Rock duo Hot Tuna will kick off their final “Electric Hot Tuna” tour on July 20, opening the Great South Bay Music Festival at Shorefront Park in Patchogue. The duo will stop in Upstate New York in September before wrapping up their tour at the Beacon Theatre in NYC.
Jack Casady (left) and Jorma Kaukonen (right.) Credit: Erik Kabik.
The duo, which comprises Jack Casady and Jorma Kaukonen, originated in San Francisco and has been making music for more than 50 years. They released their self-titled debut studio in 1970, and have since their most recent studio album was 2011’s Steady as She Goes. While their last official album was released over a decade ago, Hot Tuna is still going strong, soon to begin a tour across the country this month.
Members of Hot Tuna have come and gone, but Casady and Kaukonen have been steady members since its inception, while also maintaining solo careers. Casady released a solo album, Dream Factor, in 2003, while Kaukonen begin his solo career early into Hot Tuna’s career, releasing a solo record, Quah, 1974.
Tickets are now available for Hot Tuna’s upcoming final tour.
At Cohoes Music Hall this past weekend, the sound of Jerry Garcia and the Grateful Dead was alive and well, as Zach Nugentâs Dead Set performed two strong sets of classic Dead tunes on Saturday, April 29, to an audience hooked from the first to the last note.
The two sets were not your standard Grateful Dead cover band sets, with some choice selections that made it clear this set was written by a disciple from the school of Garcia. Working in lesser played songs like “Dupree’s Diamond Blues,” the crowd at Cohoes Music Hall had a fair lot scene in the lobby, a show perk that you love to see.
On this night, Nugent was joined by Joe Agnello (rhythm guitar, vocals – Swimmer), Josh Weinstein (bass – Kat Wright), Cotter Ellis (drums – Swimmer), Matt Dolliver (keys – Swimmer), and Corey Wilhelm (percussion – Bombino/Kat Wright).
Opening up with “Bertha” and “Good Lovin’,” Nugent’s Dead Set had the crowd moving, the floor full with eager Deadheads looking to dance. A cover of Bob Dylan’s “Stuck Inside of Mobile with the Memphis Blues Again” was an early highlight, with Nugent’s guitar pouring fuel onto the driving chorus alongside keyboardist Matt Dolliver. The set closing “St. Stephen” had a velvety smooth transition into “Cassidy.”
Second set began with a “Dark Star” jam that stretched out with great patience into space for exploration, finding itself at “Terrapin Station” – the full suite and then some. Towards the ending, the group found itself dabbling in a reprise of “Playin’ in the Band” but instead opted for “Uncle John’s Band,” and back into the final section of “Terrapin.” An encore of “Deal” made this one more Saturday night to remember.
Zach Nugent’s Dead Set – Cohoes Music Hall – April 29, 2023
Set 1: Bertha > Good Lovin’, Candyman, Stuck Inside of Mobile with the Memphis Blues Again, Dupree’s Diamond Blues, El Paso, St. Stephen > Cassidy Set 2: Dark Star > Terrapin Suite (full)* > Uncle John’s Band > Terrapin (ending), One More Saturday Night Encore: Deal * Playin’ in the Band (reprise) tease
It was a night that deserves more words and praise than I can possibly articulate, but for people like John Darnielle, the mastermind behind The Mountain Goats, finding words has never been a problem. Making a career out of shouting whatever comes to mind and never sitting on an idea long enough to question it, the acclaimed novelist and songwriter has toured all over the world and released a staggering 21 studio albums since adopting The Mountain Goats moniker in the early 90’s.
More than 600 songs and countless miles later, it’s almost hard to believe the band has never played a gig in Albany before. On Tuesday, April 18th at Empire Live, that surprising fact was finally laid to rest. The night would have extra special meaning for one member of band, as the cathartic show would also serve as a birthday celebration for keyboard player/multi-instrumentalist Matt Douglas.
The Mountain Goats, making their Albany debut, have plenty to celebrate this year
Opening the evening was Knoxville, TN singer-songwriter Adeem the Artist. Dawning a Canadian tuxedo and resembling a look somewhere between Jeff Tweedy and Ryan Adams, you could already tell he wasn’t like the other boys. One fan immediately yelled out “What’s your name?” “My name? I don’t have one. I’m Adeem the Artist. It turns out there was already a rapper.” Demonstrating spectacular stage presence and finding a balance between serious and sarcastic, the lyrics to his songs were nothing to joke about. Beginning with the opening song “I Never Came Out,” the audience listened intently as the soul-searching lyrics poured out of the man originally born Kyle Bingham. “Fervent For the Hunger” came next before we would learn a little bit more about Bingham’s roots and his Aunt Peggie on “Painkillers & Magic” from his most recent, fan-funded 2022 album White Trash Revelry.
Adeem the Artist performing in Albany, NY on 4/18/23
While the structure of the songs came off as rather traditional, by this point in the set, it was clear Adeem the Artist was doing something very special and very brave. A queer, southern Christian, blue-collar country songwriter. As unpopular as that may be in some areas, the Albany crowd here was totally down with it and fully invested in every word he had to say. Things would pick up for the foot-stomping “Run This Town,” before an eager fan requested a rare song that stopped Bingham in his tacks. “Tiger Prince of Knoxville”? How do you know that one? I wrote that a long time ago when everyone was trying to cash in on the Tiger King phenomena, so I figured I would too. I can’t believe someone here has actually heard it! Let’s see if I remember how it goes.” He did and the crowd loved it. They got even more into it on the next song, “Going to Hell,” which featured a fun, full room ‘call and response’ and made you think “it won’t be long before this guy is a very big star.” Filled with strong social commentary and hilarious banter, Adeem the Artist played the title track from his 2021 album Cast Iron Pansexual to round out his fantastic opening set. After a brief intermission, it was finally time for the main event.
The Mountain Goats made their long awaited Albany debut on 4/18/23
Walking out to Foghat’s “Fool For the City,” The Mountain Goats would methodically craft the story they wanted to tell. Consisting of front man and vocalist John Darnielle, this incarnation of the band also includes longtime collaborators Peter Hughs on bass, multi-instrumentalist Matt Douglas and Superchunk/Bob Mould drummer Jon Wurster. Beginning with the brooding buildup of 2008’s “In the Craters of the Moon,” the tempo picked up during the dreamy, reverb drenched “Hostages” from the bands most recent album, Bleed Out. Darnielle would introduce the next song by saying “this is about the incipient android takeover” before launching into “Incandescent Ruins.” Slowing things down a bit with “one of them bible songs” in “Hebrews 11:40.” “We’re still working out how this one goes and we’ve been doing that for at least 10 years,” he chuckled. The energy continued to build straight into the song “Younger,” which on this night, meant a little more to birthday boy Matt Douglas. Uncorking one of his most expressive saxophone solos of the night on the song, the entire crowd would sing “happy birthday” to him prior to his beautiful piano duet with Darnielle on the song “Wear Black.”
Mountain Goats multi-instrumentalist Matt Douglas celebrated his birthday on 4/18/23
Darnielle would then play a series of solo songs, beginning with “Jenny,” which the crowd knew every word too. He would remark that he doesn’t plan this section of the set, he just waits for the spirit to move him. “That’s why I envy the Quakers. They’ll sit there for 20-30 minutes waiting for the spirit. I don’t have that kind of confidence. And the other thing is I’ve never been to Albany before, right, so there’s a conflict. I tend to prefer the newer songs with my band, but some people have been waiting a long ass time to see me play some old songs.” Darnielle continues, “So then I feel obligated to play the super old songs, but then the people mainly into the newer ones are like, “I don’t know what that one in the middle was about. Some guy who wanted to kill somebody?” he joked. “This is one of those,” before playing “Black Molly” from 2002’s Bitter Melon Farm.
The crowd became noticeably more exited at the opening cords of another 2002 song, “Color in Your Cheeks,” to the point Darnielle had to stop them from clapping along. “Not to be ungracious, but I don’t recommend the clapping because it loses it’s place and my timing is inconsistent.” “When people start yelling the words along with me, I’m like ‘no, to get into the zone of this song I need people not to be yelling it back at me. It’s just a personal song about somebody I know.” After it’s conclusion, he would remark “I changed the chorus because somebody thought it was too mean. It was my wife.”
The Mountain Goats performing at Empire Live on 4/18/23
A laidback lounge version of “Abandoned Flesh” came next before Darnielle would profess his love for The Grateful Dead and say he “just noticed the next three songs on the setlist are alligatored together, so can the tapers in the crowd please refer to this section as “The Goths Suite,” ala The Dead’s Terrapin Station Suite. The trifecta would include the songs “Abandoned Flesh,“ flowing directly into “Andrew Eldricth is Moving Back to Leeds,” and finally into “Rain in Soho” to complete the so-called Goths Suite segment. Bouncing back “Lizard Suit” and “Palmcorder Yajna,” Darnielle would remark that he was in awe of the Albany audience. “When your back in the dressing room and hear that there’s 800 people in a town you’ve never played before, it could go a couple of ways. You know, like there’s people waiting to hear one or two songs, and you know, you’re not going to play those at the top of the set because you’re not stupid. You’re so amazing, I thank you so much.”
John Darnielle of The Mountain Goats performing in Albany on 4/18/23
An intimate and powerful rendition of “Tallahassee” would follow, prompting Darnielle to call an audible and add a song on the fly. Turning to his bandmates and saying, “Guys, we gotta add another one. That was second to last, but this has been a pretty special show for me. And if they are being amazing, you need to play something from The Sunset Tree.” With that, the well-behaved crowd was rewarded with “Song for Dennis Brown” from the bands iconic 2005 album. Playing off each other and jumping from side to side with huge smiles, a hard rocking “Training Montage” would bring the main portion of the set to a close and leave the Albany audience begging for more.
Make a Wish: The Mountain Goats had their cake and ate it too during their Albany debut on 4/18/23
After walking off stage, the band would return with a birthday cake to present to multi-instrumentalist Matt Douglas. Easing into the encore portion of the show with “You and Your Memory,” one of the bands trademark songs came next with the anthemic “Heretic Pride.” With anticipation reaching a fever pitch for the bands two most popular songs still on the table, Darnielle would have some more fun with the audience. “You may not know this, but there’s like a shadow version of “No Children” forming, waiting for its chance. It’s called “Jazz No Children.” It’s the way mellower version. “Jazz No Children” is the one you sing ten years after you needed no children. “Jazz No Children” is the one that comes when some of the details are funny to you instead of sad.
On the preview side of “No Children,” there’s the people who ask me to play it at their wedding, because they think it would be funny. I say to them, ‘friend, I’ll tell you what. I’ll play it at your ten-year anniversary.” I am safe under these circumstances because anybody who would ask me to play “No Children” at their wedding won’t be having a ten-year anniversary. They’re not taking the whole matter seriously. As my drummer would say, “It’s all a big joke to them.” And yet, I hope when those people sit in a lawyer’s office, they have a little song in their head that helps. This is that song and this, such as it is, is the nature of that help.” Seamlessly shifting from a jazz monologue to an all out punk assault, The Mountain Goats would finally deliver the goods and unleash a cathartic version of “No Children” followed up by their biggest hit to date, “This Year,” which took on a life of its own during the Covid-19 pandemic and has become the calling card of the band.
Giving everyone a chance to shout out the lyrics that meant so much to them during lockdown, it was the kind of reaction that made the hair-on-your-neck stand up. Basking in the sustained adulation, Darnielle said “he kinda feels like playing two more.” Opting to go with “Broom People,” the show would finally come to a close with a rambunctious version of “Spent gladiator 2,” which gave Douglas one final sax solo in the birthday spotlight. “Stay alive. Stay alive. Stay forever alive. Thank you, goodnight.”
Watch fan shot footage of The Mountain Goats performing “No Children” on 4/18/23
Just an incredible performance that reinvigorated your spirit and made you feel alive. Part poetry, part social commentary, part punk rock fury – all delivered with a sense of urgency and passion that simply could not be faked. There are no posers in this band and that sentiment deeply connected with the blue-collar Albany audience. Fortunately fans in New York won’t have to wait nearly as long to see The Mountain Goats perform again. Kicking off their lengthy summer tour in early June, the band will play The Rooftop at Pier 17 in NYC on August 4th.
The Mountain Goats | April 18 | Empire Live | Albany
Setlist: In The Craters on the Moon, Hostages, Incandescent Ruins, Hebrews 11:40, Dance Music, Younger, Wear Black, Jenny, Black Molly, Color in Your Cheeks, You Were Cool, Abandoned Flesh, Andrew Eldritch is Moving Back to Leeds > Rain in Soho > Lizard Suit, Palmcorder Yajna, Tallahassee, Song For Dennis Brown, Training Montage, You or Your Memory, Heretic Pride, Jazz No Children > No Children, This Year
Encore: Broom People, Spent Gladiator 2
Watch fan shot footage of The Mountain Goats performing “This Year” on 4/18/23
Adeem the Artist | April 18 | Empire Live | Albany
Setlist: I Never Came Out, Fervent for the Hunger, Painkillers & Magic, Run This Town, Tiger Prince of Knoxville, Going to Hell, Cast-Iron Pansexual
As the legend of Lark Hall continues to grow, the Ryan Montbleau performance from April 20 will be one of the ones they talk about for years to come. An instant classic that showcased everything from rock and blues to funk and folk, eloquent and meaningful storytelling, full band collaborations, over the top guitar solos and even a bit of Marty McFly-type showmanship. Along with a well-received set by the sultry and dynamic female folk singer Kat Wright that included a cover of Bob Marley’s classic song “Burnin’ and Lootin’, being in the Albany room on this night felt like being home for the holidaze.
Fans “packed” into Lark Hall to celebrate 4/20 with Ryan Montbleau
Until recently though, home for Ryan Montbleau has been on the road. After spending more than two decades on tour living out of a suitcase, the critically acclaimed singer/songwriter has finally settled down and purchased property in Burlington, Vermont. Only a short drive to the Albany area, Montbleau has become a regular fixture in the Capital Region music scene. Often playing in Saratoga Springs at venues like Caffe Lena and Putnum Place, over the years Montbleau has shared the stage with everyone from the Tedeski Trucks Band and Mavis Staples, to the Wood Brother and Goose. This night, however, would be his Lark Hall debut.
Here comes the Pain: Ryan Montbleau had the crowd feeling fine while performing “Just Enough Pain”on 4/20
Montbleau, who was dressed in a Todd Snider T-shirt and would perform the majority of the show with a spliff safely tucked behind his ear, addressed the doobious date by saying, “I feel like 4:20 doesn’t mean as much as it used to. These days you can just go down the street and get some gummies and a couple pre-rolls. How rebellious is that?” Opening up with “Just Enough Pain” and passionately singing as if it were the encore, Ryan and the band were dialed in from the start. Repeating the chorus of “I guess I’m fine” until the whole room was saying it too, it was the kind of cathartic start to a show that rarely comes around. The kind that let you know that no matter what other 4/20 shenanigans were happening simultaneously elsewhere, you were exactly where you needed to be and you had picked wisely.
When I Misbehave: Ryan Montbleau rolled into Lark Hall for the first time on 4/20/2023
Playing most of his recently released studio album, 2023’s Wood, Fire, Water, and Air, Ryan Montbleau’s band currently consists of Ex-Turkuaz/current Cool Cool Cool members Craig Brodhead on guitar and Michelangelo Carubba on drums, Paul Philippone from West End Blend on keys, and Michael Friedman from The Slip on bass. Montbleau has gone on record calling them his best band yet, and after working their way through songs like “Ankles,” and fan favorite “75 and Sunny” it’s easy to why. The band would have fans chanting along again on “Yeah Man,” before ripping into the aptly appropriate 4/20 rocker “Sweet, Nice ‘n’ High.” Brodhead’s incredible tone control sounded gorgeous in this room and on this song in particular. You can check out fan shot video it below:
Sweet: Watch fan shot footage of “Sweet, Nice ‘n’ High” from Lark Hall on 4/20
Cooling things off a bit, a stripped down and somber rendition of “Never Gonna Be” gave the audience some time to reflect, while “Long for You Again” explored similar sentiments, but with a notably more up-tempo swing. Ryan would abort the intro of “Til the End of Our Days,” laughing to himself that it sounded too much like the theme song from the 1993 film Free Willy. Then in a moment of priceless crowd participation, fans of the Michael Jackson song briefly started singing the chorus of “Will You Be There.” Things got more serious when Montbleau dusted off a pair of deep-thinkers from 2017’s I was Just Leaving, “Time and Time Again” and the album’s title track.
With a little Help From Friends: The Kat Wright Band performing with Ryan Montbleau on 4/20/23
Then for a special treat, members of the Kat Wright Band would join in on the festivities, lending backing vocals on “When I Misbehave” and on one of the more popular songs of the night, “Bright Side.” Earlier in the evening, Wright had let her feelings about the venue be known, commenting how special this room felt to her. Saying, “Long live Lark Hall. Such a beautiful venue. It feels like slipping into a dream. Back to a time when people cared about storytelling and being together and listening to the music and it’s just so beautiful. I hope it stays open forever.” The heartfelt sentiment was collectively felt by all. The energy level would raise even higher when the band bounced back with a full-on funk attack during “Dead Set,” where chairmen Paul Philippone shinned particularly bright. “Songbird” took on strong Rastafarian vibes, only to be outdone by the most bombastic cover choice of the night in Shaggy’s “It Wasn’t Me.”
This Must Be the Place: The Lark Hall kids loved it when Montbleau channeled his inner Marty McFly on 4/20/23
Putting down his guitar and working both sides of the stage while rapping the lyrics to the turn-of-the-century mega hit, the charismatic Montbleau drove the ladies in the crowd absolutely wild here. Well, “Seeing is believing so you better change your specs.” That’s what fans were thinking during the follow-up cover choice of Talking Heads “This Must Be the Place” when both Montbleau and Brodhead were having so much fun together, they briefly ended up playing guitars while laying on their backs ala Marty McFly in Back to the Future. Considering Lark Hall’s storied Chuck Berry history, it somehow seemed to make sense.
Floored: Guitarist Craig Brodhead laid down a smoking solo during “Naïve Melody” at Lark Hall on 4/20/23
After finding their feet again, the band would go into the song “Affected,” which Montbleau helped write with Maddy O’neal and appears on the 2022 album Ricochet. The boogie down continued with a rippin’ version of “Honeymoon Eyes” and then more full audience participation on “I Can’t Wait,” which brought the main portion of the show to a close and left the packed house hollering for more.
Watch fan shot footage of Ryan Montbleau’s final song at Lark Hall on 4/20
After soaking in the cheers for a few moments, the band would emerge from the curtains with one more heartfelt ballad from Wood, Fire, Water, and Air called “Outside Looking In.” Finally, they would send the audience home on a high note with a smoking rendition of “Pacing Like Prince.”
Just an incredible, fun, and well-rounded performance from start to finish. Complete with a carefully crafted, career spanning setlist, an absolutely badass backing band, guest sit-ins, and his innate ability to develop a wonderfully organic rapport with his audience, it would seem that Ryan Montbleau made the most of his Lark Hall 4:20 debut and may have found a new home away from home in the process. Carving his name into the venue’s growing legend, it genuinely feels like something special happens every time you step foot into Albany’s newest concert spot. If you’re looking for great music, great vibes and a great time, this must be the place indeed-e.
Fans “packed” into Lark Hall on 4/20
Ryan Montbleau | 4/20/2023 | Lark Hall | Albany, NY
Setlist: Just Enough Pain, Ankles, Yeah Man, Sweet, Sweet, Nice ‘n’ High, After Dark, 76 & Sunny, Never Gonna Be, Long For You Again, ‘Til The End of Our Days, Time and Again, I Was Just Leaving, When I Misbehave, Brightside, Dead Set, Songbird, It Wasn’t Me*, This Must Be the Place (Naïve Melody) **, Affected, Honeymoon Eyes, I Can’t Wait
Encore: Outside Looking In, Pacing Like Prince
*Shaggy cover
**Talking Heads cover
Kat Wright | 4/20/2023 | Lark Hall | Albany, NY
Setlist: Can’t Explain, Problems, Lovers & Tides/All About You, Try, Take Me With You, Rhonda, Burnin’ and Lootin’, I’ve Been Down
It was a hazy, high-energy night of other worldly soundscapes, prog-inspired improv, funky dance grooves, and surprise sit-ins in Saratoga Springs on April 19th, as revered indie jam rockers Dopapod and charismatic up-and-comers Baked Shrimp joined forces for a wild time at Putnum Place, a show presented by Hartstone Productions.
Kicking off the festivities was red-hot Long Island crustation sensation Baked Shrimp. The fiery trio wasted no time getting the party going, launching into mythical beast mode early with “Chimera.” “Is this all a dream or am I awake?” crooned guitarist Jared Cowen, as the band magnetically pulled you into an exploratory and surreal type-two realm before the opening 16-minute number would reach its impressive peak.
Drummer Jager Soss would take over on vocal duties during the up-tempo swing of “Molly Ann” and then trade them off to bassist Scott Reill on the equally energetic “Pig Hearts and Mechanical Parts.” Playing this particular show using Dopapod drummer Neal Evans massive kit, Soss was like a kid in a candy store here, clearly having a blast while utilizing all the bells, blocks and cymbals that were at his disposal.
The prog-heavy technical chops of the band were on full display once again during “Missing Midnight,” which by now, everyone that had been standing in the back, had collectively moved forward to get a better look at the young sorcery taking shape before their eyes. Celebrating the one-year anniversary of his custom Forshage guitar, Cowen and his trusty new ax known as “The Wrench” sounded particularly potent during the set closing “Wannabe,” which also included an “I Am The Slime” tease by Frank Zappa for good measure. Despite the time constraints, it was another impressive set by this talented young band from New York. As early believers, tracking Baked Shrimp’s continued growth over the last few years has been an absolute joy and it seems like their hard work is beginning to pay off. With a massive summer ahead that includes making their Peach Festival debut, along with high profile slots at Northlands and The Rye Bread Music Festival, it’s safe to say these talented nice guys are right on the cusp of busting out of their proverbial shells.
After a brief intermission followed by several minutes of sci-fi ambiance, it was finally time for our headliners Dopapod to take over. No stranger to the Putnum Place, the band has played several memorable shows here, including joint gigs with Pigeons Playing Ping Pong, a “Grateful Sabbath” themed Halloween show, and just last year playing a single-song set covering Pink Floyd’s “Echoes.” On the eve of April 20th, it felt like anything was fair game.
Kicking things into high gear off the rip was “Numbers Need Humans” from the bands 2019 album Emit Time. Consisting of Eli Winderman on keys, Rob Compa on guitar, Chuck Jones on bass and Neal “Fro” Evans on drums, Dopapod had the whole room vibing right from the start. The dank grooves continued as the band seamlessly transitioned into the always coveted “New James,” which took on a far more sentimental feel here as Dopapod worked in a significant “Wax” tease, paying tribute to their peers and friends in Lotus. Still fresh in everyone’s mind, fans of both bands continue to grieve the suddenly loss of Lotus’ percussionist Chuck Morris and his son Charley who tragically lost their lives on a recent kayaking trip.
“Wheazy” and “Test of Time” would then follow suit before segueing nicely into “Imaginary Friend.” From there, Dopapod would get some help from a real-life friend in moe. drummer Vinny Amico, who would trade seats with Neal Evans to sink his teeth into “Dracula’s Monk” and bring the hour long first set to a pummeling close.
Following a 25 minute intermission, Putnum Place popped off once again when Dopapod returned with a dynamic “Sonic” > “My Elephant vs. Your Elephant” combo to get the second frame rolling. The band would then invite another longtime friend, Adrian Tramontano of Twiddle/Kung Fu/ The Breakfast fame out to play drums on the popular old-school track “Indian Grits.” The heavy hands of Tramontano both brought the thunder and the house down during his extended solo, wowing the crowd to rowdy new heights.
Accompanied by a spectacular light show, the energy level would go through the roof on the next song “Vol. 3 #86” which would flow through “Man or Machine” and finally land on “Black Holes”; the only song from the band’s latest self-titled studio album to be played on this night.
With just 5 minutes to go before the stroke of midnight, the band opted to go with the appropriate “Nuggy Jawson” to officially ring in the 4/20 holidaze and put a bow on yet another memorable performance at the Putnum.
A jam packed show from start to finish, in a room full of longtime fans and friends, complete with surprise sit-ins from members of moe. and Twiddle, it was everything you could have hoped for on this mid-week throwdown in Saratoga Springs. Up next for Dopapod, the band will take a few weeks off before returning to the road for a lengthy run of shows that will see them through the end of May. Their only confirmed summer festival appearance thus far is set for the last weekend in June at the annual High Sierra Music Fest in Quincy, California.
Dopapod | 04/19/2023 | Putnam Place | Saratoga Springs, NY
Set I: Numbers Need Humans >New James * ->Wheazy, Test of Time ^ > Imaginary Friend. Dracula’s Monk +
Set 2: Sonic ^ -> My Elephant vs. Your Elephant, Indian Grits %, Vol. 3 #86 > Man or Machine -> Black Holes
Encore: Nuggy Jawson
* Wax (Lotus) tease
^ Unfinished
+ with Vinnie Amico of moe. on drums
% with Adrian Tramontano of Twiddle, The Breakfast, and Kung Fu on drums
Baked Shrimp | 04/19/2023 | Putnam Place | Saratoga Springs, NY
Setlist: Chimera, Molly Ann -> Pig Hearts and Mechanical Parts, Missing Midnight, Wannabe*
Brooklyn-based alt-band Citrus Maxima has dived headfirst into the indie-rock genre with their newest release “I Don’t Wanna Die,” the first single from their upcoming record. With hundreds of thousands of Spotify streams and years of local gigging experience around New York, the band is looking forward to releasing their upcoming debut album this spring.
The new single “I Don’t Wanna Die” is a song that cuts through the dirge of washed-out, lazy indie rock and instantly jolts the listener with its infectious chorus. The band captures this by combining wailing feedback, crunchy guitars, and driving drums with instantly catchy vocals and heartfelt melodies.
Formed in Albany, but now based in Brooklyn, Citrus Maxima offers up a fresh take on indie rock, anchored by strong songwriting, raw energetic rhythms, and melodic guitars. Citrus Maxima was originally formed in 2014 with Shawn Majeed on drums and Lucas Rinaldi on guitar and vocals. The band added members Wyatt Kirschner on lead guitar in 2018, and Max Gucinski on bass and backup vocals in 2021.
Citrus Maxima has built up a strong online presence with a string of successful releases. In December 2020, the band released “1970”, their most played song with over 250k Spotify streams, and followed up with “Sprouts” a small collection of songs including “Seeds Don’t Bleed”, which incorporates a 90s alternative rock influence.
Their “live session” videos uploaded to YouTube further solidified their online buzz, as their cover of Pavement song “Harness Your Hopes” even grabbed the attention of Pavement member Bob Nastanovich, who praised the cover on social media. Devotees of the DIY ethos, all releases, social media growth, and touring was planned and executed by the band alone without the assistance of a label or management.
Listen to “I Don’t Wanna Die” by clicking the link here.
The University at Albany Department of Music and Theatre will finish the 2022-23 season with four concerts featuring six of its large ensembles at the UAlbany Performing Arts Center on the university’s uptown campus.
The first in the series of concerts took place on April 22, with the UAlbany Chamber Singers and UAlbany Community Chorale, The Choral Hour. In the spirit of Earth Day, the program featured music that focuses on the power and beauty of nature, our relationship to our planet, and its place in the greater universe Both led by Michael Pfitzer, the Chamber Singers is a select group of 28 students who offer music of the highest quality, while the Community Chorale consists of 45 singers from across the campus community, representing majors from all schools and programs.
The Choral Hour. Credit: Gary Gold.
On April 24 at 8 p.m., the UAlbany Jazz Band will perform a program of works by Charles Mingus, Gil Evans, Paquito D’Rivera, and more. Directed by Keith Pray, the ensemble is open to all students.
UAlbany Jazz. Band. Credit: Lawdy Luc.
The UAlbany Symphony Orchestra will present a program on April 30 at 3 p.m., featuring Dvorak’s Symphony No. 8 in G Major and Faure’s Pavane, Op. 50. Led by conductor Christopher David Neubert, this large ensemble regularly performs works representing outstanding repertoire from the Baroque, Classical, and Romantic periods of the 20th and 21st centuries.
UAlbany Symphony Orchestra. Credit: UAlbany Performing Arts Center.
The season culminates on May 1 at 7 p.m. with Sound of the Trumpets, Roar of the Drums, a shared concert by the UAlbany Concert Band, and the UAlbany Percussion Ensemble. Under the direction of Richard Albagli, the percussionists will perform three works with high school student William Lauricella as a special guest. Conductor Kevin Champagne will lead the band in five works including Star Wars Saga by John Williams.
Sound of the Trumpets, Roar of the Drums. Credit: UAlbany Performing Arts Center.
Advance tickets for each University at Albany Department of Music and Theatre concert are $5 for the general public and $3 for students, seniors, and UAlbany faculty staff, while same-day tickets are $10 for the general public and $8 for students, seniors, and UAlbany faculty staff. All tickets must be purchased online from the UAlbany Performing Arts Center’s website, while information and assistance can be obtained by contacting the main office at (518) 442-3995 or PAC@albany.edu.
Saliyah Itoka is a singer and a songwriter and a model, and if you watch her perform, you’ll realize she does have a plan to kill everyone in the room.
One of the best things about my gig here is that, by default, I have to expose myself to every type of music. I have to challenge myself, because it’s easy to ask a rocker what kinds of strings they use if you’re into electric guitars. But it’s a challenge to run across a singer/songwriter that’s out of your depth.
I connect with Saliyah and we discuss our best cocktail mixes.
Liam Sweeny: I’m listening to What You Doing, the video on Youtube. I love your style, it’s great. A sense I get from you by your lyrics is that you’re a strong, confident woman and you are in absolute command of what’s around you and what’s in your world. How much of what we see of you as a performer and how much is actually you?
Saliyah Itoka: What my audience sees from me as a performer is actually all me. I’m still learning to be comfortable as a performer and that comes from the type of shows I do. And it comes from reading the room and being confident that I can command the room. But everytime you see me hit the stage; I’m aiming to be the best.
LS: I’m learning about you from listening to your videos. You’re a singer/songwriter, and I’ve heard plenty of them, but I’ve not heard anyone bringing what you’re bringing. I fully admit this is me; I’m a rock guy. So let me ask simpler questions due to my own personal lack of depth. When and how did you get started singing and writing songs?
SI: I started singing when I was 3 years old, and I started writing songs at 11 years old. I’ve always loved to write and I’ve always been fascinated with how my favorite artists wrote their songs. I used to open the CD and read the paper insert and see how the lyrics were formatted and I would write them out myself. I studied artists like Mariah Carey, Stevie Wonder, and Sade in regards to their writing and composition. As far as singers, I listened to a variety of artists growing up but I’ve always gravitated towards R&B and the artists that I idolized for singing were Toni Braxton, Aaliyah, Mariah Carey, Mary J. Blige, and Tamia.
LS: Some people have an aim, or an inner vision with what they want to create or produce and they’re never there yet, stuck in a home studio with every instrument on earth. Then there are people who just pick and grin and smile and will pick and grin forever. Do you have a vision for what you write now and what you want to write?
SI: It depends on a few factors. Sometimes, I’ll get a random line or melody that pops into my head and I’ll write it down quickly so I can build on it later. Other times, it depends on the track that I’m given or the vibe I get from the track. And there are instances where the vision of what I want to write about will just appear and I just follow its course until its completion.
LS: Music transcends our differences and puts our hearts in the hearts of others, and that is an amazing property. But music doesn’t exist in a vacuum. None of our lived experiences are the same. As a black woman in America, you have to share your experience to audiences that won’t get it. How do you try to reach them? Do you try?
SI: I believe that being and staying authentic to your true self is how you reach greater audiences. And I also believe that being open to having those conversations and asking the questions is how we reach understanding. As a black woman in America, I want to be able to express my experience in the way that I have lived in and hope for it to be a roadmap or even a glimpse into understanding who I am as an artist as well as a human being.
LS: You were nominated for the 2022 Listen Up awards. As I write this, the 2023 awards are coming. By the time you get this, you might be twice-nominated, or you might be a winner. This is a fan awards thing; we don’t vote for anything. Do you have something to say to the fans? Do you want to nominate anybody?
SI: To my fans, I just want to say thank you for all of the support. It’s heartwarming to be a consideration for a nomination. I appreciate everyone who has taken the time out to listen to my music and have followed my journey and I can’t wait for you all to see what I have in store. As far as me nominating anybody, there are so many people that I can see being nominated. There are a lot of artists who are really stepping out of their comfort zone and really showing their talents from the 518.
LS: You are also a model on top of being a singer/songwriter. I love it when people have some other cool thing on top of being a musician. I figure you have more to pull from. We are getting out of an age where modeling was abusive on women in the sense of body image. How do we reform the modeling industry? Any ways that aren’t easily seen?
SI: I think we should understand that everyone is beautiful in their own way and that there is a market for everyone. I think that the flaws that each of us have make us unique and that not everyone is going to fit into the same category. With that said, there is a market out there for everyone and I believe that every single one should be showcased. It doesn’t matter what size or fit or shape you are, you are beautifully made. I feel that the stigma that a model should only look like this versus a model that looks like that puts unneeded pressure and unneeded expectations on the mind. We are all beautiful and we need to keep an open mind in the discussions of what beauty is because the definition is different for everyone.
This article was originally featured on RadioRadioX
Upstate NY’s The Parlor have just announced their newest LP You Are Love And I Am You, a psychedelic dream-pop record about ecstatic realizations associated with what some call the mystical experience, unitive consciousness, or loving presence.
In celebration to the release on May 19th, they will also be hosting an album release show May 20th at Indian Ladder Cidery & Brewery’s Upper Biergarten.
You Are Love And I Am You is like a dream-pop relief compared to their more recent release in 2018 titled Kiku which chronicled the experience of grief and loss. It is meant to be listened to as an album, front to back. There were many that influenced the making of this album, such as The Mamas and the Papas, Tame Impala, Broadcast, Warpaint, Mazzy Star, George Harrison, Velvet Underground, Khruangbin, The Brian Jonestown Massacre, Len, Cults, and Fleetwood Mac.
As a neo-psychedelic dream-pop project made by husband and wife Eric Krans and Jen O’Connor, The Parlor was named after a room in the 19th century farmhouse where they live, farm, and create. The multi-instrumentalist, producer-composers express some of the most powerful aspects of the human experience. Immersive sound scaping and aural synesthetic composition is the vessel through which they share their existence.
The song that has been released as a tease for the album, “Underneath the Universe,” is an absolute hit. It is very reminiscent of Tame Impala, with pretty indie visuals in the video to accommodate the dreamy-like melodies in the song itself.
The band stated, “Things got gloomy for us while touring on the Kiku record. Playing songs about trauma on a nightly basis, and the grueling nature of touring just sort of wore us down. (Jenn Pelly wrote an incredible piece for Pitchfork that relays a lot of what we experienced). Together these experiences ushered us deeper down a dark tapering claustrophobic tunnel with only a pinhole exit. We squeezed through somehow, thanks to meditative practice and sharing our deepest vulnerabilities with each other.”
During the pandemic, additional darkness ensued, but there was only one way out and it was through. We found a deepened sense of presence that felt sacred. By accepting the seemingly unacceptable we were paradoxically filled with awe and wonder. Living was imbued again with light, love and gratitude. That’s the experience this album captures. Us finding ourselves again. The heart of this album is the enigmatic realization that we are and always have been the universe experiencing itself. We exist as manifestations of the universe just as everything else. And when we allow ourselves to be whole and unique, we express the universe in hi-fidelity authenticity. Something about holding that in imagination produces a sense of reverence and a desire to sing and share.
“We got into Carl Jung, archetypal symbolism, alchemy, medieval Christian mysticism, Taoism, Sufism and found hundreds of esoteric philosophical characters that seem to be sharing similar mystical experiences of their own. This album is for them. Our new long dead friends. And everyone we ever met or wished upon. You shaped us. And to anyone out there who has had, or who hopes to have, a mystical experience in their lives that orients them toward abiding presence, awe and wonder, and gratitude for all existence. We celebrate you as us. Everything and nothing is one shining-forth ineffable non-dual eminence. Like dust in the light // Both the dark and bright.”
To pre-order You Are Love And I Am You, click the link here.
In This Moment and hard rock giants Motionless In White have announced an epic co-headline run across North America this summer featuring special guests Fit For A King and From Ashes To New.
“The Dark Horizon Tour” will see the two bands alternating closing sets each night and performing at arenas and amphitheaters across the country, starting in Connecticut and Buffalo in early July, and a finale on August 19th at MVP Arena in Albany.
Since coming to life in 2005, In This Moment have presided over a diehard fan base under the watch of “mother” figure, frontwoman and New York native Maria Brink—joined by co-founder and lead guitarist Chris Howorth, bassist Travis Johnson, guitarist Randy Weitzel, and Kent Dimmel. As millions convened upon the group’s otherworldly and unforgettable concerts, they quietly emerged as one of the most influential and impactful bands of the 21st century.
To date, in addition to the Gold-selling album, Blood, the quintet has garnered six Gold and Platinum singles, followed by a trifecta of Top 25 entries on the Billboard Top 200 with Black Widow and Ritual. With a total stream tally well past 200 million as of 2020, Ritual elevated them to new creative and critical peaks as well.
Between selling out headline tours coast-to-coast, the group performed in arenas everywhere alongside Disturbed and appeared at countless festivals from Rockville to Sonic Temple.
Along the way, they assembled their seventh full-length, the aptly titled Mother with longtime trusted collaborator Kevin Churko. Whereas Ritual hinted at a bluesy sonic sorcery, Mother breathes the activating mantra of an unbreakable spell, commenced on first single “The In-Between.”
In 2022, the band released Blood 1983, a reimagined EP commemorating the ten-year anniversary of Blood, and most recently had their song “I Would Die For You” appear on the soundtrack for John Wick: Chapter 4.
Motionless In White harnessed the power of an unholy union between industrial metal dissonance, spellbinding gothic pop bombast, and big screen-worthy iconography to emerge as 21st century rock’s most iconoclastic and cinematic force. Climbing out of the shadows of the rustbelt in Scranton, PA, the group have tirelessly earned the undying allegiance of a devout worldwide audience one record at a time.
With over half-a-billion cumulative streams and views to date, Motionless In White have notched four consecutive Top 5 debuts on the Billboard ‘Top Hard Rock Albums’ chart and ‘Top Rock Albums’ chart with Reincarnate, Graveyard Shift, Disguise , and their latest effort Scoring The End Of the World. The latter debuting at #12 on the Billboard 200 marking the band’s second biggest sales week ever.Scoring The End of the World is highlighted by the singles “Cyberhex,” which trended Top 10 on YouTube, and the follow-up “Masterpiece” which lit up streaming platforms and reached #1 at Active Rock radio becoming the band’s first chart-topper at the format.
Tickets are on sale now at In This Moment’s website.
IN THIS MOMENT & MOTIONLESS IN WHITE 2023 TOUR DATES
Jul-8 – Uncasville, CT – Mohegan Sun Arena
Jul-9 – Buffalo, NY – Buffalo RiverWorks
Jul-11 – Charleston, WV – Charleston Civic Center Coliseum
Jul-13 – Cadott, WI – Rockfest*
Jul-14 – Grand Rapids, MI – Upheaval Festival*
Jul-15 – Mansfield, OH – Inkcarceration Festival
Jul-17 – East Moline, IL – The Rust Belt
Jul-18 – Des Moines, IA – Wells Fargo Arena
Jul-19 – Sioux Falls, SD – Denny Sanford Premiere Center
Jul-21 – Casper, WY – Ford Wyoming Center
Jul-22 – Billings, MT – First Interstate Arena at MetraPark
Jul-23 – Missoula, MT – Big Sky Brewing Company
Jul-26 – Reno, NV – Grand Sierra Resort
Jul-27 – Paso Robles, CA – Vina Robles
Jul-29 – Flagstaff, AZ – Pepsi Amphitheater at Fort Tuthill Park
Jul-30 – Grand Junction, CO – Amphitheater at Las Colonias Park
Aug-1 – Wichita, KS – Hartman Arena
Aug-2 – Oklahoma City, OK – The Criterion
Aug-4 – Council Bluffs, IA – KIWR’s Rockfest – Westfair Amphitheater
Aug-5 – Camdenton, MO – Ozarks Amphitheater
Aug-6 – Little Rock, AR – Simmons Bank Arena
Aug-8 – Memphis, TN – The Soundstage at Graceland
Aug-9 – Mobile, AL – Mobile Civic Center Arena
Aug-11 – Huntsville, AL – Propst Arena
Aug-12 – Asheville, NC – Harrah’s Cherokee Center
Aug-13 – Corbin, KY – Corbin Arena
Aug-15 – Evansville, IN – Ford Center
Aug-16 – Fort Wayne, IN – Allen County War Memorial Expo Center
Aug-18 – Gilford, NH – Bank of New Hampshire Pavilion
