Each Sunday evening from 7-9 p.m. you’ll find EQXposure on WEQX, featuring two hours of local music from up-and-coming artists. Tune into WEQX.com this Sunday night to hear new music from Ampevene, Tops of Trees, and Simplemachine.
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Ampevene is a fresh, experimental fusion of original Progressive Rock, Psychedelic, and other genres based out of Albany. The group is currently comprised of Gabe Stallman (guitar and vocals), Mack Hogan (bass), Ava Smith (keys and synth), and Brian McKinney Fahey (drums). They take inspiration for their free-form frenzy, jagged riffs, and hypnotic rhythms from groups like Pink Floyd, Led Zeppelin, TOOL, and more.
Simplemachine – “Ingloria”
Simplemachine just released the anti-suicide anthem “Ingloria,” urging those to get help if they are struggling. The song tugs on your heartstrings as they sing “I never saw it coming/then through the haze/the hum of distant drumming.” The song utilizes powerful vocals and somber violin strings to get the message across that help is available to you, and to please seek it before doing anything drastic.
Tops of Trees – “Frontline”
Tops of Trees are a newly budding original music group based out of Upstate, NY, with a modern interpretation of soulful music steeped in early R&B, funk, and blues.
Due to illness, Bruce Springsteen and The E Street Band’s concert at MVP Arena in Albany on Tuesday, March 14 has been postponed.
In a statement, Bruce Springsteen & The E Street Band said that they “are working on rescheduling the date so please hold on to your tickets as they will be valid for the rescheduled show.” This has been the third show the band has had to postpone due to illness, including March 9 at the Nationwide Arena in Columbus, OH, and March 12 at Mohegan Sun in Montville, CT.
The show has been rescheduled to Sept. 19, and previously bought tickets are valid for the new show. If you cannot make the show, you can request a refund up until April 16.
For a band with such a rich and vast musical archive like the one belonging to The Grateful Dead, when a search for a show recording comes up completely empty, it’s almost hard to fathom. But that appears to the be the case for a Grateful Dead show on March 17, 1970 with the Buffalo Philharmonic Orchestra which has a legacy that seems to grow with each passing year, as pleas for any video or audio recordings continue to go unanswered. In a tragic case of irony, this particular show seems to feature some of the most avant-garde music and experimental visuals of the band’s still fledgling touring career. All we’re left with is a scant trail of news clippings, the recollections of those who were present, and a pretty valid reason as to why any media will never surface.
This performance, which was billed as a benefit for the Orchestra called the Philharmonic Rock Marathon, took place at Kleinhans Music Hall, where the Buffalo Philharmonic Orchestra still plays to this day. This particular gig in 1970 was billed as a collaboration between the worlds of classical and rock music and the first of its kind. After a cancellation by The Byrds, who were originally scheduled to appear, the Grateful Dead swooped in and would seem to serve as more than an adequate replacement for this type of experimentation. The band even waived their normal appearance fee, jumping at the chance to work with Lukas Foss, a renowned German-American pianist and conductor who was musical director of the Buffalo Philharmonic at the time.
‘The Dead’ are accepting expenses but waiving their usual huge fee, to help the Philharmonic benefit and for the ‘privilege and delight,’ as they put it, ‘of working with Lukas Foss.’ It will be a four-hour concert in six parts, any one of them a major event. The whole program, in fact, is history-making as the first fully-shared concert by a rock group and symphony orchestra.
Buffalo Evening News, March 17, 1970
As promised, the performance offered a myriad of musical collaborations that were no doubt enhanced with a state-of-the-art $4000 light rig that was brought in, with a laser beam shone through a prism bathing the music hall walls in color. Between this and a motorized lift platform in the orchestra pit that the band played on, which at one point would rise when they played and lower when the orchestra took over, the Grateful Dead’s fingerprints on the modern day jam scene only grow more evident.
Finally, the merging of two musical forms, the Dead and the Philharmonic in an old-time jam session. Also on the program will be a new concept in light shows. Laser beams!
Joe Fernbacher, from the Spectrum, University at Buffalo, March 13, 1970
The Grateful Dead and Buffalo Philharmonic Orchestra were joined by another band on stage as well, The Road. All three outfits, under the stewardship of Lukas Foss, combined to produce a night full of incredible music that, sadly, seems to have gone unrecorded. The first portion of the evening saw Lukas Foss at the piano, backed by members of all three groups, playing his own piece called “Non-Improvisation,” a 1967 composition for four players (clarinet, violincello, piano & percussion), based on the first movement of Bach’s concerto for harpsichord in D minor. The aim was for all the musicians to create a rhythmic and electronic counterpoint to the piano, which seemed to be a much easier hurdle for The Dead to clear than The Road.
As conductor Foss played his Bach non-improvisation, the Road came in around him with their wall of sound, providing a bit too much rhythm & shout and not enough freeform experimentation. The Dead worked their wave of music more adeptly around this freeform style.
Deadbase Review
The Road did get a set of their own at some point afterwards, though the few reviews found online seem to focus more on the Dead Head-heavy crowd vocally urging them off the stage, clamoring for their band to return. Naturally, with no known recordings, the song selections for the Dead’s set that followed are sparse at best. But we do know “Dark Star” was prominently involved, a song in its full experimental glory in 1970. And in the night’s sense of collaboration, the band even brought on a third drummer to join in the musical fray.
The Dead uses two drummers, Mickey Hart and Billy Kruetzmann, to form a ‘figure 8’ of sound around the guitars and organ. This duo broke from the set rhythm of ‘Dark Star’ into a ping-pong drumming contest, adding a new beat with each volley. They closed the match with a duet synchronizing move for move. Lynn Harbold, Philharmonic percussionist, joined in this number on Hart’s drums doing a fine job.
James Brennan, from the Buffalo Evening News, March 18, 1970
After the first of two billed sets of standalone Grateful Dead music, Foss returned to the stage with a battery of sub-conductors to lead the orchestra in the American premiere of his “Geod,” where the laser show with the aforementioned prism and laser beam seem to have been prominently involved. “Geod” required five conductors to give cues to play audibly and inaudibly. Most of the music was said to be very quiet, familiar tunes played against a soft curtain of sustained tones, with snippets of wind phrases added for context. “Taps,” “Battle Hymn of the Republic,” “Going Home” and a very slow “Merrily We Go Along” were just some of the tunes heard in this sequence which even had the audience participating as well.
Sounds included gentle singing from the orchestra, organ, harmonica, percussion & mandolin. The audience joined in clapping at once point, and by the end of the performance was making knocking, popping mouth sounds that seemed to fit quite well.
Thomas Putnam, from the Buffalo Courier Express, March 18, 1970
The Grateful Dead then played their second set of the evening, though few details are available. The only other known song selections from this evening appear to be a “Saint Stephen,” which saw firecrackers thrown on stage at one point, and a set closing “Turn on Your Lovelight” helmed by Pigpen. Reviews of the show seem to pay more attention to the crowd’s palpable love of the band and the energy present at Kleinhans Music Hall this evening.
When the Dead got warmed up, it seemed the audience would not be content with anything less than having the Dead finish the concert by themselves. Speaker fuzziness spoiled the first number, but after the sound system was improved the group went through several numbers with good effect, including a long performance in which the beat had most of the audience clapping and dancing.”
Deadbase Review
After a second set of Dead music, the Buffalo Philharmonic returned to the stage, conducted by Foss for two John Cage pieces titled “Variations II” and “Variations III.” This reportedly featured tuxedoed members of the Orchestra walking down the aisles, all playing small triangles in time, creating an eerie, funereal-like atmosphere that surely was a sharp juxtaposition from the euphoria that seemed to be present earlier.
The final segment of the Philharmonic Rock Marathon gave the musicians one last chance to produce this revolutionary blend of rock and orchestral music. Both The Road and The Dead were brought back on stage to join the Buffalo Philharmonic with half of the Orchestra assigned to each. Another conductor led The Road’s section at one end of the hall and Foss conducted the Grateful Dead and its half of the Orchestra at the other end. With conductors issuing verbal instructions on how and when to play, the two sides went back and forth in a musical free for all, closing out the evening in grandiose fashion.
The closing rock-Philharmonic challenge is the most exciting new concept of contemporary music. As the groups and orchestras jammed, the atmosphere was intensified with a laser-beam light show. Rapid patterns and curves of pure light chased along the walls in time with the music like frantic balls of yarn…As an evening of rock and symphony avant-garde it was not only entertaining and often exciting, but carved new territory for players and listeners in both styles.
James Brennan, from the Buffalo Evening News, March 18, 1970
Unfortunately, this magic doesn’t seem to have been captured anywhere except in the minds of those who were present. Monetary rewards have even been offered at this point for anyone who may have a recording of this hidden somewhere among their stash. But there appears to be a logistical reason as to why this will never appear. According to the Philharmonic archivist, union rules made taping impossible, and recordings of live symphonic concerts without recording fees were forbidden. Add in the factor of the sheer size of taping equipment in 1970 and it’s no wonder that there wasn’t much of a Tapers Section at this show.
That being said, if anyone does happen to stumble upon any possible leads of a recording of this show featuring the Grateful Dead and the Buffalo Philharmonic Orchestra, they are eagerly encouraged to contact NYS Music or Chris Foss, son of Lukas, at fosscb@gmail.com.
Discover Grateful Dead shows from over the years across New York State with our interactive map below
Lake George Arts Project’s annual Bands n’ Beans is back for its 29th year, set to take place on Sunday, March 26 from 2pm – 7pm at The Fort William Henry Conference Center.
Bands n’ Beans is the perfect event for anyone who loves fantastic food and great music. The festival features over twenty restaurants from all over the region, each offering their own unique dish. Whether you like it hot, mild, classic, or vegetarian, you’re sure to find a new favorite.
In addition to the delicious chili, Bands n’ Beans also features a fantastic lineup of musical acts including Matt Mirable & Alison Jacobs, The Switch, Stony Creek Band, Dirt Cheap, Big Sky Country, Mark and Jill, Juniper, Tim Wechgelaer & Chris Carey, and the Radio Junkies.
The proceeds from this years event benefit the Lake George Arts Project’s free and open to all music and art programs like our year-round Courthouse Gallery exhibitions, our Summer Concert Series and our popular Jazz at the Lake Festival.
The Lake George Arts Project would like to thank this year’s sponsors, Fort William Henry Hotel and Conference Center, Barton, Rock Hill Bakehouse, and the Lake George Beach Club. We would also like to thank our participating restaurants, the bands who will be performing, and all of the volunteers and staff that help make Bands ‘n Beans happen.
John McEuen, founder of the Nitty Gritty Dirt Band, will make his way across New York this week, stopping at Sportsmen’s Tavern in Buffalo on Thursday, March 16th and The Linda in Albany on Friday, March 17th.
The man behind the legendary album Will the Circle be Unbroken – called one of the most important records to come out of Nashville by Chet Flippo (Rolling Stone), the album features McEuen’s musical mentors Earl Scruggs and Doc Watson, his brother Bill, Mother Maybelle Carter, Jimmy Martin, Roy Acuff, ‘Bashful’ Brother Oswald, Vassar Clements, Merle Travis and more. The now multi-platinum album has been honored both by the Library of Congress and the Grammy Hall of Fame.
Multi-instrumentalist McEuen (banjo, guitar, mandolin, fiddle, dobro, piano, dulcimer) was a member of the Nitty Gritty Dirt Band for 50 years before departing the group at the end of the 50th year anniversary tour in 2017, the same year he was inducted into the American Banjo Museum Hall of Fame.With McEuen slated to cross the Empire State this week, NYS Music spoke with the legendary singer on his music, advice and an early gig working at Disneyland.
Samantha Rychlicki: Seeing how you’ve been performing for years, is there a song that makes you feel like you’re 18 again and why?
John McEuen: Much of the music I play makes me feel young, as music is like that sometimes – ageless. But “Shelly’s Blues,” “Bojangles,” and “House at Pooh Corner” are top contenders for ‘songs’. Among instrumentals of which I do a lot, there is “Dismal Swamp” and then “John Hardy” but most of the bluegrass gives you that youngster feeling, too! “Will the Circle be Unbroken” well that feels like an old one to me, singing to my long gone mom.
SR: What do you hope people get out of your tour?
JM: Bringing people into that magic space where, for a couple of hours, they forget where they are. They are laughing or singing or listening to something that ‘transport’ them to a ‘better space.’
SR: Is there anything that you are really hoping people think about after your show or is it more of a “Let’s all just get together, play some music and let people enjoy themselves”?
JM: Music, the stories behind how it happened, and the songs will hopefully transport people to a space they will think about days later.
SR: Your career has taken you to so many places and to meet so many people that someone in your shoes may say “Why keep going? What else is there?”, what is the number one thing that keeps you going?
JM: I get to tell people about some o those places, laugh about them, and sing about them. And I feel like they need or want to hear it.
SR: What is the one piece of advice that you would give to an aspiring folk musician?
JM: Do it as good as you can and don’t do drugs. Even David Crosby said they ‘did no good.’
SR: A little off beat but I read in an article that you loved magic and that’s why you went to work at Merlin’s Magic Shop. My question is… do you remember any of the tricks you learned while you were at Disney? Do you still perform them?
JM: I ‘perform’ them because they are fun, not to impress people but to shock and surprise them!
The 2023 Summer Camp Music Festival lineup has been announced, including traditional sets from both host bands moe. and Umphrey’s McGee, taking place May 26-28 in Chillicothe, IL.
The Summer Camp Music Festival first took place in 2001 to about 1,000 patrons with over 15 bands on two stages during the two-day event at Three Sisters Park in Chillicothe, IL. Now, the event is celebrating its 22nd anniversary, typically attracting around 20,000 visitors, of which between 8,000 and 10,000 arrive before the gates open. The festivities take place across Memorial Day Weekend and multiple stages with different genres. On top of all the live music, festival-goers have access to on-site camping, late-night shows, musician workshops, a non-profit village, unique arts & craft vendors and tons of great food and beer.
The current lineup includes Umphrey’s McGee, moe., Willie Nelson & Family, Vulfpeck, Mastodon, Boogie T, Badflower, Keller Williams Trio ft. Tye North & Dave, Watts, Andy Frasco & The U.N., SunSquabi, The Funk Hunters, Buku, Sierra Hull, Maggie Rose, Jennifer Hartswick Band, Bella White, Circles Around The Sun, and Balkan Bump.
moe. cohosts with Umphrey’s McGee.
Other artists scheduled to play include Aqueous, DOGMA, Eggy, Joe Samba, K+ Lab, Leah Marlene, Oh He Dead, Perpetual Groove, Roots Of Creation, Southern Avenue, The Sponges, Super Future, In Alphabetical Order, Chicago Farmer & The Fieldnotes, Cody Lee’s Last Detail, G-Nome Project, Old Shoe, Organ Fairchild, Jack Cloonan, LITZ, Manthom Phenace, Modern Drugs, Squeaky Feet, Still Shine, and Zentik.
A variety of ticketing options are on sale now, including 3-Day GA Passes, Sunday 1-Day GA & VIP, Volunteer Deposits, Thursday Pre-Party Passes, VIP Upgrades, & RV / Car Camping Spots. For more information visit here.
Grammy and Academy Award-nominated rock band Counting Crows are scheduled to tour this summer with Dashboard Confessional, performing at five amphitheaters in New York.
Formed in San Francisco, Counting Crows’ career spans seven studio albums over nearly three decades. The band’s debut studio album, August and Everything After, was released in Sept. 1993 and peaked at number four on the Billboard 200 weekly chart. They found further success when their 1996 second studio album, Recovering the Satellites, peaked at number 1 on the Billboard 200 weekly chart. Their music has been prominently featured in pop culture, including “Colorblind”, from their 1999 third album This Dessert Life, being included in the soundtrack for the 1999 film Cruel Intentions. Their seventh studio album, Somewhere Under Wonderland, was released in 2014, and their newest EP, Butter Miracle, was released in 2021.
Dashboard Confessional
Rock band Dashboard Confessional originated in Boca Raton, Florida, and is led by singer Chris Carrabba. Their debut album, The Swiss Army Romance, was released in March 2000. They released their ninth album, All The Truth That I Can Tell, in 2022, touring with fellow rock band Jimmy Eat World in support of the album on the “Surviving the Truth” tour. The band has a long history with Counting Crows, first meeting in 2003 at the 17th annual Bridge School Benefit Concert. In the nearly 20 years since they have formed both a professional and personal relationship together.
Presale for Counting Crows’ tour with Dashboard confessional, which has five shows at New York amphitheatre venues, begins Tuesday, March 14 in select markets. General on-sale begins Friday, March 17 at 10 a.m. For additional information, follow Counting Crows on Facebook and Instagram.
Counting Crows with Dashboard Confessional ‘Banshee Season’ 2023 Tour Dates
June 13 Omaha, NE Steelhouse Omaha*
June 17 Indianapolis. IN TCU Amphitheater at Winter River State Park
June 18 Cincinnati, OH PNC Pavilion
June 21 Milwaukee, WI Miller High Life Theatre
June 23 Highland Park, IL Ravinia Festival (On-sale May 1)
June 24 Sterling Heights, MI Michigan Lottery Amphitheatre at Freedom Hill
June 26 Moon Twp, PA UPMC Events Center
June 28 Niagara Falls, ON OLG Stage at Fallsview Casino
June 29 Northfield, OH MGM Northfield Park
July 1 Syracuse, NY St. Joseph’s Health Amphitheater at Lakeview
July 2 Canandaigua, NY CMAC
July 5 Saratoga Springs, NY Saratoga Performing Arts Center
July 6 Holmdel, NJ PNC Bank Arts Center
July 8 Wantagh, NY Northwell Health at Jones Beach Theater
July 9 Bethel, NY Bethel Woods Center for the Arts
July 12 Columbia, MD Merriweather Post Pavilion
July 14 Gilford, NH Bank of New Hampshire Pavilion
July 15 Boston, MA Leader Bank Pavilion
July 18 Providence, RI Providence Performing Arts Center
July 19 Bridgeport, CT Hartford HealthCare Amphitheater
July 21 Bethlehem, PA Wind Creek Event Center
July 22 Atlantic City, NJ Borgata Event Center
July 25 Selbyville, DE Freeman Arts Pavilion (On-Sale March 24)
July 26 Doswell, VA The Meadow Event Park
July 28 Virginia Beach, VA Veterans United Home Loans Amphitheater at Virginia Beach
July 29 Raleigh, NC Red Hat Amphitheater
August 1 Charlotte, NC Skyla Credit Union Amphitheatre
August 2 Charleston, SC Credit One Stadium
August 4 Fort Myers, FL Suncoast Credit Union Arena
August 5 Fort Lauderdale, FL Hard Rock Live
August 8 St Augustine, FL The St. Augustine Amphitheatre
August 9 Tampa, FL MidFlorida Credit Union Amphitheatre
August 11 Alpharetta, GA Ameris Bank Amphitheatre
August 12 Albertville, AL Sand Mountain Amphitheater
August 14 Nashville, TN Grand Ole Opry
August 18 New Orleans, LA Saenger Theatre
August 19 Sugar Land, TX Smart Financial Centre at Sugar Land
August 22 San Antonio, TX Majestic Theatre
August 23 Irving, TX The Pavilion at Toyota Music Factory
August 25 Norman, OK Riverwind Casino*
August 26 Tulsa, OK The Cove*
August 30 Highland, CA Yaamavaâ Theater** (On- Sale March 20)
August 31 Phoenix, AZ Arizona Financial Theatre**
September 2 Las Vegas, NV Pearl Theater**
September 3 San Diego, CA The Rady Shell at Jacobs Park** (On-Sale May 2)
September 6 Los Angeles, CA YouTube Theater
September 8 Lincoln, CA The Venue at Thunder Valley
September 10 Berkeley, CA The Greek Theatre
September 13 Airway Heights, WA BECU Live Outdoor Venue
September 14 Bend, OR Hayden Homes Amphitheater
September 16 Seattle, WA TBD (On-Sale TBD)
September 17 Seattle, WA TBD (On-Sale TBD)
September 19 Bonner, MT KettleHouse Amphitheater
September 21 Boise, ID Ford Idaho Center Amphitheater
September 22 Salt Lake City, UT USANA Amphitheatre
Brooklyn-based melodic punks Warn The Duke are back with a new album titled All That’s Solid, out on Friday, March 17th. The band will celebrate that night with a show at Brooklyn’s Our Wicked Lady.
The new LP All That’s Solid is a window into the ebbs and flows of recovery. Songwriter and lead singer Dan McCool (former River City Rebels) leads us through cycles of despair, renewal, and self-forgiveness that emerge after trauma and loss.
This is Warn The Duke’s first album in eight years, being written on the heels of lockdowns, divorce, and addiction. By layering harmonies and the combo of male/female vocals, the band emphasizes the record’s bittersweet atmosphere.
There are some far-ranging influences bringing the listeners through All That’s Solid. For instance, the warmth of Mike Ness’s vocals, the wry defiance of Against Me!, the dense, dark guitar tone of Nothing. Also, the earworms and hooks of The Replacements, early 2000s math rock-inspired lead guitar lines, and the hard-hitting punk grit of Hot Water Music.
“These guys play that brand of punk rock and post-hardcore that bands like Hot Water Music perfected.”
-Nerdist
Joining McCool on the album are drummer Derek Davis (former Big D and The Kids Table/The Toasters), bassist/vocalist Chris Marciniak, lead guitarist Chris Ferreria, and guitarist/vocalist Dori Cameron.
The album features the songs “Sometimes,” “The Middle” and the single “Anniversaries” (the latter of which is now streaming). Watch the music video for “Anniversaries” below and pre-save the album on Spotify. “All That’s Solid” arrives on 12” LP vinyl and digital on Friday, March 17th. The band will celebrate that night with a show at Brooklyn’s Our Wicked Lady.
All songs on All That’s Solid were written, performed, and produced by Dan McCool and Warn The Duke. Furthermore, some were recorded and mixed by Jeff Berner at Studio G (Brooklyn). Additional record recording and co-production was done by Chris Duggan at Blue Banshee Studio (Brewster, MA), and mastered by Jon Markson.
Along with their recently revealed spring tour, GRAMMY-nominated rock band Gov’t Mule has announced another tour scheduled for this summer. The Dark Side of the Mule Tour will run throughout August and feature a full Gov’t Mule set and very special guest Jason Bonham’s Led Zeppelin Evening opening. Additionally, the summer tour will feature the return of the band’s renowned and extremely rare Pink Floyd tribute performance.
Warren Haynes [vocals, guitar], Matt Abts [drums], Danny Louis [keyboards, guitar, and backing vocals], and Jorgen Carlsson [bass] make up the talent behind Gov’t Mule, originating in Atlanta, Georgia. The band’s flexible interplay makes them a true living, breathing ensemble. The quartet has been making music for over two decades, solidifying their place in the industry as rock legends. They have released over 12 studio albums in their more than 20-year career, with their self-titled debut record being released in 1995. Their 12th studio album, Heavy Load Blues, was released in 2021.
The band first performed Dark Side of the Mule on Halloween 2008 at the Orpheum Theatre in Boston, before it was released as a live album in 2014. Gov’t Mule’s Dark Side of the Mule tour is in celebration of the 50th anniversary of Pink Floyd’s Dark Side of the Moon.
This all started so organically with what we thought would be a one-time Halloween performance. Since then, Dark Side of the Mule has grown into something else. It’s a blast to perform this material but our intent is to do it for one final tour in celebration of the 50th anniversary of Dark Side. Don’t miss it!
Warren Haynes
Presale tickets for the Gov’t Mule summer tour are now available. General on-sale begins this Friday, March 10, starting at 10 a.m. at mule.net. A new date at SPAC has been announced for July 28, with tickets going on sale on April 14 at 10 a.m. Additionally, Gov’t Mule’s New Year’s Run from last year has also been rescheduled for December 29 in Philadelphia and December 30 and 31 in New York City.
GOV’T MULE TOUR DATES
May 5 – New Orleans, LA @ Orpheum Theater ^
May 6 – Memphis, TN @ Beale Street Music Festival ~
May 7 – Evansville, IN @ Victory Theatre
May 9 – Cleveland, OH @ TempleLive Cleveland
May 11 – Ashland, KY @ Paramount Arts Center
May 12 – Nashville, TN @ Ryman Auditorium
May 14 – Birmingham, AL @ Avondale Brewing Company
May 16 – Macon, GA @ Macon City Auditorium
May 18 – Augusta, GA @ Miller Theater
May 19 – Asheville, NC @ Salvage Station – Outdoor Stage
May 20 – Asheville, NC @ Salvage Station – Outdoor Stage
July 22 – Atlantic City, NJ @ Hard Rock Live at Etess Arena *#
July 23 – Patchogue, NY @ Great South Bay Music Festival ~*
July 28- Saratoga Springs, NY @ SPAC
August 2 – Clarkston, MI @ Pine Knob Music Theatre *
August 3 – Noblesville, IN @ Ruoff Music Center *
August 4 – Tinley Park, IL @ Hollywood Casino Amphitheatre *
August 7 – Morrison, CO @ Red Rocks Amphitheatre *
August 9 – Dallas, TX @ Dos Equis Pavilion *
August 11 – Charlotte, NC @ PNC Music Pavilion *
August 12 – Atlanta, GA @ Cadence Bank Amphitheatre at Chastain Park *
August 15 – Bridgeport, CT @ Hartford HealthCare Amphitheatre *
August 17 – Gilford, NH @ Bank of New Hampshire Pavilion *
Evanescence, the iconic rock band fronted by lead vocalist and pianist Amy Lee, lead guitarist Troy McLawhorn, bassist Emma Anzai, drummer Will Hunt, and rhythm guitarist Tim McCord, brought their “The Bitter Truth” tour to the Scotiabank Arena in Toronto on March 9th, and it was a night that will not be soon forgotten.
With a setlist that included a mix of old favorites and new hits, the band showcased their incredible musical talent and emotional depth, delivering a powerful and unforgettable performance.
Will Hunt
From the moment the band took the stage, it was clear that they were there to give their all. Opening with “Broken Pieces Shine,” a haunting and emotional ballad that set the tone for the night. Evanescence launched into a setlist that showcased their versatility and their passion for music.
Emma Anzai
Throughout the night, Amy Lee’s voice was as powerful and evocative as ever. Her voice soared above the instrumentation to create a sense of drama and intensity that was felt by everyone in the arena. Her piano playing was equally impressive, adding depth and texture to the band’s sound.
Troy McLawhorn
But the rest of the band was equally impressive. Troy McLawhorn’s blistering guitar solos and Tim McCord’s rhythm guitar and backing vocals adding a layer of complexity and energy to the music. Emma Anzai’s bass and Will Hunt’s drumming provided a solid foundation for the band’s sound, driving the music forward and keeping the audience on their feet.
Amy Lee
The setlist was a mix of old favorites and new hits, with songs like “Going Under,” “Call Me When You’re Sober,” and “My Immortal” drawing huge cheers from the crowd. But it was the newer songs that really stood out, with “Better Without You” and “Blind Belief” proving that Evanescence is a band that is constantly evolving and growing.
Tim McCord
One of the highlights of the night was “Lithium,” a haunting and emotional ballad that showcased Amy Lee’s incredible vocal range and emotional depth. As she poured her heart out on stage, the audience was transfixed, hanging on every note and every word.
Overall, Evanescence’s “The Bitter Truth” tour is a testament to the band’s incredible talent and enduring popularity. With each member bringing their own unique skills and energy to the stage, it’s clear that Evanescence is a band that is at the top of their game. If you have the chance to see them live, don’t miss out – it’s an experience you’ll never forget.
Their next show will be in New York City at Madison Square Garden on March 17.
