NYS Music 2023

Category: Jam/Progressive

  • Jamming Into The Night: Dogs In A Pile Post-Phish Extravaganza at Sony Hall

    On Thursday, Dec 28, Dogs In a Pile took center stage at Sony Hall, just a stone’s throw away from Madison Square Garden, where Phish kicked off their much anticipated four-night New Year’s Eve Run. Branded as “The Dog Pound” by the band themselves, fervent fans flocked to the venue, securing their spots before Phish even finished their encore. The eclectic crowd, covered in classic Phish donut wear, Aztec patterns, and tie-dye attire, brought an energy that permeated the air.

    Having traversed the entire country on a busy fall tour, Dogs In A Pile had recently graced various New York venues, from Lafayette to Trumansburg, and Williamsburg. Smiles were seen all around as Keyboard player Jeremy Kaplan kicked off the night with a solo opening number, a classical-sounding ballad that set the tone for the night—soon joined by Jimmy Law (guitar and vocals), Joe Babick (drums and vocals), Sam Lucid (Bass), and Brian Murray (guitar and vocals).

    Taking the stage shortly after midnight, fans were jumping, jiving throughout the venue from the rails to the back. Dogs In A Pile’s unique sound is a harmonious blend of the unfamiliar and the strangely familiar. Elements of funk, jazz, and classic psychedelic rock ring out, and their songs are carefully constructed, invoking a circus of sound and feeling. The show was complemented by vibrant lighting, captivating The Dog Pound until the wee hours of the morning, almost reaching 4 AM.

    A special moment came when the band paid homage to the maestros themselves. The iconic notes of “Harry Hood” rang out, showcasing the band’s technical prowess and precision. With an encore of their popular song “Truck Rum”, the evening winded down and fans retreated home just before sunrise. The echoes of this night continued to reverberate. Dogs in A Pile kept the Phish party alive and elevated it to new heights- a testament to the band’s overall aura and momentum.

    For fans in Saratoga Springs, Dogs In A Pile will be at Putnam Palace on 12/30 & 12/31 for what’s sure to be an incredible New Year’s Eve celebration!

    Setlist: G Song, Tillie, Feel Like A Stranger, Look Johnny II, You Didn’t Hear It From Me, Let U Go, Go Set > Gumball, Spun > Drums > Harry Hood, Craig and Pat, Appleseed, Linus and Lucy

    Encore: Trunk Rum

  • Four Men in Four Men’s Land: Phish Return to MSG to Close out 2023

    The four men of Phish returned to Madison Square Garden, their live music home base, to begin another four night run to close out another successful year. It was already their eighth visit in 2023 and their nice-round-number eightieth of their career. It all started with a show almost exactly 29 years prior, with their first traditional four-nighter 25 years ago.

    Needless to say, the band felt right at home on the Midtown Manhattan stage. There’s really no need to warm up to the room that plays like their living room, and their comfort was evident from note one. The final shows of the year began with “No Men in No Men’s Land,” with the nod and wink appropriate lyric, “You’re happy that we’re here.” which received a huge roar from the anticipatory crowd. The band found room to let loose as a unit right away, with Mike Gordon’s bass driving the early action.

    From there the set would take a sharp nostalgic turn, diving deep into the bands early catalog. Classic Phish fare from the irreverent barbershop-esque “Halley’s Comet,” to some of their earliest “hits” like “Sample in a Jar” and “Bouncing Around the Room” provided the crowd a trip down memory lane. Solid takes on other favorites “Runaway Jim,” “Axilla Part II,” and Son Seals’ “Funky Bitch” set the table for a strong finish.

    Sticking to the early material, “Bathtub Gin” would provide the first real fireworks of this New Year’s celebration. Gordon once again pushed the agenda in the early going as the rest of the band remained within “Gin’s” lines. Page McConnell flinched first, moving to his clavinet while Trey Anastatio added sustained wails on guitar. McConell dug into some of his weirder tones and the whole thing got a bit dissonant. John Fishman pushed it forward with a marching beat and eventually locked into a dark groove with Gordon. The dark turned bright in a flash as Anastatio discovered a happy rocking theme that brought the whole thing back into the “Bathtub” to wrap it up neatly.

    “Ghost” would top off the set with some more interesting improvisation, all four members combining to find an interesting theme. They quickly worked it to a peak which they sustained at for an incredible high energy workout. Gordon mixed in some “No Men’s” lyrics into the chaos but it all settled back into the “Ghost” groove as the first set of the run came to a close.

    “The Howling” got things started in set two, as howling sounds bounced around the room, echoing in surround sound.

    “A Wave of Hope” followed, and started innocently enough. The band coasted along for a little bit until you could almost hear the safety line being cut. The whole band dropped any semblance of a connection to the source material, diving into the deep end into a slow ooze. From there they entered mind meld territory, flipping from theme to theme without cue and without hesitation, like it was scripted. The pace quickened, slowed and sped up again. Dark, bright, rocking, cosmic, it was a journey and the map was being drawn in real time. The stage was surrounded by points of white light in a spastic swirl as Anastatio carried the final segment into bliss territory. They found their way to a slick transition into “Rift,” one of a few solid segues on the night.

    A quasi-classic “Mike’s Song” > “Simple” segment gave the set more solid anchors to hang some cred on. Gordon played around with the rocking groove as the lights rode the deep end waves, undulating high above. As a counterpoint to the one-ness found throughout “A Wave of Hope,” in “Mike’s” the band fractured, fragmenting and deconstructing pieces of the jam. It got heavy and industrial, but never lost the underlying groove. It roared up to an unusual “Mike’s Song” peak that had hints of “Tweezer Reprise” hidden just beneath the surface.

    The ensuing “Simple” again provided a contrast, staying spacey and ambient for most of it’s runtime. And as that time ran low, it transitioned excellently into a rocking “Blaze On” set closer, which featured solid in-the-pocket jamming from the whole unit.

    Between new songs, old songs, and a full smattering of influences on display, Phish was setting the table nicely as they invited their fans into their home away from home to celebrate another year in the books. But with a long four-song encore that had multiple “ok now it’s over” moments, they were the hosts who couldn’t let their guests leave without a few proper good-byes. They welcome another party in the next three nights at the Garden. Shows 81 through 83 and year 2024 await. But who’s counting?

    Setlist via Phish.net

    Phish – Madison Square Garden – Thursday, December 28, 2023

    Set 1: No Men In No Man’s Land, Halley’s Comet, Sample in a Jar, Runaway Jim, Bouncing Around the Room, Axilla (Part II) > Funky Bitch, Bathtub Gin > Ghost

    Set 2: The Howling > A Wave of Hope -> Rift > Mike’s Song > Simple > Blaze On

    Encore: mercy, The Squirming Coil, Weekapaug Groove > Say It To Me S.A.N.T.O.S.

    Trey teased San-Ho Zay in No Men In No Men’s Land. Mike quoted No Men In No Men’s Land during Ghost. Mike’s Song contained sound effects used earlier in the show during The Howling.

  • Phish Studies Conference Announces 2024 Keynote Speaker, MSG PhanArt Office Hours

    Oregon State University has announced that Benjy Eisen will be the keynote speaker for the 2024 Phish Studies Conference in Corvallis on May 17-19, 2024. Eisen, a NYT Best-Selling author, artist manager, and co-host of the “Undermine” podcast, will deliver the address to the gathered attendees.

    Phish Studies Conference Announces 2024 Keynote Speaker
    artwork by Ryan Kerrigan

    The second Phish Studies conference will feature new contributions to the emerging field of Phish Studies, which encourages multi-disciplinary scholarly approaches to Phish’s music, fan culture, social impact, and enduring popularity.

    “I first fell in love with Phish during my first semester of college, and for the following four years they were an inseparable part of my college experience,” said Mr. Eisen. “Heading to OSU for an academic conference on the band feels full circle or, perhaps, full donut.”

    “We’re thrilled that Mr. Eisen will deliver the 2024 Phish Studies Conference keynote address,” said Dr. Stephanie Jenkins, associate professor of Philosophy at OSU and Conference Program Committee Chair. “As a live music journalist, writer, and chronicler, he brings unique experience and wisdom to Phish scholarship.”

    2019 saw OSU host the inaugural Phish Studies Conference

    Like the inaugural conference in 2019, when nearly 200 fans and scholars attended the event and more than 50 scholars presented research, the 2024 gathering will represent diverse disciplinary approaches and feature scholars from across the country who are exploring the boundaries of Phish research.

    “With a second conference, I foresee us going much deeper and exploring new horizons of Phish scholarship,” said Dr. Christina L. Allaback, assistant professor of Theatre at the University of Pittsburgh at Greensburg and Program Committee member.

    OSU also announced that Phish Studies Conference committee members will be available for office hours at PhanArt on Dec. 30 from 1-6pm at Hill Country BBQ in NYC, during Phish’s MSG run.

    Due to popular demand, the deadline for proposals for presentations, art, and performances has been extended to January 15, 2024. Fans are encouraged to attend PhanArt office hours to discuss their proposal ideas.

    “PhanArt is an event with such great energy,” said Dr. Jake Cohen, musicologist and Program Committee
    member. “We’re so excited to share our enthusiasm for the conference and help phans turn their ideas into Phish Studies proposals.” 

    The Call for Presentations, Art, and Performances, as well as information about conference sponsorship opportunities, can be found on the conference website, phishstudies.net.

  • Saratoga New Year’s Fest Lineup Features Joan Osborne, Robert Randolph, Gibson Brothers and many more

    The city of Saratoga Springs announced the Saratoga New Year’s Fest lineup, including Joan Osborne, Robert Randolph, Gibson Brothers, Dogs In A Pile, and more.

    What used to be called First Night Saratoga, the rebrand to Saratoga New Year’s Fest happened in 2022 as pandemic restrictions loosened. Festivities are planned from December 29, 2023, to January 1, 2024. This year’s events will feature more than 30 performers on nearly two dozen stages. In addition, there will be a 5K run, a fireworks show, a family-friendly pre-fireworks block party, and other events.

    “This is a joint presentation: the city the Chamber, Discover Saratoga, the City Center, and myself,” said producer Robert Millis of the 398Group, during this week’s festival announcement. “We put this idea together last year to bring back First Night – and it worked. We met our milestones. It’s all part of a three-year plan to make this thing get bigger and bigger.”

    For more information about the Saratoga New Year’s Fest and to purchase, visit here.

    Saratoga New Year’s Fest Lineup

    Friday, December 29

    DJ Logic, 10 p.m. at Putnam Place

    Saturday, December 30

    The Nth Power, 7 p.m. at Universal Preservation Hall

    The Weight Band, 8 p.m. at Universal Preservation Hall

    Sunday, December 31

    Afternoon

    Kids Music Show, 1 p.m. and 3 p.m. at Caffe Lena

    TBA Band, 3 p.m. at the City Center “Jazz Room”

    Will Pedicone, 2:30 p.m. at Impressions of Saratoga

    Maurizzio & Kaos, 2:30 p.m. at Franklin Square Market

    Pete Pashoukas, 3 p.m. at Sixth Generation Strings

    Erin Powers, 3 p.m. at Overland on Broadway

    Late Afternoon

    Swing Docs, 4 p.m. at the City Center “Jazz Room”

    Gibson Brothers, 4 p.m. at Universal Preservation Hall

    Toss The Feathers, 4:45 p.m. at The Parting Glass Irish Pub

    Jeff Brisbin, 4:30 p.m. at The Holiday Inn

    Erin Powers, 4:30 p.m. at The Coat Room

    New Year’s Eve

    Halfstep, 5 p.m. and 7:30 p.m. at The City Center “Dead & Groove Room”

    Country Kickers Line Dancing, 5 p.m. to 7:30 p.m. at The City Center “Country Room”

    Chris O’Leary with Tia Comedy Show, 5 p.m., 6:30 p.m., and 7:30 p.m.at The Inn at Saratoga

    Erin Powers, 5 p.m. at The Coat Room

    Kristian Montgomery, 5 p.m. at Tap & Barrel

    Shine On, 5 p.m. at Embassy Suites

    Family Tree, 5 p.m. at Ellsworth Jones Place (outside of the City Center)

    Tracy Bonham, 6:30 p.m. at Universal Preservation Hall

    Triskele, 7 p.m. at The Parting Glass Irish Pub

    Robert Randolph, 7 p.m. at The City Center Main Hall

    Double Barrel, 7 p.m. at Nashville of Saratoga

    Ragged Company, 7 p.m. at Quarters

    Toubab Krewe, 7:30 p.m. at Universal Preservation Hall

    Classic Rock Tent, 8 p.m. at The Ice House

    Patrick Wisdom Stewart, 8 p.m. at Baileys

    Organ Fairchild, 8:30 p.m. at The City Center “Dead/Groove Room”

    Ward Hayden & The Outliers, 8:30 p.m. at The City Center “Country Room”

    GA-20, 8:30 p.m. at Universal Preservation Hall

    Maggie’s Clan, 8:30 p.m. at The Parting Glass Irish Pub

    Joan Osborne & Band, 9 p.m. at The City Center Main Hall

    Dogs in a Pile, 10 p.m. at Putnam Place

  • Night 3 of Bob Weir & Wolf Bros Capitol Theatre December 2023 Residency

    As the crescent moon descended over the Capitol Theatre in Port Chester, Bob Weir & Wolf Bros delivered a compelling evening of music, marking the third show of their extended December 2023 residency. 

    Bob Weir & Wolf Pack, Capitol Theatre

    Emerging from the rear of center stage, Bob Weir opened the evening solo with his rendition of “Peggy O.”  A solitary figure with his guitar, Weir exuded a contemplative aura.  Every note plucked and every word sung captivated the audience, drawing them into the profound depths of his soul.

    Bob Weir

    The five-night series harmoniously coincided with the festive season, capturing the joyous spirit of the holidays.  With a twinkle in Weir’s eye and his beard all aglow, this musical Kris Kringle bestowed a plethora of gifts upon all the good boys and girls attending the sold-out show.

    Bob Weir & Wolf Pack, Capitol Theatre Night Three

    Enhancing the magical ambiance was a cadre of Santa’s musical helpers, featuring Don Was, Jay Lane, and Jeff Chimenti, as well as The Wolfpack (Alex Kelly, Brian Switzer, Adam Theis, Mads Tolling, Sheldon Brown, Barry Sless), who graced the stage alongside Weir at different junctures throughout the evening, intensifying the magic.

    Bob Weir & Wolf Pack, Capitol Theatre

    The musical choices for the evening spanned a diverse range of origins, featuring both Weir’s original compositions and beloved Grateful Dead classics.  Each song’s energy seamlessly flowed into the next, creating a dynamic musical journey. 

    Bob Weir & Wolf Pack

    Both sets featured compelling covers, including Kris Kristofferson’s “Me and Bobby McGee” and Marvin Gaye’s “What’s Going On,” broadening the musical scope of the evening.  The band’s portrayal of Eddie Cooley’s “The Fever” transcended into a profound and soulful masterpiece.  Bringing the night to a memorable conclusion, the band encored with the timeless classic, “Going Down the Road Feeling Bad.”

    Bob Weir & Wolf Pack

    As the band bid farewell, the capacity crowd journeyed out into the darkness of the night. If anyone among them cast their gaze skyward, they might have captured the sound of a celestial symphony. Voices from above exalting ‘On Dead, on Ratdog, on Kingfish, on Company; Merry Christmas to all, and to all a Rock’n Night!’

    Bob Weir and Wolf Bros., – Capitol Theatre, Port Chester – December 15, 2023

    Set 1: Peggy-O, The Winners, Mississippi Half-Step Uptown Toodeloo, Tennessee Jed, Odessa, Ramble On Rose, I Need a Miracle, Fever, U.S. Blues

    Set 2: Me and Bobby McGee, Man Smart; Woman Smarter, Bertha, Cassidy, The Wheel, Eyes of the World, What’s Going On, Stella Blue, Not Fade Away

    Encore: Going Down the Road Feeling Bad

    Bob Weir & Wolf Bros

  • Bobby Weir & The Wolfpack Take Over The Capitol Theatre for A 5 Night Run

    Legendary guitarist Bobby Weir of the Grateful Dead has wrapped up holdng a 5-night run at The Capitol Theatre with the Wolf Bros, featuring The Wolfpack.

    The Wolfpack is made up of the Wolf Bros Don Was and Jay Lane, and Jeff Chimenti, who joined Wolf Bros in 2020 around the time of the forming of The Wolfpack, who are a string and brass quintet consisting of Adam Theis, Alex Kelly, Sheldon Brown, Brian Switzer, and Mads Tolling as well as Barry Sless on pedal steel.

    The second night of the run, Wednesday, December 13, saw the night start off with just Bobby on stage playing an acoustic “Easy to Slip,” and was then joined by Jay & Don, still on acoustic, for a cowboy favorite, “El Paso.” Bobby switched to electric to play “Queen Jane Approximately” before Chimenti came out for a full electric “Hell in a Bucket,” a crowd favorite. The room was getting hot and The Wolfpack came out to play “The Music Never Stopped”, but for Bob Weir, the music has truly never stopped. The rest of set was joined by Ron Carter on stand up bass and featured a dark and psychedelic “Dark Star” and a roaring “Scarlet Begonias.”

    Not bad at all for a Wednesday night! Spirits were high and the second set certainly delivered, starting off strong with “Throwing Stones.” Bobby’s vocals really shined on “Viola Lee Blues” and “Corrina.” This was followed by “Come Together,” an unexpected Beatles cover. Following were delightful symphonic renditions of “China Cat Sunflower > I Know You Rider,” featuring top notch horn solos accompanied with Bob’s iconic rhythm guitar playing.

    Following was a dark and somber “Wharf Rat” with the absolutely iconic Bobby song, “Sugar Magnolia” following. Weir absolutely wails at one point in that song, delivered beautifully but being careful not to blow his voice out before the next three nights at the legendary Capitol Theatre.

    The encore was a rather rare “Liberty,” masterfully delivered. The band took a bow and received a small banner stating “Warning: Genius at Work.” A true spectacle of a night, seeing the legendary Grateful Dead guitarist produce a unique soundscape with familiar material, brining the music to new places and keeping it fresh.

    Bob Weir and Wolf Bros., – Capitol Theatre, Port Chester – December 13, 2023

    Set 1: Easy to Slip, El Paso, Queen Jane Approximately, Hell in a Bucket, The Music Never Stopped, Easy Answers, Dark Star, Scarlet Begonias

    Set 2: Throwing Stones, Viola Lee Blues, Corrina, Come Together, China Cat Sunflower > I Know You Rider, Wharf Rat > Sugar Magnolia

    Encore: Liberty

  • Dave’s Picks Volume 50 features Spring 1977 Grateful Dead

    For the 50th edition of Dave’s Picks, a special show has been chosen from one of the best Grateful Dead tours, with Palladium NYC from May 3, 1977 taking the honors.

    Spring Tour 1977 had many incredible shows, not including this Palladium show, but also later that week in New Haven, CT, the historic Barton Hall show, and the arguably stronger night that followed in Buffalo.

    5/3/77 was the penultimate show of a five-night run at the Palladium, just a few nights before the Cornell show, and features a seemingly endless run of the Grateful Dead at their best, including monumental renditions of “Eyes Of The World,” “Wharf Rat,” “Not Fade Away,” and “Uncle John’s Band.”

    dave's picks grateful dead

    Additionally, there are some tracks from the final night of the Palladium run, 5/4/77, with tracks including “Scarlet>Fire,” “Terrapin Station,” “Playing In The Band,” and what has come to be widely considered one of the best versions of “Comes A Time” the Grateful Dead ever played.

    This show is only available with a subscription to the Dave’s Picks series.

    Grateful Dead – Palladium, Manhattan – May 3, 1977

    Set 1: Promised Land, Bertha, Me and My Uncle, Peggy-O, Jack Straw, Row Jimmy, Lazy Lightnin’, Supplication, Deal, Good Lovin’, Ship of Fools, Music Never Stopped

    Set 2: Might As Well, Estimated Prophet, Sugaree, Samson and Delilah, Friend of the Devil, Eyes of the World, Wharf Rat, Not Fade Away, Around and Around

    Encore: Uncle John’s Band

  • Harp on Lark: Mikaela Davis and Southern Star Shine Bright in Albany 

    During a famous MTV Unplugged performance, Kurt Cobain once sarcastically asked, “What are they tuning, a harp?” His tone somewhat mocking of the instrument, as if it had no place in his rock n’ roll world. For a long while, I may have thought the same thing too, but then a funny thing happened to me on Thursday, December 7.

    That was the night I saw Mikaela Davis and Southern Star perform at Lark Hall in Albany for the first time. Armed with a six-foot-tall harp, a bold voice, and a certain element of mystique, the classically trained harp player-turned-folk rocker completely redefined everything I thought I knew about the instrument, simultaneously shattering whatever limitations my mind may have placed on it.  

    Mikaela Davis and Souther Star made their Lark Hall debut on December 7th, 2023.

    Captivating the audience with a dreamy blend of psychedelic pop, driving folk rock, and a healthy dose of sonic improvisation, Mikaela Davis and Southern Star simply dazzled in Albany. A long-time believer in the group, Greg Bell of Guthrie Bell Productions has often said this is one of his favorite acts and has been bringing them to the Capital Region for years now. Regularly making stops at venues like The Hollow and Putnum Place, this night would mark their graduation to the historic room of Lark Hall. Delivering a dynamic, genre-bending performance full of emotion, beauty, and star-making energy, it was easy to see what all the hype over the talented harp-playing singer and her incredible band was all about. 

    Originally formed in Rochester, Mikaela Davis and Southern Star have been playing together for over a decade. Notably sharing the stage with the likes of Bob Weir and Phil Lesh, Bon Iver, and Circles Around the Sun, the group released their first full-length album as a band, And Southern Star, in August of this year and it’s already showing up on many of the “year’s best” lists. Focusing much of the show on its material, the multi-layered improvisation that also came from it was nothing short of a breath of fresh air and a major reason why they’ve been so warmly embraced by the extended jam band community. 

    Home in the Country: Mikaela Davis and Souther Star made themselves at home in Albany on 12/7/23.

    Casually kicking things off with the melodic one-two punch of “Cinderella” and “In My Groove,” Mikaela Davis and Southern Star had Lark Hall’s undivided attention from the very start. Along with Davis, Southern Star also consists of the McCarthy brothers, Cian on guitar and sax and Shane on bass, Alex Cote on drums, and the talented Kurt Johnson on pedal and lap steel.

    Keeping things going, the infectious single called “Home in the Country” was an early set highlight, as was watching Johnson’s incredible dexterity as he employed a litany of effects and knob turning to his pedal steel rig to create all kinds of subtle textures to accent Davis’s delectate harp in the most sophisticated way.   

    Kurt Johnson of Southern Star had his hands full on pedal and lap steel on 12/7/23.

    After a bit of funky plucking on 2018’s “Get Gone”, “Far From You” would cross over into a more euphoric fairytale-type feel before landing on what would ultimately be the centerpiece of the show, an enchanting and transformative take on the Grateful Dead’s “Here Comes Sunshine.” Showcasing their propensity to improvise just as Garcia and company famously did, the stunning arrangement felt right at home at Lark Hall, a venue that recently expanded to include a Dead-inspired wine and coffee bar downstairs dubbed The Eleven. The lengthy rendition commanded your attention and was enough to win over any of the Heads in the audience who still weren’t sure of the greatness happening before our ears and eyes.   

    Here Comes Sunshine: Mikaela Davis and Southern Star wowed the Lark Hall crowd with their Grateful Dead cover on 12/7/23.

    What started as a chilled-out version of “Leave it Alone” soon boiled over into blues-rock territory before seamlessly finding the opening chords of “Promise,” the second single from And Southern Star. With the crowd fully engaged and swaying to the up-tempo vibe and colorful riffs, the band’s synergy and skill were on full display. As the momentum continued to build, perhaps the most “rockin’” song of the night came next with a jammed-out version of “Don’t Stop Now,” featuring one of multi-instrumentalist Cian McCarthy’s best solos of the night.

    Pausing to thank the audience for coming out and commenting on how nice it was to be playing Lark Hall for the first time, Mikaela then broke the news that she’s already looking forward to coming back in a few months with her pals (and fellow 2023 Lark Hall alumni), Circles Around the Sun.

    Talking from the heart about how special it is to play music live, she also mentioned the best way to directly support touring artists is by picking up some of their merch at the gigs. Davis and Southern Star would then bring the main portion of the show to a close with a beautiful rendition of “Pure Divine Love,” before returning for a luscious encore of “Other Lover” from Mikaela’s debut 2018 album, Delivery.  

    After wrapping up their final show of the year with a hometown throwdown in Rochester, Mikaela Davis and Southern Star already have their sights firmly set on 2024. The band has just announced a full slate of new tour dates alongside psychedelic, Dead-inspired prog jammers Circles Around Sun. The collaborative tour is set to feature several New York dates with stops at Brooklyn Bowl, Ithaca’s Deep Dive, and Buffalo Iron Works.   

    Mikaela Davis | December 7, 2023 | Lark Hall | Albany, NY 

    Setlist: Cinderella > In My Groove, Home in the Country, Get Gone, Far From You, Here Comes Sunshine, Leave it Alone > Promise, Don’t Stop Now, Pure Divine Love

    Encore: Other Lover

  • Allman Brothers Band Announces Release of ‘Manley Field House, Syracuse University, April 7, 1972’

    The Allman Brothers Band has announced the release of Manley Field House, Syracuse University, April 7, 1972, an iconic and widely circulated fan-favorite radio broadcast bootleg, available on CD and digital on January 12, 2024.

    Manley Field House Syracuse University allman brothers

    Throughout the Allman Brothers Band’s 35-year existence, each live performance holds relevance, lighting up any stage. On April 7, 1972, the band was invited to perform at Manley Field House on the campus of Syracuse University. Coming shortly after the sudden passing of band leader Duane Allman in October 1971, this show captured a rare, brief, and emotionally charged “Five-Man Band” period when the lineup was composed of only five original members—Gregg Allman on vocals and keyboard, Dickey Betts on guitar, Berry Oakley on bass, and drummers Butch Trucks and Jaimoe.

    The band’s performance at Manley Field House, the school’s indoor track and field facility, was recorded and simulcast on Syracuse University’s WAER college radio on the night of the show, and rebroadcasted by the station and some of its former staff members. The recording was made with the band’s cooperation and authorization using an auxiliary mixing board on the side of the stage with a feed from the Allman Brothers sound desk.

    Jeff Chard, SU concert coordinator in 1971-72, spoke fondly on that night and offered his sentiments in the album package’s liner notes. “This was the Five Man Band, as Brother Duane had passed just over five months prior. The quintet had pushed on, playing some 41 shows in 22 weeks. This night saw Gregg singing and playing his heart out, while Dickey Betts is doing phenomenal double duty on guitar, switching seamlessly between the necessary slide parts and his own soaring leads. But the real revelation of the night is that Berry is the glue, and the second lead player as well. His thunderous bass holds the quintet together – you’ll hear it, and we could see it that night. Then there is the way Butch Trucks and Jaimoe lock in on the drums, the way the whole unit responds, five playing as one.”

    The 11-track collection features set staples including show opener “Statesboro Blues,” “In Memory of Elizabeth Reed,” “Midnight Rider,” and “Whipping Post,” as well as “Ain’t Wastin’ Time No More” off their then newly released album Eat a Peach. “Syracuse Jam,” included here for the first time, is an example of the one-time melody jamming the band was famous for and is unique in that it does not appear in any other known recording.

    It was a memorable but brief time for the band. Six months later, keyboardist Chuck Leavell was added to the group, making the ABB six players strong again, only to lose Berry in another motorcycle accident on November 11, 1972. Shortly thereafter, Lamar Williams took over bass duties, and the Allman Brothers Band started a new musical chapter. But for that one year, with the five original men still standing – and especially on that magical April night in Syracuse – we surely felt the spirit. Best damn band we’re ever gonna hear indeed! We were all believers, and this CD is a testament to those words.

    Jeff Chard

    In a live review of the show in the University’s student newspaper the Daily Orange, writer Bruce Apar noted: “The Allman Band itself was thoroughly remarkable, leaving proof in still another city that they have developed into a supreme group, by which lesser talents can be judged.”

    For more information, visit here.

    Manley Field House, Syracuse University April 7, 1972 tracklist:

    Disc One:

    1.    Introduction

    2.    Statesboro Blues

    3.    Done Somebody Wrong

    4.    Ain’t Wastin’ Time No More

    5.    One Way Out

    6.    Stormy Monday

    7.    You Don’t Love Me

    Disc Two:

    1.    In Memory Of Elizabeth Reed

    2.    Midnight Rider

    3.    Whipping Post

    4.    Syracuse Jam

    5.    Hot ‘Lanta

  • In Focus: Lespecial rages Buffalo Iron Works with strong support from Grub

    Lespecial’s Odd Times Tour stopped in to play Buffalo Iron Works Dec 06, 2023 to an eager and packed house. Opening for Lespecial this night and next on tour is Grub. Grub, a Niagara Falls based band are well known to the Western New York music scene and beyond for their high energy flowing Psych Rock jams.

    Grub took to the stage and wasted no time jumping right into their set. The spacy, angelic, bass thumping, drum driving songs filled the room to a very engaged crowd all night from the very first song on. There is no surprise why this band has a continually growing fan base.

    The trio is made up of Zack Tilton – Guitar/Vocals/Synth/Samples, Nick Woodcock – Bass/Vocals/Synth, and Ryan Henderson – Drums/Samples.

    Lespecial are no strangers bringing the house down with their building shaking, body pounding and air ripping sound. And that’s exactly what they did all night. Right from the start they came out hard and fast. The crowd took notice and kept right up with them dancing and cheering. Some almost seemingly ready to mosh with the energy so high.

    This prog-tronic Power Trio is made up of Luke Bemand – Bass/Synth/Percussion/Vocals. Jonathan Grusauskas – Guitar/Synth/Sampler/Percussion/Vocals. Rory Dolan – Drums/Sampler/Percussion/Vocals

    Setlist: Lungs of the Planet, Snells Fleet, Jackwise, Fear the Djinn, Repeater, Machine Elf, Homieverse, Whats Crappenin’, DGH II (FT Noah Fense), What’s the Use (FT Noah Fense), Fruit Wolf Dance, I Might Be Wrong, Rays, Onlookers, Chird, Chromakey, The Vessel, They Live
    Encore: Tonberry