaining new followers via dozens of reaction videos to performances, like their incendiary nine-minute plus live version of “Inside Looking Out” from November 1969 on WITF-TV in Hershey, Pennsylvania. Via reaction videos by YouTubers like RobSquad, Harri Best and Jamal_AKA-Jamal that are garnering millions of views, Farner is seeing a new generation of fans at his shows and purchasing his music and merch.
Today, Farner is staying very busy touring with his Mark Farner’s American Band. He has just released a new live album, Rock ‘N’ Soul: Live 1989, a 15-song set of Grand Funk classics recorded at “Woodstock 20 Years After” reunion concert in Carson, California.
The guitarist is also providing some very cool musical instruction free at his website with FarnerChords. Mark has partnered with videographer Jimmy Romeo to create instructional videos showing the correct way to play some of his best-known compositions. Check it out here.
And as for a legacy, what better one could there be than being the favorite band of the star of TV’s longest-running animated series, Homer Simpson, a fact revealed in a hilarious 1996 episode.
A brisk fall night on Lark Street was warm and inviting at The Eleven, celebrating its grand opening with a fitting artist upstairs at Lark Hall, pianist Holly Bowling.
photo by Zak Radick
Much has changed in the past decade since Bowling began playing solo shows, having transcribed and performed Phish jams (not just songs, the improv sections too) and gave fresh takes on the catalog of the Grateful Dead, even having appearances with Phil Lesh as one of his friends.
Bowling now enters her second decade of live performances with an evolving solo career in the jam scene, having branched out into Ghost Light with Tom Hamilton and company, played regularly with Greensky Bluegrass, taken part in the immersive Musical Sojourns in Portugal this past October, and brought to life the ever unique Wilderness Series – performing at beautiful vistas within and around our National Park System.
The past decade has been a whirlwind of growth and opportunities, including giving birth to her and husband Jeffery’s first child. Holly Bowling has been about as busy as one can, and shares how she has worked towards finding balance with it all:
One thing I took away from the pandemic was a new acceptance of how to be creative in touring and that there’s a lot of different ways to play music for people. You have to do what makes sense for the situation you find yourself in at that particular time, whether it’s finding ways to create and play music when all the venues are shut down or finding ways to tour that make sense as a parent of a young child. I’m not sure I’d say I’ve figured out how to balance it all. I think finding balance of any kind is a challenge for most touring musicians. It’s a constantly evolving process, and I have to keep reminding myself to find ways to make it work for what my life is today and that what works today isn’t necessarily going to be what worked before or what’s going to work five years from now. And that’s fine – maybe even good.
Holly Bowling
On this evening, Bowling took the stage and performed as she always has, with focus and attention to detail, showing no signs of slowing down a well-paced musical career. Bowling last played Lark Hall with Ghost Light in October 2022, and sought out owner Jennifer Miller to plan a show in the future, with November 11th – 11/11 – being the best date for a show, adding in a nod to the Grateful Dead in the process.
With tube lighting on either side of the stage, a mirror ball above and four colored spots shining down and moving slowly along with the tempo, the stage was set, a grand piano and bench awaiting Bowling.
The first set featured the entire “Terrapin Station” suite, broken up into two sections, opening up with the first half of the song, “Lady with a Fan” and “Terrapin Station,” deep and layered, neatly falling into Phish’s “Fast Enough For You,” with the addition of looping to give the Rift track a new twist. 30 minutes later, the audience offered rousing applause.
With the use of effects pedals processing the piano sound, Bowling illuminated the improvisation jam that led from “About to Run”, and found its way into the rest of the “Terrapin Station” suite, “At a Siding” and “Terrapin Flyer,” finally ending the set with an ever-gorgeous “Divided Sky.” The emergence of a greater scope of sounds from the piano – whether it be with mallets, e-bows, fishing line or pedals – adds depth to the music. Said Bowling, “The piano has always been the instrument that can be closest to a full orchestra and I just want to play with as many sounds as possible.”
The second set opened with a heavy “St. Stephen” where Bowling explored the most familiar parts of the song using a tribal synth sound via manipulation of the inner piano strings, creating a hypnotic trance (accentuated briefly by a police siren wailing down the street.) “William Tell Bridge” developed out of this trance, Bowling playing the inner strings again, the pair of songs harkening the call of “The Eleven,” which would show up promptly at 10:11 (that’s 11:11 without DST). A song very rarely played by Bowling, “The Eleven” gave way to Phish’s “If I Could,” an emotional composition in its own right, and with light internal plucking and looping, Bowling summoned the intro of “Theme From the Bottom,” which took deep turns and twists, eventually fading into “Morning Dew” to close the set.
“Waste” would fall into the encore slot, with Bowling greeting and talking to fans after the show, everyone filing downstairs through The Eleven where Quantum Cosmic Trio continued on with the celebration of a grand opening, a grand performance and a grand pianist.
Set 1: Terrapin Station Suite -> Fast Enough For You, About to Run -> Terrapin Station Suite -> Divided Sky Set 2: St. Stephen -> William Tell Bridge -> The Eleven -> If I Could, Theme from the Bottom -> Morning Dew Encore: Waste
Getting people out to a show on a Monday night is a hard sell. Getting people out for a show on the first Monday after our clocks turn back and darkness falls before lunch has even been digested is even tougher. Getting people out to a show on a dark Monday night when Tool is also in town is near impossible. So the impossible was achieved on Monday, November 6, when the Bug Jar had Italian quartet Dumbo Gets Mad on the bill and drew a solid crowd to come check them out.
That crowd was treated to an extremely fun and danceable set. And dance they did! The quartet, guitar, keys, bass and drums, put their own psychedelic spin on a wide swath of genres. Synth-pop, surf, reggae, late night grooves, and heavy rock all reared their heads through the evening in a set that spanned their 10-year catalog.
“Congratulations” gave the Bug Jar’s mirror ball a bit of nostalgia with it’s disco beat, slinky bass and infectious groove. Slow and sexy “Indian Food” gave the dance floor a bit of a breather. “Self Esteem” ratcheted the energy way up through the upside-down roof, bombastic bass blasts met raucous guitar in an absolute rager. The band had an endless bag of catchy synth lines, and “Plumy Tale” ended the set with yet another one.
Dumbo Gets Mad was having as good a time as the crowd, and exhibited their own set of dance moves from the stage. Urged back for “one more song,” the band launched into a guitar and drums workout that had lead Dumbo Luca Bergomi grooving with his guitar through the crowd, the dance party on and off the stage ultimately coalescing in the end.
Souls filled the pews and chairs inside Asbury Hall, a cavernous old church in Buffalo, on Tuesday. Dim light from an overcast nighttime sky peaked through stories-tall stained glass windows. A group, called Spiritualized, was in town to bless the enlightened with sounds from the beyond. A three-woman choir, decked out in flowing white blouses, joined in with joyous singing. The attendees clapped, cheered, sang along and raised their arms in praise. But this was no religious gathering. Rather it was a rock concert, and a devilishly good one at that.
Spiritualized, a 30-plus year-old band out of England, was on the second night of a short week-long stint in the US. There was no opener, no stage banter, almost no dead air at all, just over two hours of glorious music. Bandleader Jason Pierce situated himself on the right side of the stage, seated sideways facing his bandmates. And they were fully engaged from the start.
A spacey noise drifted gently into weightlessness, building repetitively to a crescendo and fizzling back down again in a near ten-minute “Hey Jane” that set the scene for the rest of the evening. Against a starfield backdrop, and with a mirrorball continually sending dots of light orbiting across the stone walls, we were set to explore, not the heavens, but the cosmos. And what more appropriate guide then Pierce, who is also known as J. Spaceman.
“She Kissed Me (It Felt Like a Hit)” blasted into high gear with frantic drumming, manic bass and wailing guitars. That slammed head first into the gorgeous slide guitar and organ swells of “Shine a Light,” which built up to an exultant chorus from the backup singers. Praise be! “I’m Coming Home Again” immediately followed, peeling back layers of rock exposing a quiet and gorgeous interplay of guitar, piano and bass.
With little to no pause between songs, the journey continued on through the night. The band would push, pull and stretch the tempo, between songs and within, creating time vortexes. Strobing lights hitting the mirrorball appeared to slow down time altogether as a hyper synth drone sizzled to silence to close out an intense wall of noise in “The A Song.” “Let It Bleed” was another highlight, as it traveled a slow build to ultimate exaltation, choir and all.
The journey, which made stops along their full catalog, closed out as it began, “Sail On Through” slowly drifting off into space. Spiritualized slowly disengaged from their stations, faced the audience for the first time, and clapped and cheered for us as we for them. Maybe it was a religious experience after all.
Setlist: Hey Jane, She Kissed Me (It Felt Like a Hit), Shine a Light, I’m Coming Home Again, A Perfect Miracle, Always Together With You, I’m Your Man, The Morning After, Here It Comes (The Road) Let’s Go, Best Thing You Never Had (The D Song), Let It Bleed (For Iggy), The A Song (Laid In Your Arms), Damaged, Soul On Fire, Sail On Through E: So Long You Pretty Thing, Come Together
Friends & fans filled the Brooklyn Bowl on Monday, November 6, to celebrate James Casey‘s rich musical legacy by playing songs he loved. His dear friends Louis Cato, Nikki Glaspie, and Trey Anastasio Band led performances, joined by dozens of his musical cohorts to honor his memory and life of music.
Casey wanted a party, not a funeral, so Peter Shapiro obliged his last wishes by hosting his memorial celebration at his Brooklyn Bowl in Williamsburg. Proceeds from the event benefit the two organizations which helped Casey after he was diagnosed with colon cancer in 2021, the CCAand the ABGH. The 3 hour concert was livestreamed on Fans.Live, and will stay up until Sunday night.
Music Director and multi-instrumentalist Louis Cato led The Late Show Band, showcasing songs from Casey’s favorites from Sly and the Family Stone, along with songs from Casey & Cato’s bands, Animus Rexx, and Six Figures. The Trey Anastasio Band spearheaded a 4-song set which included some of James’ favorite songs. Nikki Glaspie led an all-star lineup that included members of Lettuce, Snarky Puppy, Animus Rexx, TAB, John Brown’s Body, Six Figures, and many others to play songs from Earth Wind & Fire, Sly and the Family Stone, Parliament Funkadelic. At the end of her band’s set, Nikki pulled nearly everyone on stage for a Go-Go medley, setting a new record for the most people on stage at any Brooklyn Bowl. Raydar Ellis DJed during band downtimes, curating selections from James’ favorite songs and artists.
Brooklyn Bowl owner Peter Shapiro introduced the night’s festivities with how important James was to him and his friends & family whose lives James graced. Shapiro smiled as he shared somber words while holding back tears, “Do you guys feel this in the air right now? Because that’s James Casey. And we were fortunate to have James play on this stage many times. And when I think of James here, I look over … it’s right about there (points to bowling lanes), ‘cuz James would come off the stage, maybe sitting in with Soulive at Bowlive, and I’d be right over there. And the feeling of hugging it out with James Casey … right by the stage was probably one of the best feelings I’ve ever had in my life: that strength…that smile. And I’m so glad that tonight James Casey is selling out the Brooklyn Bowl.” as fans applauded, with few dry eyes in the room.
Shapiro continued, “I love that guy and we miss him, but he wanted to party, and the energy in here feels like a party, but a special one. So we want to thank you guys and everyone that’s here, particularly Ayla (his wife)and James’ family to trust us for hosting this night.” Shapiro then introduced the host of the evening, Sirius XM‘s Phish Radio host, Ari Fink, who warmed up the crowd with a resounding, “Let’s GOOOOO!!!” Fink quipped, “I …want to thank Bill Graham…I mean, Pete Shapiro (fans chuckle) for the wonderful introduction, for having us, and to Ayla, PJ, Margaret, Richard, Britten … and the entire crew…” (cheers) Fink told the fans to wave to their friends watching from home. Fink shared philosophy about how we process grief:
“There’s a common misconception about grief. Most people think it’s about letting go, but it’s actually quite the opposite. It’s really more about holding on. And James made that so easy for us. Every note he played had just the right amount of power & precision, placed perfectly into the flow of that moment. And it would enhance it, like noone else. Same thing when you spoke to him. So now, with us here in this moment, we’re holding on to his fierce spirit, wry sense of humor, unmatched musical empathy, and enough swagger to fill an entire venue”
Ari Fink
Fink continued to tell the fans that both he and Casey grew up in Prince George’s County, Maryland, and that he first met Casey back in 2013 when he was launching his new band, Animus Rexx, which was so good (“the greatest ish I’ve ever heard in my entire life”) that Fink was inspired to help them get started. And after that, Fink had Casey as a frequent guest on Sirius XM, where he shared another story with the audience:
“Now over the next decade, James was a frequent guest on Sirius XM, he would come up and kick it, and we would call each other to talk about our latest projects, share guidance, and talk about trials & tribulations of the music industry (by the way, which, there are a lot of). For both of us, you know, we easily were able to get through all of the surface stuff and cut right to the core. He always asked about my family. But the most amazing part about James on Sirius XM… the craziest thing would happen. Every time we sat down, my voice would relax, and..it would naturally start to drop, like almost a full octave at a time, because it was just like (points down)… he was that amazing to talk to. And normally it’s my job to make people feel comfortable on the air, but James had an unmatched ability to do just that for me. And when I listen back to those moments, it’s clear. We were locked in, the flow state was all the way to 100, and it was just real talk, real hangs and lots and lots of laughs. You guys ever heard James laugh? (fans: yeah!) Best laugh of all time!”
Fink’s speech went on for a solid 10 minutes or so, and with fans itching for music, Fink held back a couple of jeers to get to his introduction of the Music Director of the show, and Casey’s dear friend, Louis Cato. (on the livestream, skip ahead to 1:29:36 to jump to when the music starts).
Louis Cato began the music of the evening, saying, “Let’s give it up one time for the man of the hour, James Casey. For all of us that have been, have had had the pleasure of knowing this incredible human being, you know that he’s always been the life of the party, and … as he transitioned into the next phase of his journey, he made it very clear: “I don’t want a funeral, I wanted a party!” I don’t know if I can curse on the stream. (to his keyboard player) can I curse on the stream? (smiles) Jenna …wherever you are, earmuffs! That’s my daughter. Who is also James’ niece. Earmuffs! So, you wanted a party? That’s what the fuck we’re gonna do! C’mon, let’s get it on y’all!!!
The Late Show Band kicked off the music with Sly & the Family Stone’s “Family Affair”, with Cato on guitar & vocals, Reuben Caineron bass, Dave “DJ” Ginyard on bass, Nêgah Santos on percussion & vocals, Randy Runyon on guitar, James Williams on drums, Corey Bernhard on keys, with other friends sitting in and switching various instruments. Cato’s band launched into the night on guitar, calling out solos around the stage, first to his trombonist, followed by a scorching alto sax solo by Louis Fouché, a tasty Hammond B3 solo by Bernhard, then a smoking solo by Runyon, with others soloing in turn until the end of “Family Affair”. Afterwards, Cato then put his guitar down and said:
“So everybody up here on the stage has been.. a friend, and a brother, and a sister, and a bandmate of James, so we had to make sure it goes all the way around (points to sides) so you all get to see the outreach, because we’ve all been changed… by our interactions, our musical relationships, as well as the personal, with this monumental musician. We’re going to do another one, with another iteration .. of a band we used to have together back in the day, called Six Figures. With James is the agreed-upon front man,” as he walked back to sit on the drum kit.
More great solos continued on bass, clavinet, and then the horns left stage, as a film clip from Casey’s band, Animus Rexx was shown (Live from Rockwood Music Hall – Apr. 23, 2014) on the big screen for the audience. In that clip, Casey used his sampler, manipulating & replaying his altered vocal samples, while his bandmates added synth, drums, and bass.
As the side film ended, Cato got back up on the drums and asked the crowd “Are you still with us?” and then Cato’s band with most of Animus Rexx ended the set with their song, “Pleasure” a trippy synth swirl, intriguing, groovy and ethereal. The fans showed their appreciation, though most were hearing it for their first time. Cato’s band ended their set with “The Payback“, with Reuben on sampler, Runyon on guitar, and BigYuki on synth, and Cato filling in on drums for Justin Tyson (who is now with Robert Glasper’s Electric Trio).
After Cato’s set, Ari Fink came back out to give accolades to Animus Rexx, then introduced Casey’s wife, Ayla, who slowly took to the stage, smiling but holding back tears. She said, “Every single person in this room lifted James up in some way, …even right now. And it meant the world to James to live his dream performing and releasing music”. Ayla shared how James kept touring while they fought “the hardest battle of their lives”, and that she was “so grateful for the love that he received.” She said we should know our family history, be our own advocates, arm ourselves with knowledge, and re-emphasize symptoms, get a second opinion if we feel we’re not being heard. Ayla then introduced the President and Co-Founder of the ABGH, Dr. Sophie Balzora, who shared stats on how black people are 20% more likely to get colon cancer and 40% more likely to die from it. She contacted James to ask if he’d help ABGH, which he humbly agreed to. Balzora said that ABGH created a medical education scholarship in his name, to big applause.
Michael Sapienza (CEO of the Colon Cancer Alliance) reminded us that colon cancer is the second-most common cancer in the US, and listed the many ways James Casey helped their cause, and that his own mother died of colon cancer. He said we have to change this, but that (Casey’s devotion) was inspiring.
The next band was either the most anticipated or a complete surprise, depending on who you asked before the show. It was a bit of a mystery, since so few artists were announced before showtime. Fink bantered around who might be on next, but soon enough, fans realized their wishes would come true, as he introduced the Trey Anastasio Band, to huge applause. As the band plugged in, Trey simply said “Thanks, everybody!” as TAB tore into a snappy version of “Mozambique“, ended by tight horns, with Zoidis playing in Casey’s spot.
TAB hopped into “Everything’s Right”, as more horn players slinked onstage, with Alecia Chakour and Jo Lampert adding vocals to Jenn and Natalie. “This world, this world, this crazy world I know / it turns, it turns, long night’s over, and the sun’s coming up.” As Trey repeated this, he raised his arms and the fans erupted into a bubbling soup of dancing heads with hands raised into the air. The lights darkened as the song cooled to make space for a warm Zoidis solo, with Trey popping fills between Zoidis’ riffs, building to the end.
Trey shared his thanks for James playing in TAB for 11 years: “We love James, we love you (holding back tears). It’s incomprehensible how much we love James and how grateful we are for every single second we got to be with him. Our friendship with Ayla and James’ amazing family, mom & dad, everyone. Today/tonight has been really… (makes a heart gesture) heart-filling. All the friends from Boston that James met when he was in college who are here tonight, all the friends and family: thank you for being here and celebrating this incredible human being. And now we will play… James’ used to really like singing this song. So we’re going to do a cover here of a song that…I wish that he was here to sing it for you, so you have to use your imagination. We’ll all try to… fill in the blanks a little bit, but he loves singing this song”.
Trey nodded to Russ to start “Express Yourself”, Alecia added her soulful voice to lift the song up where James could see it. Jenn crafted a trumpet solo, as the band loosened up and dance along with the fans. He introduced their friend, Jo Lambert, they hug, play Rise/Come Together, with TAB’s choral family expanding as Erin Boyd and Elenna Canlas hopped up on vocals, and Snarky Puppy’s Mike Maher added his trumpet, ending TAB’s brief set with hugs as they waved away.
Nikki Glaspie brought her super-band onstage with 25-30 or more musicians playing, setting a new Brooklyn Bowl record. 8-10 percussionists were stacked 4 to 5 rows deep on the right, with 7 or 8 horn players on the left, with Nth Power’s and another Wally’s OG, Nate Edgar on bass, Sean Erick on trumpet, Rene del Fierro on guitar (has a band w/ Carlos Santana’s son), three keyboardists (Nigel Hall, Basil Wajdowicz, Elenna Canlas), Angie Swan on guitar, Chris St. Hilaire on drums (London Souls, Black Keys), Lyric Jones, Matty O and Mike Maher on trumpets, also Andrew Marsh on kit, Khris Royal and Chris Ward on saxes, Natalie on trombone, and other horns, percussionists & vocalists.
Nikki tore into the Gospel classic, singing “I Don’t Know What You Come to Do“, with Jenn responding, “I came to celebrate James!” in traditional call-and-response fashion, with backup singers echoing replies. Strangely, after a ripping solo, Angie Swan hoisted her guitar and its neck abruptly folded. We learned it was a Ciari travel guitar, but still aren’t sure if it was a planned stunt or an accident. She re-attached the next and somehow the guitar was still in tune, and finished the song.
Nigel sang lead on “Remember the Children”, by Earth Wind & Fire, after which, Nikki warned “we’re about to get dirty right now!” and “so James being from DC… the greatest music in the world came from Washington, DC, we call it Go-Go music. And we’re gonna play some!” Nigel replied, “Yeah, DC is in the house right now. Southeast is in the house! to which Nikki said “PG county – the greatest county in the world, goddammit!”
Nikki then slid over to kit. After the song got going, Nigel rose from his keys to sing harder. Total chaos ensued for the Go-Go medley, with little room to fit more musicians on stage. Go-Go morphed into funk as they transitioned into “Bop Gun” by P Funk, then a Parliament’s “Flash Light”, with Josh Dion (Paris Monster) up again on lead vocals, a killer Zoidis sax solo, more Go-Go, then “Give Up the Funk” into “Do That Stuff (reprise)” to end their incredible, wild set.
Louis Cato returned for the last set of the evening, reminding us again about James’ journey & battle, sharing somber words about how he felt about James and all they experienced and did together, the fullness of their relationship, while struggling to speak as he got emotional. Cato warned us not to lose our humanity as we strive with our ambition as artists: “James has always been… and I say to me, but know that I’m aware that it’s for all of us, most of us, it has always been both: he consummate musician dedicated to his craft, committed to putting love into the music, always, always, always. (fans clap) And he always put that same love into his friends and gave it to his family. And the two…it’s a rare thing… it’s the biggest thing … about James Casey. He’s always been that rare breed that can engage in music, and spirit, and craft and vocabulary at the highest level, but also meet you where you are, at the highest level. And, it’s changed the path of my life… eternally. And that is why we’re here.”
At this point, Cato called The Finale Band to the stage, with Nikki on drums, as Cato slaps his P-Bass to kick off “I Want To Take You Higher” with Jenn and Alecia and others on vocals, and mostly The Tonight Show band with a few guests who appeared in other sets throughout the evening, with impeccable horn solos and powerful vocals to end the night on a high note of optimism and warm memories of James Casey’s life and contributions to music, friendships, and family.
On Sunday, November 5 at The L in Horseheads, social media sensation and country singer Alexandra Kay took the stage and just like her song ‘She Stayed,’ she left a lasting impression. The atmosphere was energetic as fans from New York, Pennsylvania and surrounding areas gathered to witness a rising star in the world of country music.
Hailing from Illinois, Alexandra’s journey to stardom is nothing short of inspiring. Her passion for music was evident when she auditioned for American Idol back in 2011, showcasing her remarkable talent and captivating voice to a nationwide audience. Since then, she has continued to chase her dreams, captivating audiences with her heartfelt songwriting.
Alexandra Kay’s soulful vocals and compelling stage presence took the audience on a journey through the heart of country. Her songs and collabs have been streamed millions of times on social media. From heartfelt ballads that tugged at heartstrings to lively, boot-stomping anthems, her versatility as an artist was on full display. Each note held raw emotion, and her storytelling ability was nothing short of remarkable.
Kay’s new album, All I’ve Ever Known was just released in October while she is in the middle of her massive headlining tour across the states. All I’ve Ever Known debuted at #1 on both ITunes Country Album and All Genre Charts.
The L provided the perfect backdrop for this memorable evening, with its intimate setting and top-notch sound quality. As the music filled the venue, it was impossible not to get lost in the magic of the moment. Kay shared personal stories, interacted with the crowd, and made everyone feel like they were apart of something bigger while witnessing her performance.
For those who were fortunate enough to be in the crowd, it was a night they won’t soon forget, and for those who missed it, Alexandra Kay’s star is one to watch in the world of country music.
Alexandra Kay – The L, Horseheads, NY – Sunday, November 5, 2023
Setlist: Painted Him Perfect, Backroad Therapy, Tall Boiz, All I’ve Ever Known, She Stayed, I Hate Airplanes, Happy Once, I Kinda Don’t, More Than You, Everleave, How Do We Go, I Can Do Anything Encore: Best Worst Ex, That’s What Love Is, Skip This Part
In a mind-blowing spectacle that filled the hallowed Blue Cross Arena in Rochester with an eager crowd of 10,400 fans, the mighty progressive rock maestros Tool proved once again that they can pack any venue in the heart of Western New York. Their popularity in this region is nothing short of legendary, with sold-out shows being the norm.
The Tool faithful are a zealous bunch who ardently believe in the gospel of Maynard James Keenan, Adam Jones, Danny Carey, and Justin Chancellor. They’ll gladly regale you with countless reasons why Tool reigns supreme and why your existence remains incomplete until you’ve bathed in the band’s unparalleled glory. Opening the night was Steel Beans from Everett, WA.
While Tool devotees can be a tad vexing at times, it’s hard to fault their passion. They speak the truth when they beseech others to witness this sonic juggernaut live in all its grandeur. The band’s musical prowess alone warrants pages upon pages of discussion, but if you’re a neophyte to the world of Tool, or simply curious about the enigmatic quartet, here’s a taste of what transpired at their mesmerizing Monday November 6 performance.
The atmosphere within the arena was nothing short of transcendental, much like a religious congregation, albeit one with a penchant for intricate time signatures and cryptic lyrics. Despite Tool’s audience not being a sea of saccharine girls in pink dresses and glitter, the sense of unity was palpable. “Lotta dudes here” a friend texted during intermission, and indeed, the crowd comprised primarily of prog-rock Gen Xers, all donning knowing smiles and exchanging high-fives. However, in stark contrast to other male-dominated events, there was a conspicuous absence of lewd remarks or reckless antics. Beer flowed without incident, and by the end of the evening, the floor was mercifully unmarred by spilled brews.
The absence of cell phones was instrumental in preserving this immersive experience. In a world where every fleeting moment demands digital documentation, Tool remains steadfast in its commitment to a strict no-cell phone policy. After all, who needs grainy concert footage on their phone that will likely languish unwatched in the depths of their gallery? Tool’s discerning guardians diligently enforced the rule, ejecting over three dozen misguided souls during the show. A few lucky souls escaped with warnings after proving their contrition by deleting their videos or images. But for the stubborn second-time offenders, there were no second chances. After the notes of “Invincible” reverberated, Maynard James Keenan, in a rare act of benevolence, granted the audience permission to whip out their phones to capture the ephemeral moment.
Tool may shun technology like cell phones, but they fully embrace cutting-edge light effects. The band’s unwavering commitment to privacy and mystique extends to the live experience as well; they avoid interviews and public appearances to ensure that all eyes remain on the music. Mark “Junior” Jacobson, Tool’s lighting virtuoso, orchestrates a symphony of lights, lasers, and screen images that synchronize seamlessly with every note change. This visual spectacle draws the audience even deeper into Tool’s sonic realm, amplifying the emotional resonance of the music and its profound messages.
The imagery displayed on the screens is nothing short of mind-bending. Volcanoes spew molten lava before transforming into the all-seeing Eye of Sauron, which seamlessly transitions into new, surreal landscapes. Fractal heads pour forth from other heads, while an eyeball twitches its iris over the captivated audience. Tongues spill forth from gaping mouths in an intoxicating loop, and alien-like forms twist and turn in eerie dance. It’s as though the most spine-tingling horror movie has met the soundtrack of your wildest dreams.
Crafting a subpar setlist is an impossibility for Tool, given their extensive catalog of exceptional, heavy songs accompanied by ethereal vocals. The journey began with the iconic “Fear Inoculum,” setting the stage for a mesmerizing odyssey. Favorites like “Jambi,” “Stinkfist,” and “The Pot” enraptured the crowd, intermingling with tracks from newer albums, such as “Culling Voices” and “Pneuma.” But the pièce de résistance came early on when Maynard declared that the band would resurrect a long-dormant song. The ensuing performance of “Rosetta Stoned” was a jaw-dropping revelation – a song not performed with live vocals since 2009, and it sent shockwaves through the enraptured crowd.
In the end, Tool’s concert is more than just a musical performance; it’s a transformative experience. With their strict rules, awe-inspiring visuals, and an undeniably majestic setlist, Tool is not just a band; they’re an otherworldly force of nature that sweeps you into a realm of unparalleled sonic and visual artistry. Tool fans may be a vocal bunch, but when it comes to experiencing their live show, words alone can’t do justice to the transcendental journey they offer.
Tool – Blue Cross Arena, Rochester, NY – Monday, November 6, 2023
Setlist: Third Eye Intro, Fear Inoculum, Jambi, The Pot, Rosetta Stoned, Pneuma, Descending, The Grudge, Intermission, Chocolate Chip Trip, Culling Voices, Invincible, (Ions excerpt) Encore: Stinkfist
Upcoming tour dates:
November 10 – Uncasville, CT – Mohegan Sun Arena November 13 – Manchester, NH – SNHU Arena November 15 – Boston, MA – TD Garden November 16 – Philadelphia, PA – Wells Fargo Center November 19 – Montreal, QC – Bell Center November 20 – Toronto, ON – Scotiabank Arena November 21 – Toronto, ON – Scotiabank Arena
English indie pop artist The Japanese House played a sold out show at Webster Hall last week on November 2 with support from Quinnie.
The Japanese House at Webster Hall. Photography by David Reichmann (@davidpresspass)
Fronted by singer Amber Mary Bain, The Japanese House released their second studio album, In The End it Always Does on Dirty Hit Records earlier this year. The album included hit single “Sunshine Baby,” which features vocals from The 1975 frontman Matty Healy. Notable features on the record also included Bon Iver’s Justin Vernon, Muna, and Charli XCX.
Quinnie plays Webster Hall. Photograph by David Reichmann (@davidpresspass)
Quinnie opened the show, playing delightful melodies full of charming and quirky lyrics. Fans packed in early for the show, filling up the venue before her set. Her set was met with big applause.
The Japanese House
The Japanese House played a powerful set featuring highs that shook the room with fans jumping up and down, and sorrowful lows that left a hush over the audience. Several fans could be seen crying during various moments throughout the show. The energy only increased from song to song, culminating in the main set’s final song, “Dionne (featuring Justin Vernon).” For the final song of the encore, they played fan favorite “Sunshine Baby.”
The Japanese House North American tour continues, and you can listen to their music here. Check out future tour dates here. Listen to Quinnie here.
Check out our gallery from staff contributor David Reichmann below.
