NYS Music 2023

Category: Show Reviews

  • The Paper Kites & The Roadhouse Band at Racket: A Halloween Special

    On October 31, The Paper Kites and touring guest The Roadhouse Band performed together at New York City’s Racket. On their North American Tour, The Paper Kites are celebrating their new record At The Roadhouse, an artistic project birthed between the four walls of a dive bar in Australia that fans all across the world are holding close to their hearts today.

    With the epitome of an autumnal sound combined with the holiday atmosphere, The Paper Kites pulled in the proper crowd: costume-enthusiast folk fanatics.

    Photograph by Shauna Hilferty

    A crowd with creative costume ideas slowly filled the warehouse venue in the Meatpacking District. Spiderman, Peach and Mario, and plenty of Bob Dylan‘s mingled while awaiting the opening set. At 8:00 PM, The Cactus Blossoms casually strummed into their first song. With only an acoustic and an electric guitar paired with soothing vocals, the duo provided a warm opening performance. They expressed their gratitude to be on their first ever tour, and even more so they praised The Paper Kites for the opportunity and their musical influence. 

    Photograph by Shauna Hilferty

    Shortly after the Cactus Blossoms made their way off the stage, the stage crew decorated the space with an arsenal of instruments. True to The Paper Kites’ rich production value, each instrument that can be intentionally heard on their newest album was prepped and ready to be used on stage. Multiple forms of percussion, a collection of strings, an organ, electric keys, and the iconic vintage-looking microphone sat waiting to be given life.

    Once their signature drapes were hung across the back of the stage, the lights dimmed and each band member made their way onto stage. Eight people on stage seemed like it would be tight, but the congealed bands stitched together comfortably, and so did their sound. 

    Photograph by Shauna Hilferty

    The traditional lead of an acoustic guitar through their melody was threaded with the most intentional additions of twangy strings of banjos and mandolins, the romantic hum of the organ, the tune of the harmonica, and the heartbeat of various drums. If there’s one thing The Paper Kites are, it is consistent – consistently impressive. With a memorable setlist it can become difficult to entertain returning fans, but The Paper Kites routinely delivers a unique listening experience that bends the confines of genre labels through experimentation and passion.

    On stage stood eight music connoisseurs. Lead vocalist; Sam Bentley, on the guitar and the banjo; Dave Powys, on the pedal steel and guitar; Matt Dixon, on drums; Josh Bentley, on the bass; Sam Rasmussen, on the organ and percussion; Hannah Cameron, on strings and cowbell; Chris Panousakis, and the multi-instrumentalist and vocalist; Hadley Kennary. 

    Photograph by Shauna Hilferty

    From their last performance in New York City at Williamsburg Music Hall, their audience has grown – not just in size, but in comfortability. Throughout the show, fans openly conversed with each other and the band members in a respectful manner. Cooing that the song being performed was the song that was playing when they met the love of their life, or politely begging for their favorite oldies to be played. The Paper Kites’s lead vocalist, Sam Bentley, joked and reminisced with the audience all evening. It was truly refreshing, especially for a typically quiet audience.

    Photograph by Shauna Hilferty

    Midway through their performance, The Paper Kites quintuplet and The Roadhouse Band gathered around their signature microphone to sing a stripped version of the Kite’s hit “Bloom” from their oldest record “Woodland.” This is a treasured moment during a Paper Kites performance. Their sound becomes almost tangible in the room, with raw harmonies and only root instrumentals. A wash of peace laid over the audience, for their attention was devoted to the intimate production happening on stage.

    Photograph by Shauna Hilferty

    An applause full of raised hands in praise and hollers from the chest lasted for over a minute. Smiles overtook The Paper Kites’ faces as they made room once more for The Roadhouse Band. Each of the string players made the swap for more bassy instruments as Sam Bentley edged, “Now this is the part of the set where we play some louder songs.” As soon as the first chord of Dave Powys’ electric guitar ripped, the strobe lights were released into motion across the faces in the crowd.

    Photograph by Shauna Hilferty

    One of their new songs, “Black & Thunder,” was a crowd favorite. The soulful riffs and plunge of the bass emitted a similar sound to that of Fleetwood Mac’s “Rhiannon.” On stage the band members tapped their feet to the beat and visibly felt the command of their instruments, as they swayed and jolted their shoulders. 

    Photograph by Shauna Hilferty

    After a few songs, they returned home to their usual earthy gentle tone to close out the show. They sang songs from their record “On The Train Ride Home” that references New York City, which spoke to the audience on personal levels. Tears streamed down the faces of some while smiles stretched across the faces of others. Underneath the lights, a world was formed – a small culmination of vast lives all affected by the same poetry.

    The Paper Kites finished out their Halloween performance with an encore, singing some oldies that were wished for to send off the audience with a memorable evening. Once the lights came on, The Paper Kites and The Roadhouse Band said their thanks and bid their farewells to their New York City crowd.

  • San Holo’s Cosmic Concert at Brooklyn Steel: A Sonic and Visual Wonderland

    As the doors of Brooklyn Steel swung open on a crisp, autumn evening, fans of San Holo streamed into the venue, eager to immerse themselves in an evening of music and visuals that would take them on an existential journey. San Holo, the Dutch DJ and producer known for his distinctive blend of emotional, existential music, was about to captivate the audience with an electrifying performance.

    Images captured by @adrian_hernandezz on instagram

    The concert began with a sense of anticipation, which only intensified as the venue plunged into darkness. The crowd’s murmurs turned into roars of excitement as the moment we had all been waiting for arrived. A massive curtain, suspended above the stage, dropped dramatically to the ground. It was a jaw-dropping moment that marked the beginning of this sonic and visual odyssey.

    Colorful lasers pierced through the blackness. These lasers danced and swirled above the crowd, setting the stage for an otherworldly experience. The visuals were nothing short of breathtaking, and they would play a pivotal role throughout the night.

    As the audience was spellbound by the mesmerizing light show, San Holo opened with the classic track “Lift me from the Ground,” immediately sending waves of nostalgia through the crowd. The existential soundscapes that define San Holo’s music began to envelop the room, and the audience was entranced. The ethereal, guitar-driven melodies intertwined with his signature glitchy beats, creating an emotional resonance that was tangible.

    San Holo’s connection with the audience was palpable as he swayed to the music, pouring his heart into every chord and beat. His energy was infectious, and it didn’t take long for the crowd to become a unified, pulsating mass of fans, all lost in the music and the moment.

    But this was not merely a trip down memory lane. San Holo was on a mission to showcase his latest album, “EXISTENTIAL DANCE MUSIC,” and the audience was more than ready. Tracks like “DON’T LOOK DOWN” and “ENERGY” pushed the boundaries of his signature sound. The bass was deeper, the drops more intense, and the audience responded with an electrifying surge of energy.

    The visuals accompanying these tracks were a sight to behold. Colors and shapes exploded on the screens, perfectly synced with the music, creating an immersive experience that left the crowd in awe. The existential themes of the album were brought to life through the interplay of light and sound, making us question the very essence of our existence in this dance music universe.

    As the night drew to a close, San Holo returned to some classic tracks, including “Light” which had the crowd swaying and singing along with heartfelt emotion. It was the perfect ending to a night filled with introspection, energy, and incredible music.

    San Holo’s concert at Brooklyn Steel was more than a show; it was an existential experience. The fusion of his timeless tracks and the visually stunning performance left an indelible mark on everyone in attendance. As the crowd spilled out into the Brooklyn night, the shared experience of San Holo’s music and visuals created a sense of connection, reminding us all that, in the midst of life’s complexities, there’s always room to dance and lose ourselves in the beauty of existence.

  • Binghamton Philharmonic Delivers Chills and Thrills with “Phantom of the Philharmonic”

    On Saturday, October 28, at the Broome County Forum Theatre, the Binghamton Philharmonic Orchestra kicked off its 2023-2024 Pops Series with “Phantom of the Philharmonic,” a lively performance of Halloween-themed music from stage, screen, and concert hall. Guest conductor Grant Cooper, resplendent in a Dracula cape, led the orchestra in such hair-raising classics as the theme from Halloween, the Psycho Suite, and “Night on Bald Mountain.”

    The Bat Cannon Fires! Phantom of the Philharmonic
    The Bat Cannon Fires! at Phantom of the Philharmonic

    The orchestra reveled in the repertoire, demonstrating their exceptional dynamic range and clearly having fun at the same time. Many in the audience – including lots of kids – were impressively costumed, and showed their appreciation for the expert playing and Maestro Cooper’s engaging dialogue with a standing ovation.

    Phantom of the Philharmonic
    Isis Stungurys, Bailey Dembski, Logan Merril

    The Phiharmonic’s concertmaster Uli Speth took a star turn as the violin soloist in the haunting “Danse macabre” of Camille Saint-Saëns, and concert-goers were treated to a range of special effects, from multi-colored smoke to a cannon that released bat-shaped confetti at the climactic moment in Grieg’s “In the Hall of the Mountain King.”

    Amanda and Mark Green

    Future Pops Series performances this season include the holiday concert Winter Wonderland, and Pops at the Forum, featuring the music of John Williams, Led Zeppelin, and more!

    Nuci Pedraza and Peter Ortu

    The Binghamton Philharmonic’s Symphonic Series continues on November 18 with Faces of Joy, featuring Philharmonic favorite Andrew Russo as the piano soloist in Beethoven’s “Emperor” Concerto. For more information, visit www.binghamtonphilharmonic.org.

    Zaidon Harrington

  • Polyphia Shreds with Sold Out Show at Terminal 5 NYC

    Acclaimed instrumental progressive rock band, Polyphia, played a sold-out show at Terminal 5 in New York City last week (October 26, 2023) with support from Domi and JD Beck.

    Polyphia at Terminal 5. Photograph by David Reichmann (@davidpresspass)

    Jazz duo Domi and JD Beck opened the show, with keyboardist Domi Louna and drummer JD Beck delivering a very impressive and lengthy set. Their songs featured highly technical drum patterns and keys. They joked between songs about the quality of their performance, taking jabs at their own skills, which the audience rewarded with big laughs and applause. They played in a fully packed venue and thanked the crowd for showing up early for the set. They left the stage with big applause and a heightened anticipation of the headlining act.

    Domi and JD Beck opening for Polyphia. Photograph by David Reichmann (@davidpresspass)

    After some brief intro music, Terminal 5 erupted in applause as blinding lights flashed, welcoming Polyphia to the stage. Guitarists and founders Tim Henson and Scott LePage are widely considered to be two of the most influential rock guitarists of today, and they are both Ibanez-endorsed artists with several signature guitars of their own. One of their biggest singles, “Playing God,” has garnered over 30 million views on YouTube. The platform was their initial proving ground when one of their earliest singles, “Impassion,” launched them into fame.

    Their set at Terminal 5 included tracks from throughout their four-album catalog. For their encore, they played fan favorites, “Playing God” and “G.O.A.T.” They didn’t speak directly to the crowd at any point in the show, as they didn’t have microphones. But they held their guitars aloft in thanks at the end of the show and walked off with wide smiles on their faces. The crowd cheered them out and left more than satisfied.

    You can listen to their latest album here and you can see their upcoming tour dates here. Check out Domi and JD Beck’s music here.

    Photo gallery by David Reichmann below.

    Photography by David Reichmann (@davidpresspass)

  • “Walrus in Wonderland” Debuts in Brooklyn, A Psychedelic Triumph Through Alice’s Adventures

    On Thursday, October 26, in a mesmerizing fusion of musical prowess and theatrical artistry, Brooklyn’s own Walrus brought a Brooklyn Bowl audience on a transcendent journey through a musical reimagination of Lewis Carroll’s timeless Alice’s Adventures in Wonderland. The original production, “Walrus in Wonderland,” presented by Loop Toupe, delivered an immersive experience that blended the iconic sounds of the 60s psychedelic era with mesmerizing live dancers, enchanting costumes, and light show projections.

    Since forming in 2021 WALRUS has been on a mission to celebrate the psychedelic music of the Beatles and their contemporaries. From a weekly residency at Manhattan’s The Delancey, to becoming a regular presence at Brooklyn Bowl, Walrus has solidified their status as a cultural staple among New York area concert-goers.

    Led by the musical ingenuity of brothers Chris and Tom Mackin and collaborator Josh Santiago, the original soundtrack of “Walrus in Wonderland”  enveloped listeners in a psychedelic symphony that evoked the sonic oeuvre of the 1960s across the show’s 13 songs. The night’s standout performance was the debut of the Walrus original “Cheshire Cat” with groovy baselines and ripping solos that left the audience grinning from ear to ear. 

    During the show, Walrus band members Chris Mackin (Guitar/Vocals), Josh Santiago (Guitar/Vocals), Satoko Mori (Keyboard/Vocals), Dan Shein (Drums) and Sarah Elaz (Bass/Vocals) were joined by a roster of talented guest musicians including Will Corona, Michael Conklin, and Coco Solazzo who took attendees on a musical adventure down the rabbit hole.

    The debut performance was elevated by the visual spectacle projection-mapped by Ghost of Provence and seamlessly matched with dance choreography by the talented Megan Roe. Together, the ensemble delivered an experience that defied convention and brought attendees through the looking glass for an evening of unrivaled artistic immersion. “Walrus in Wonderland” was put on by the New York production company Loop Troupe, a group of artists presenting new and experimental material.

    Reflecting on opening night, Chris Mackin the show’s lead guitarist said, “It is incredible to see this cacophonous experience brought to life. Tom and I have talked for a long time about wanting to create a concert experience that went beyond the music and played to all of your senses. It is thrilling to watch audiences go on this multi-sensory adventure.”

    Walrus in Wonderland – Brooklyn Bowl –October 26

    Set One: Mr. W Rabbit > Down, Down, Down > Bottle Says Drink Me, Pig Baby, Garden Of Live Flowers [1], Cheshire Cat, Looking Glass House, Mad Tea Party [2]

    Set Two: Nonsense If You Like [3], Vorpal Sword, The Mouse > Caterpillar Hookah, Curious Dream [3] > Down, Down, Down Reprise 

    Encore: I Am the Walrus [1] [4]

    [1] Featuring Will Corona on vocals
    [2] Featuring Michael Conklin on saxophone
    [3] Featuring Coco Solazzo on vocals
    [4] Beatles Cover

  • Disco Biscuits Close out 2023 Touring at The Capitol Theatre

    To cap off a wildly successful 2023 touring schedule that spanned every corner of the country, The Disco Biscuits celebrated with two powerhouse shows in the friendly confines of the legendary Capitol Theatre in Port Chester.

    The band is still riding high atop a new wave of creativity and cohesion that’s fostered some of their best performances to date. Friday and Saturday night in Port Chester were no exceptions with the Biscuits doling out some pre-Halloween goodies.

    Friday night initiated with “Hope” in the opener spot, aka a good old fashioned “Hopener” that saw the band fly through this older number with ease. The first of tonight’s two cover song selections came next as the Biscuits took the Men Without Hats hit “Safety Dance” out for a spin. A brief outro jam soon morphed into the beginning of “Caterpillar” that took its time with a nicely extended opening section and the band was off and running. A silky smooth segue into the instrumental “M1” came next before an inverted “Naeba” and the end of “Caterpillar” wrapped up the opening stanza.

    A Biscuits classic in “House Dog Party Favor” kicked off the second set in fine fashion as the band’s iconic light show replete with laser beams coated the walls of the Capitol Theater in a rich tapestry of colors and images. The second set maintained an old school vibe to it early on with the near-20 minute “Helicopters” that came next and featured a well crafted jam with guitarist Jon Gutwillig leading the way. As it reached yet another climax, a slight change in the rhythm then ushered in the second cover of the night, the band’s instrumental take on Donna Summer’s Disco Era hit “I Feel Love.”

    Another funk laden jam with a slow build in intensity served as the foundation for a segue into the ending of “To Be Continued,” another one of the the new batch of Disco Biscuits originals and the first time it’s ever received the “inversion” treatment, with the ending section played immediately before the beginning of the song. Another newer number in “Freeze” followed before a quick re-visit to “Helicopters” to close out a second set that was one long segue of music after the opening “House Dog.” “Times Square” followed by a triumphant and powerful “Morph Dusseldorf” put one last finishing touch on the evening in the encore slot.

    Saturday night’s first set featured another extended bookending as it both began and concluded with another selection from the newer originals, “Twisted In The Road.” Seemingly picking up right where they left off the previous night, a dark, up-tempo jam was the first one out of the shoots. The band continued to show their comfort with the new material with another seamless segue into a monstrous “Buy The Time” that came next and clocked in at close to 30 minutes overall. With infectious melodies provided by Aron Magner on keys and a completely danceable beat, this one is sure to be a live staple for years to come and produced, arguably, the best jam of the entire weekend.

    Near its completion, elements of “Digital Buddha” began to seep in and the Biscuits were soon away with an inverted take on an old crowd favorite. The band then shifted from the old right back to the new with the fittingly-titled “Monster” that came next, only the third time ever this instrumental song has been played live. It featured some familiar chording that had some thinking “Lunar Pursuit” or otherwise instead. As the tempo began to increase, another familiar sound began to emerge, this time the peak of “Crickets” as the band steamrolled through another inverted rendition of a live staple before wrapping up the set.

    The last frame of music for the weekend did nothing but feature more of the same: only a few songs needed with added bountiful jams placed in between each. Things got started with a cover of Pink Floyd’s “Run Like Hell” that started with a slow, patient intro jam before fully kicking into gear. Much like its first set predecessor in “Buy The Time,” a significant chunk of the second was devoted to another new tune in “The Deal,” with this one clocking in at well over 30 minutes in total.

    An inverted (for the first time ever) “One Chance To Save The World” took the yet-to-be-released ‘Space Rock Opera’ took the song to new height, peak performance that found itself slipping into “Basis for a Day.” Fans got a taste of “Basis” in April when the second set of the final night featured multiple segues in and out of portions of the song, fitting newer tunes like “The Deal” and “To Be Continued…” within “Basis.” This evening, just one new song, “Photograph” would be sandwiched in between, an intense, energy driven combination, closing the night over the last 38 minutes.

    An encore of “Home Again” fit the bill nicely, as fans have found the Capitol Theatre to be home base in the New York metro area, with annual – and now bi-annual runs at the original rock palace. Just before truly calling it a night, Marc Brownstein thanked the crowd and dropped the band back into the final portion of “Basis for a Day,” dubbed “Basis for a Tour” in the Nugs recording.

    While the band is done touring for the year, they will be at North Beach Music Festival in Miami in early December, at Palladium Times Square for a late night show on December 28, followed by two nights at Franklin Music Hall in Philadelphia, before heading out west in 2024. Full tour dates can be found here.

    Setlists via Biscuits Internet Project

    Disco Biscuits – The Capitol Theatre, Port Chester, NY – Friday, October 27, 2023

    Set 1: Hope, Safety Dance > Caterpillar > M1 > Naeba 1 > Caterpillar
    Set 2: House Dog Party Favor, Helicopters > I Feel Love > To Be Continued 2 1 > Freeze > Helicopters
    Encore: Times Square, Morph Dusseldorf
    1 inverted
    2 first time inverted

    Disco Biscuits – The Capitol Theatre, Port Chester, NY – Saturday, October 28, 2023

    Set 1: Twisted in the Road > Buy The Time > Digital Buddha 1 > Monster 2 > Crickets 3 1 > Twisted in the Road
    Set 2: Run Like Hell 4 > The Deal > One Chance To Save The World 5 1 > Basis For A Day > Photograph > Basis For A Day
    Encore: Home Again, Basis For A Day 6
    1 inverted
    2 LTP 3/12/22 (108 shows)
    3 w/ Gamma Goblins tease
    4 unfinished
    5 1st time inverted
    6 reprise

    Photos by Brian Ferguson

  • San Holo Brings Existential Dance Music to Buffalo 

    Producer San Holo made a stop at Buffalo Riverworks October 21 for his latest tour. The Existential Dance Music tour invited a night full of emotion and mystical imagery. 

    san holo Existential Dance Music
    Photo Credit: Maddie McCafferty

    Openers ZWAAN, OddKidOut, and DROELOE opened up the night for Buffalo. Through lush instrumentation and grit, they gave room for a night full of soothing sounds. 

    Photo Credit: Maddie McCafferty

    San Holo stage presence invites an innovative take towards weaving personal journey through a live show experience. He is constantly running around stage, creating beats from scratch and layering on top of his guitar riffs. He utilizes his punk and alt-rock roots in adding a seamless grunge aspect to his music. 

    Photo Credit: Maddie McCafferty

    This musician’s concert performance is nothing short of an emotional experience. All of the colorful imagery, projections, and use of a huge curtain captured the navigation through life’s highs and lows. His opening montage utilized a curtain that projected symbols depicting the turbulences that life takes us through. With the drop of the curtain, San Holo stood invoking the audience on a journey. 

    Photo Credit: Maddie McCafferty

    San Holo mostly played songs off of his recently released album EXISTENTIAL DANCE MUSIC. This included his hits “DON’T LOOK DOWN” and “…BRING BACK THE COLOR.” His artistry shines through his candid songwriting and ability to translate that effortlessly on stage. 

    Photo Credit: Maddie McCafferty

    This night in Buffalo forged room for an intimate connection with fans. This is especially so when he performed his fan favorite song “LIGHT.” The crowd appeared mesmerized and connected throughout. His shows speak to that existential thinking and allow people to move through that with dance. A new movement that is building in the electronic music scene. 

    Photo Credit: Maddie McCafferty

    If you’re looking for more electronic music in Buffalo you are in for a stacked few months! Must Die! comes November 3 and Tape B performs November 4. Get your tickets here. 

  • In Focus: My Morning Jacket Makes Long-Awaited Return To Albany

    There was a palpable buzz across the Arbor Hill neighborhood in North Albany on Wednesday, as rockers My Morning Jacket made their long-awaited return to the area with a performance at the Palace Theatre. The band last played in the city in 2006. Madi Diaz opened the performance.

    Hailing from Louisville, Kentucky, My Morning Jacket has amassed quite the resume over its twenty-five years. Fronted by Jim James (vocals, guitar), the band also features Carl Broemel (guitars), Tom Blankenship (bass guitar), Bo Koster (keyboards), and Patrick Hallahan (percussion). The band has released nine studio albums, along with several EPs and live albums. Their current tour is in celebration of the 20th anniversary of the release of It Still Moves, and has seen the band perform the album in its entirety at certain shows.  

    Those arriving early on this evening were treated to an opening performance by singer-songwriter Madi Diaz. A lone spotlight illuminated the stage, as Diaz took opened the performance, just herself and a guitar. Diaz would take those in attendance on an emotional journey, performing songs like “Crying In Public” and “Same Risk.” Her powerful vocals, reminiscent of Phoebe Bridgers, filled the theater and captivated those in attendance.

    As the clock struck 9:15, the stage went dark and the band’s familiar orchestral walk-on music played over the house speakers. The band members took to the stage to a thunderous roar from the audience.  The familiar chord strums of “Circuital” would open the show and immediately all in attendance were on their feet. As the song slowly built in energy, fans made their way to the front of the stage, filling the side wings to dance about as the song kicked into full gear. The band kept the momentum going early, playing fan favorites such as “It Beats 4 U,” “I’m Amazed,” and “Mahgeetah” early in the set. 

    Jim James would bring Madi Diaz back to the stage early in the performance, to offer a beautiful rendition of the band’s classic ballad “I Will Be There When You Die.” The song would see Diaz harmonizing with James, with the two trading lyrics during the second verse, which even included Diaz adding a line to call out her hometown in Pennsylvania.

    In all, the performance would feature all the familiar staples of a My Morning Jacket concert. Jim James’ signature vocals danced about the beautiful Palace Theatre. The band consistently elevated songs from their studio form, with jams and improvisations making each song unique to this night, with several tracks stretching into extended jam sessions. A prolific light show mesmerized those in attendance, with a giant disco ball dropping from the ceiling during “Wordless Chorus.”  

    After a nearly two-hour, career-spanning main set, the band would return to the stage for four more songs, opening the encore opening the encore with the hypnotizing “Feel You.” The band broke out older classics “The Dark” and “Anytime” before ending with the high-energy “One Big Holiday.” After such a brilliant set, fans poured into the streets, hopeful the wait for a return performance wouldn’t be nearly as long next time.

    My Morning Jacket – Palace Theatre, Albany – Wednesday, October 25, 2023

    Setlist: Circuital, It Beats 4 U, Love Love Love, I’m Amazed, Mahgeetah, Spinning My Wheels, I Will Be There When You Die (with Madi Diaz), Spring (Among the Living), Off the Record, Lay Low, Old Sept. Blues, I Will Sing You Songs, Phone Went West, Victory Dance, Holdin On to Black Metal, Lucky to Be Alive, Wordless Chorus

    Encore: Feel You, The Dark, Anytime, One Big Holiday

  • Ace Frehley Gets Back In The “New York Groove” at Paramount Hudson Valley

    With Halloween on the horizon, the KISS Army packed the Paramount Hudson Valley for their favorite spaceman, Ace Frehley, on Friday, October 27. Frehley, a New York native growing up in the Bronx, has added a string of tour dates ahead of releasing a brand new record in February.

    Frehley’s band is composed of Ryan Cook on bass and Jeremy Asbrock on guitar. Asbrock and Cook are also in The Rock City Machine Co. alongside former Ace Frehley band member Philip Shouse. Rounding out Frehley’s band on the drums is Scot Coogan who is in his second stint with Frehley.

    With the 93-year-old theater filling up with eager KISS and Ace Frehley maniacs, Black Dawn hit the stage. As Black Dawn plugged in, they powered through a metal set that was on the shorter side. With Black Dawn leaving via stage left, the middle band, Mainline jumped on stage to an enthusiastic crowd. Mainline features Anthony Schettino on bass, Johnny Iodice on lead vocals and guitar, Devin Reck on guitar, and Mason Servedio on drums. Mainline had a very memorable set as the talented musicians played all new material with the exception of Aerosmith’s “Toys In The Attic” as the final song.

    The anticipation for Frehley came to a boiling point as his instrumental song, “Fractured Mirror” blasted through the speakers. “Fractured Mirror” segwayed right into 2001: A Space Odyssey’s theme song and the announcement of “You wanted him, well you got ‘em, from The Bronx, New York, Ace Frehley!”

    In the blink of an eye, Peekskill immediately turned into “Detroit Rock City” for the remainder of the band’s 13-song set which included tracks from Frehley’s solo record as well as KISS classics.

    Frehley’s band is extremely talented in that the three other members of the band sang vocals on at least one song during the set. Asbrock took over lead vocals during “Speedin’ Back to My Baby” which can be found off Frehley’s KISS: Ace Frehley record. Cook did his best Paul Stanley impersonation during “Detroit Rock City” and Coogan grooved on drums while belting out lyrics during “Love Gun.”

    Halfway through the set, Frehley stopped to address the crowd and announce that his brand-new solo record was being released in February. The crowd, which was filled with Frehley’s “Rock Soldiers” all cheered as this would be the first record since Origins, Vol. 2 which was released back in 2020.

    Throughout the show, the entire band was throwing guitar picks, bass picks, and drumsticks into the crowd. There were so many guitar picks thrown into the audience that it seemed like everyone could have gone home with at least one. Fans were reaching into the air, jumping and diving into the rows of seats to collect fallen, unclaimed picks.

    During KISS’ heyday in the 1970s, they were known for their theatrics. From pyrotechnics to spitting out blood and rocket guitars, they all had different ways to wow an audience. Despite Frehley not being in KISS since his last show of the Reunion World Tour in 2002, the theatrical side of “Space Ace” hasn’t left.

    During “New York Groove,” Frehley brought out a guitar that lit up and flashed during the song. Once the guitar was brought out and Coogan pounded on the kick drum, fans immediately knew what song it was. “New York Groove” then transitioned into “Shock Me” off of KISS’ Love Gun. Frehley brought out his guitar that releases smoke and it was full steam ahead.

    Even though the city of Peekskill was rather quiet on Friday evening, the rock and roll inside The Paramount was deafening. Despite Frehley not being in KISS for over 20 years, he still brings fans classic KISS songs that make audiences reminiscent of what was while also creating new memories for the newer generation of rock fans. The Peekskill crowd, which was full of fans of all ages piled out of the theater in awe after witnessing one of rock’s most influential guitarists of all time and went home knowing that they witnessed real live rock and roll.

    Setlist:  Rip It Out, Rocket Ride, Speedin’ Back to My Baby, Parasite, Rock Soldiers, Love Gun, Hard Times, Detroit Rock City, Emerald, New York Groove, Shock Me, Cold Gin, Deuce

  • Godsmack Bringing the Best of Times to the Oakdale Theatre

    Hard rock fans piled into the Toyota Oakdale Theatre in Wallingford, Connecticut on Wednesday, October 25, where Godsmack brought their Best of Times World Tour. This show is Godsmack’s second show of the four additional fall dates that were added in August in support of their new record, Lighting Up The Sky, which was released this past February.

    Godsmack is made up of Sully Erna on guitar and lead vocals, Robbie Merrill on bass guitar, Tony Rombola on lead guitar and Shannon Larkin on the drums. Erna, Merrill, and Rombola have been in the band since the recording of the band’s debut record, with Larkin joining in 2002.

    As fans were still finding their seat, the house lights dimmed and EXTREME hit the stage. Like Godsmack, EXTREME is also from Boston. EXTREME is made up of lead vocalist Gary Cherone, guitarist Nuno Bettencourt, bassist Pat Badger, and drummer Kevin Figueiredo.

    EXTREME delivered a bombastic set of new songs off their most recent record, SIX, as well as classic hits like “Get the Funk Out,” and “More Than Words.” Throughout the entire set, Cherone was interacting with the crowd, getting them to sing along while dancing around the stage. Bettencourt shredded away on guitar with a slight nod to the late Eddie Van Halen and the band plowed through their opening set.

    As two curtains were raised while the road crew swapped out equipment, a video montage of The Beastie Boys with Queen’s “We Will Rock You” blasted through the theatre, the excitement was building for the New England natives.

    When the curtain fell and the first song “When Legends Rise” blasted through the row of speakers, Godsmack took the stage with a thunderous cheer from the crowd. In a theatre that typically doesn’t showcase pyrotechnics, Godsmack showed off their theatrical side with fire during their first few songs. Throughout the hard rock extravaganza, Godsmack blasted through a setlist of newer material from their aforementioned Lighting Up The Sky record as well as classics off of their older records.

    Throughout the show, the general admission section became a sea of bodies. From the start of the show till the band said their final goodbyes at the end, concertgoers were crowd surfing, attempting to form mosh pits and fist bumping.

    As Larkin’s drums were pushed forward at the start of “Batalla de los Tambores,” a second drumkit was hauled forward and Erna hopped on the drums for a drum battle. At the end of the battle between bandmates, the band jumped into a jam that included short covers from artists like Aerosmith, Metallica, AC/DC, and Led Zeppelin. With each new recognizable riff from Rombola, the fans all clapped and cheered in applause. Some fans were so enthusiastic about some of the covers being played that they took out their air guitars and played along.

    Towards the tail end of the set during “Whatever” which is off their self-titled debut album, Erna brought up the “future of rock and roll.” Children like one boy, Michael, and his sister Amy joined other kids that ranged from eight to 17. With Erna prancing around the stage, he riled the crowd up hailing the next generation of rock and roll.

    The band’s second to last song, “Under Your Scares,” featured Erna playing the piano that had a QR code to a link to Scaresfoundation.org which is the band’s foundation that fights mental health. As the band jumped into the song, Erna dedicated the track to some of the musicians that the music world had lost like Chris Cornell, Chester Bennington, and Van Halen.

    As fans walked out of the theatre, smiles were on their faces as they witnessed Godsmack deliver a hard rock performance that was unforgettable. Fans were leaving the building singing their favorite songs, air guitaring, or looking at the new concert t-shirt they bought to add to their collection as they filed out into the cool Connecticut night.

    Setlist: When Legends Rise, 1000hp, Cryin’ Like a Bitch!, What About Me, Surrender, You and I, Red, White & Blue, Awake, Keep Away, Voodoo, Batalla de los Tambores, Whatever, Under Your Scars, Bulletproof, I Stand Alone