Category: Albany

An Interview with Kilashandra, a Celtic-inspired Jam Band

One music that never fails to soothe me is Celtic music. I can just feel the stress and the tension of the day wash off, and something crisp and green take its place. It is always welcome, and in turn always welcoming, and there’s a heaviness and a frivolity that can dance with each other. But Kilashandra is not a strictly Celtic band.

They are a Celtic-inspired jam band, and while my questions center around the Celtic part, I hope you will see the band as they will show you below. Maybe we can get them to jam.

I sit with Mark Emanatian, Eileen Markland, Chris Gil and Tom Dolan of Kilashandra and we discuss the rarity of four-leaf clovers.

Liam Sweeny: Celtic music is instantly recognizable, and it makes people feel a certain way, like a gentle breeze on a hilltop of rolling grass, or the bow of a ship destined for the promise of the New World. So the sound is unmistakable. Do you think Celtic lyrics, if read without the music, would be unmistakable as Celtic? Why or why not?

Mark Emanatian: I think the deep rivers of Irish literature, poetry, storytelling and history would make Celtic lyrics unmistakably Irish.

LS: The music of Ireland is a tradition that goes back centuries, and listening to Celtic music, you can hear themes that, though timeless, did originate in a time. But it wasn’t just Ireland, was it? How much of Celtic music comes from Ireland, and how much from Irish immigration to America? MARK: All music is transformed as it intersects with new places and new experiences.

ME: Vocalist Chris Gil has an interesting story. I’m all about those, stories. But his was an impromptu chance to sing at the Pepsi Arena, and a standing ovation. If that doesn’t tell a person they got something, right? So something started shit right there, something inside, a switch from a private thing to a public pursuit. Tell us about it, will

Chris Gil: It was an honor and a thrill to sing the National Anthem at the Pepsi Arena and receive a standing ovation. I put the same energy into my singing whether it’s to a full crowd or 1 person in the back of a pub. It’s all about connecting with the audience.

But I really like singing and playing with this band Kilashandra. Mark Emanatian writes some great songs and is a master guitar player. Eileen Markland is a force of nature. Tom Dolan holds us together. We really connect with each other and we let the audience in on it too.

I’m looking to forward to some big gigs we have coming up: opening for the Young Dubliners at the Colonial Theater in Pittsfield and the Watertown Irish Festival. And of course, we’ll be hitting the pubs from the Berkshires to the Catskills to the Adirondacks.

Come see us at a big show or a pub, I love singing to people

LS: Eileen Markland is a Berklee trained composer and arranger, with a universe of talent with different instruments, having played with more folks than can fit in a small club with the tables removed. One thing I read was that you work with music for visual media. How does playing for visual media differ from playing for the crowd?

Eileen Markland: Harmony is the reason I wake up each morning and endless melodies accompany every activity and quiet moment throughout my day. Composition is the only place in life where I experience true freedom. I can create and mix any scenario I’m craving or feeling by crafting a series of chords, melodies and vocal/ instrumental combinations which then have the potential to perfectly express what I need, if I get it right. Yes, I can tell you what I’m feeling in words, but a musical description is three dimensional, even four dimensional! Composition (and improvisation), for me, is the deep exploration and expression of the state of my soul.

Live performance is a unifying, raw experience that creates a shared sense of community and, really, nothing less than pure love between the people performing and those watching and listening. It’s a social experience with both tangible qualities, such as dollars earned and new friends made, and intangible qualities such as relieved anxiety and the lessening of feelings of loneliness. I deeply believe that live music has been and always will be one of the staples to a peaceful society on a worldwide scale. For me, personally, my best friends are the musicians in my life. The music we create together and the real bonds that come with this ride keep me happy and sane in all corners of my life.

LS: Mark Emanatian, you come from a background I’m very aware of; the blues. Coming to Celtic from blues, and going back again, must be an interesting experience. It seems that they are very different music with different conventions and origins, different historical contexts, so on. What is the common thread that unites them?

ME: First off, they come from a deeply emotional story…and tough histories of people oppressed…the music arises from that…and the music has several similar qualities based around major and minor pentatonics…you can hear a lot of the crossover in bluegrass music that was influenced by both of these musical rivers.

LS: Improvisation is my favorite quality in music. If my brain wasn’t so blues-soaked, I would’ve hopped on to the jazz train and would still be a passenger. Tom Dolan, you are an improviser. In Celtic music, is improvisation the same as it is in jazz, or is it more structured? Is there phrasing that you have in Celtic music that you base on?

ME: There is not a lot of bass in traditional Irish music. Often uilleann pipes are used for drone or acoustic guitar or bouzouki are used in place of the bass to add harmony and movement to songs and tunes. Irish music does not generally use chromaticism or altered and extended chords. So, there is not much similarity between improvising in Irish music and jazz. However, there is modal playing, and the use of pedal tones in common and that is useful for improvising in both genres. And listening to each other. Listening helps. It is using intensity, volume, rhythmic variations to push the tempo to move the song along, hopefully to greater heights, or down to support the lyrics. I have been playing in bands with Mark for 50 years. We have a good understanding of what each other might play. Mark and I have played with Eileen in various groupings for over ten years. Chris is an inventive rhythm guitar, acting as a catalyst, often playing bodhran rhythms, propelling the songs forward. We have a shared vocabulary that allows us to have a conversation on stage. Sometimes full group improvisation can break out. But above all the playing must support the song.

This article originally was featured in The Xperience Monthly.

March 19, 2023
Albany Natives Hilltop Announce 2023 Northeast Spring Tour

Albany based jam band Hilltop have announced their newest spring tour, taking place across New York and the New England area.

Hilltop, who recently too part in NYS Music’s March Madness 2023, are already starting to grow their own dedicated fanbase and now they are looking to expand that. Coming off another succesful show at the Parish Public House in their home town, Hilltop looks forward to bringing their music to audiences across the northeast.

Inspired by legendary acts like Phish and The Grateful Dead, Hilltop combines original music, iconic covers, and musical improvisation to create an unforgettable experience for their audience.

With over 100 shows under their belt, Hilltop shows no signs of slowing down. The band, consiting of brothers Stephen & Reid Perry, and their friends Aris Nieuwkerk and Dave Klang, have also performed at festivals in Lake George as well as Catskill Mountain Jubilee last August.

On tour, Hilltop will be joined by area favorites The Apollos, Vertices, as well as supporting The Chops and Seapods ft. Al Schneir. The tour will take stop at New York venues including The Monopole, Brooklyn Music Kitchen and Funk N Waffles, interlaced with vibrant New England shows.

For more information, please visit Hilltop’s website.

Hilltop 2023 Spring Tour

3/23 – Zenbarn – Waterbury, VT (w.s.g. The Apollos)
3/24 – Sawtooth Kitchen – Hanover, NH
3/25 – The Monopole – Plattsburgh NY
3/31 – Brooklyn Music Kitchen – Brooklyn, NY
4/1 – Midway Cafe – Boston, MA (supporting the Chops)
4/6 – Stella Blues – New Haven, CT
5/12 – Funk N Waffles – Syracuse, NY (supporting Seapods ft. Al Schneir)
5/13 – Parish Public House – Albany, NY (w.s.g. Vertices)

March 19, 2023
It Sounds Better in the Basement: The Byrdhouse in Albany

Since the 1970s, Do-It-Yourself (D.I.Y.) concerts proved to be a vital part of generational music culture, stemming from the thriving underground punk movement in cities like London and New York. The D.I.Y. scene brings local bands, artists, and other like-minded creatives together to build accessible, open environments for the community to enjoy music in safe and inviting spaces.

Our very own Albany has served as an epicenter of the underground music scene for generations, through informal gatherings of college garage bands and local talent. Passing the torch from venue to venue over the years, our generation’s leading venue can be recognized as The Byrdhouse.

Named for a stack of birdhouses in Washington Park and spelled with a “Y” instead of an “I” to make the brand more recognizable, Rachel and Adam founded The Byrdhouse in 2018 while attending undergraduate courses at University at Albany and the College of Saint Rose, respectively.

Rachel recalls attending basement shows at former Saint Rose venues called the Rice House and the Orange Peel as her “rite of passage,” while Adam performed locally in a band called Delphino. Upon the closure of these venues after their founders graduated, the duo partnered with other friends to create their own space to enjoy live music. The Byrdhouse first opened the doors to their basement in October of 2018 for a Halloween show.

A show at the Byrdhouse basement. / Photo Credit: Peter Herrick

“[The Rice House and The Orange Peel] always got really great acts and made a good atmosphere,” Rachel said. “Sort of what I wanted to base Byrdhouse off of.”

The early days of Byrdhouse focused on music and experience, with a tight knit community crew putting on and attending shows. Converting a rental house in downtown Albany into a small concert venue by building a makeshift stage, pitching in to collect speakers and other equipment – all while on a college student budget.

“We were cutting up mattresses, insulating, and making it noise proof,” Rachel said of preparing the rental house basement. “We even deconstructed a bunch of walls in the basement to construct an audience viewing area.”

“We did a lot of work to try to insulate to make sure that things weren’t too loud outside,” Adam said. “We never got a noise complaint, and you know, we were running a pretty tight ship. So that house was never really in disarray, at least not from the shows.”

As the years went on, Byrdhouse began to expand both their reach and notoriety among the Albany music community. Rachel found a passion in formulating setlists of acts of a similar genre for theme night events, and began to popularize amongst music-loving Capital Region college students as a weekend go-to.

Adam and Rachel of Byrdhouse (left-to-right). / Photo Credit: Josh Reedy

“We started off as a venue that was free to everyone…bands that we knew and people that were cool with that and it was fine. But as we started to charge and I started to get bigger acts, I started to formulate shows based on similar genre and theme…if I was doing a theme show…for goth night…I would be looking for all Gothic-esque bands and I would search from different cities” Rachel said.

While Rachel took on promoting and organizing shows, Adam served as what he calls the “technical hand.” What set Byrdhouse apart from other venues was their commitment to sound quality. Eddie, who joined the team later on, took over the sound technology.

“That’s a big deal for me, you have to take care of people’s ear health,” Eddie said. “Some venues now don’t even have a tech person… we were one of the few that had someone, either me or Adam, dedicated to it.”

Byrdhouse kept a consistent lineup of shows up until March 2020, when all events shut down as a result of the COVID-19 pandemic.

“When COVID had hit it had blew out all of my plans. We had thought about doing live streams and stuff, but it just seemed too much at the time for everyone, I think, and after COVID had cooled down a bit…I had talked to some other friends of ours who wanted to keep the Byrdhouse spirit alive,” Rachel said.

The Byrdhouse returned on Aug. 21, 2021 to fans, bands, and artists alike welcoming them back – craving the sense of togetherness underground music once brought. The Byrdhouse returned with the same vibrant energy, and basic health precautions, to ensure locals had fun and bands could get back out into the scene.

“We had a good reputation with people, you know, people would come back and spread the word,” Adam said. “If you see a band that you love play live for you and they tell you that this is our favorite show or one of our favorite places to play, that’s awesome… that’s hard to beat”

Though “covers” were charged at the door, varying from about $5 for entry, the Byrdhouse organizers never took any profit. At the end of the night, the money was counted up and equally distributed to each of the performing acts as payment.

“Basement venues are like nonprofits…you’re working to not make profits…the profit is the community coming together,” Eddie said. “You can tell that bands wanted to play there…it was all focused on the music.”

Guitarist joins the crowd. / Photo Credit: Peter Herrick

After four years, three houses, and one global pandemic, The Byrdhouse held their last two shows at the end of Phoenix Fest, a D.I.Y. festival, in April of 2022.

“Graduating from college I felt like it might be a better time for younger generations to start their own basement venues and pass it along…pass along the torch to the younger generation so they can experience what I did” Rachel said.

Today, Rachel still plays a role in the Albany music scene with the transition of The Byrdhouse to D.I.Y. booking and management group Byrdhouse Records. She says it will “continue with doing shows and booking tours” through above ground venues like No Fun in Troy.

“My heart is in the D.I.Y. scene, but as I’ve gotten older with it, I want to make it into something bigger and more versatile,” Rachel said. “[Opening] an actual established concert venue is something that I dream of.”

*This article originally appeared in a series created by the Albany Student Press, University at Albany’s student-run newspaper.

“It Sounds Better in the Basement” is a developing series playing off of punk band The Devil is Electric’s 2001 release of the same name. The song represents the soul of basement shows and its importance in providing a platform for local bands. As Albany college students, we strongly believe in archiving the student culture of the Capital Region for generations to look back on. As part of UAlbany’s independent student newspaper, it is our mission to tell stories while protecting those who live them – which is why we have chosen to refer to sources on a first-name basis (unless receiving permission otherwise). This series will continue with features of other local venues, bands, and notable figures.

March 18, 2023
Bruce Springsteen & The E Street Band Reschedule MVP Arena Show to September

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.

https://youtu.be/DMzRMHJspa8

March 17, 2023
An Interview with John McEuen, founding member of the Nitty Gritty Dirt Band, Performing in Buffalo and Albany this week

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!

March 15, 2023
Daniel Donato’s Cosmic Country Lifts Albany’s Spirit to New Heights

Transporting Albany to interstellar dimension, it was another hip shaking, foot stomping, groovy good time at Lark Hall on Thursday, March 9^th as Daniel Donato’s Cosmic Country made their other-worldly debut at the recently revitalized venue.

Unleashing an absolute powerhouse performance, the rapidly rising band from Nashville has been on a freight train to stardom since breaking out at the annual Peach Festival last summer. After the performance on Thursday, March 9, it’s easy to see why and fair to say the Albany faithful are ‘all aboard.’

Taking the stage to a packed house with swagger, wearing vintage seventies garb, cowboy hats and each member having hair down past their shoulders, right away you could tell two things about this band: These guys weren’t from around here and that they came to Albany with intent to impress.   Along with Daniel Donato on guitar and vocals, Cosmic Country also features Nathan “Sugar Leg” Aronowitz on keyboards, rhythm guitar and vocals, Will “Mustang” McGee on electric/upright bass, and Noah Winner on drums and percussion. The band was last in town on October 29^th, 2022 opening for the Kitchen Dwellers in Saratoga Springs, but for this three hour, two set performance at Lark Hall, there was no opening act.

Coming out of the gates with a “Fourteen Carat Mind” > “Lose Your Mind,” > “Faded Lovin’” trifecta, it didn’t take the Cosmic Country band long to showcase their incredible songwriting and technically proficient chops. Easing the audience in with beautiful harmonies and tasteful melodies, the band effortlessly blended together genres like outlaw country and modern bluegrass with elements of funk, experimental jazz and rockabilly.

By the time the young guitarist virtuoso Donato and his teal-colored telecaster landed on “Sugar Shack,” the whole room was in the palm of his hands and grooving together as one. Seizing the moment and an opportunity to try something new, the band would then stretch their legs a bit on the unreleased song “Gotta Get Southbound.” A tune about departure, exploration and freedom, Donato described it as “encompassing many emotions, but mainly, is for the soul that needs to adventure to awaken and discover a better world and reality.”

Keeping with the positive outlook, bass player ‘Mustang’ McGee would switch out his electric bass for an upright one on “Half Moon Night” which features the lyrics “I’m gonna shine, shine, shine. No matter how dark it may be.” Next, one lucky fan would get their wish as Cosmic Country then played “Fox On The Run” which had verbally been requested several times earlier in the set. Up next was “Darlin’ Cory,” a timeless old murder ballad Danoto first started playing years ago when he was gigging with The Don Kelley Band around Nashville and now appears on his 2021 studio album Cosmic Country & Western Songs Western Songs.

“Arkansas Traveler” and “Rose In a Garden” would follow suit before Donato would lead us into set break with another homage to the Don Kelly Band, this time in the form of “Ghost Riders in the Sky.” Calling it “one of the most heroic songs of the great American Western catalogue of music,” Donato believes “the journey this song takes you on, musically, is a mutually understood and realized feeling that we all possess inside us. The truth of the sincere feelings this song conjures would be the only explanation as to why this vehicle of song has transcended nearly 70 years of cultural and musical change.”

After a brief break in the action, things would get rolling again as “Hi Country” was selected to kick off the second set. Bringing serious early 70’s Dead vibes with it, momentum would continue to build as Cosmic Country then segued their way through a “Luck of the Draw” > “Sugar Leg Rag,” which gave keyboard player and rhythm guitarist Nathan Aronowitz ample time to bask in the spotlight.   Slowing the pace up for a bit was another unreleased new one called “Chore” that started off as a bluesy ballad and featured beautiful full-band harmonies before the improvisational section of the song launched the room into the next stratosphere with Donato’s lightning-fast finger work largely to blame.

Feeling the collective storm of energy, it was only fitting that “Weathervane” make in appearance in the set next, though some fans humorously confused it for a cover of “Peaches” by The Presidents of The United States of America at first.   They did get a cover next, however, as Wille Nelson’s “Blue Skies” brought many smiles to the older folks in attendance. The outlaw train kept rollin’ next with a smokin’ version of “Mystery Train” followed up by Mustang McGee taking over vocal duties for a rollicking rendition of “Ten Feet of Rope.”   Fully vibing off the shared frequencies felt in every corner of the room, “Double Exposure” felt particularly passionate, psychedelic and on point and even featured a dynamic guitar duel exchange between Donato and the multi-talented “Sugar Leg” Aronowitz. “When you find yourself running low on the colors that you need, keep searching through the afterglow for positivity guaranteed!”

Clearly having fun and sharing in the groove, the genre defiance reached a new level as
“Dance in the Desert” crossed multiple boundaries and had everyone in the place cutting a rug before reaching its final soaring peak and bringing the second set to a close. Hungry for one more song, the audience was practically begging for an encore. Happy to oblige with a bit of showmanship, Cosmic Country returned to the stage with huge smiles on their faces.

While many songs on the evening felt reminiscent of early 70’s Grateful Dead, there was no mistaking that certain twang on the song chosen for an encore. Uncorking a red-hot version of “Cumberland Blues,” even the hardest Dead Heads in the room were loving it and clearly giving Daniel Donato’s Cosmic Country the coveted ‘Albany Seal of Approval.’ After the song, the band’s photographer would take a group wide shot and the guys would hang around meeting their newest fans and signing merchandise.

Reflecting on the show, Donato would later take post to social media “Albany still to this day has essence of a very original spirit, that spirit we all know and love, and search for when the music plays. It’s not my ability to name this sensation, but I do know when the room is feeling this strange, synchronous, and benevolently fleeting frequency. Albany delivered this to us in such a concentrated and positive way, and for that, we love you.”

Up next Cosmic Country will return to Garcia’s in Port Chester and then head to Lewes, De, followed by a pair of dates in Virginia, before they wrap up this winter run in Charleston, SC. Already booked for a number of major music festivals and high profile gigs throughout the summer, it’s easy to predict big things ahead for this band on the rise. Keeping the honky-tonk spirit alive by honoring their heroes like the Don Kelly Band, The Grateful Dead, Rory Gallagher and The Allman Brothers, Daniel Donato’s Cosmic Country Band is a special combination of something old and something new married together in a most profound way.

Complete, with great songwriting, a beautiful tone, a never-ending flow of fresh licks and an absolutely badass cast of musicians behind him, we suspect the portal to Danial Donato’s Cosmic Country universe has only just opened and their rocket ship to stardom is right on the cusp of hitting lightspeed.

Cosmic Country | March 9, 2023 | Albany, NY | Lark Hall

Set 1: Fourteen Carat Mind, Lose Your Mind, Faded Lovin’, Sugar Shack, Gotta Get Southbound, Half Moon Night, Fox on the Run, Darlin’ Cory (Don Kelley Band cover), Arkansas Traveler, Rose In a Garden, Ghost Riders in the Sky,

Set 2: Hi-Country, Luck of the Draw > Sugar Leg Rag, Chore, Weathervane > Blue Skies (Willie Nelson cover), Mystery Train, Teen Feet of Rope, Double Exposure, Dance in the Desert

Encore: Cumberland Blues

March 15, 2023
Harrison and Belew Serve Up A Cool Cool Cool Tribute to Talking Heads Remain In Light

For many Talking Heads’ fans, their 1980 album, Remain In Light, is the pinnacle. It’s groundbreaking blend of Afrobeat rhythms, synth textures, obtuse lyrics, Brian Eno’s crafty production and the searing “stunt guitar” of Adrian Belew made it a classic – the disc that put the funk into punk and New Wave. It was also the album that propelled this art school educated band of newbie groove nerds into the MTV mainstream. This was a non-stop dance party with cerebral trimmings, a collection of fierce tunes that were always the best parts of a Talking Heads’ live show, something evidenced in the peerless concert film made about their tour to support it, Stop Making Sense.

Last month, the band’s founding keyboardist Jerry Harrison teamed up with Belew and the band Cool Cool Cool to bring a concert celebrating the iconic album to 19 cities coast-to-coast.

If the March 8th performance at Albany’s Empire Live was any indication, they have achieved their stated goal – to recreate the excitement and joy of the Talking Heads’ remarkable 1980 tour.

The evening opened with a strong seven-song set by Cool Cool Cool, a super slick collective of funkateers with tight vocal harmonies, punchy horns, clavinet soul and stage presence to spare. The band is comprised of seven musicians who split – dramatically and en masse – from their former long-running band, the popular festival attraction Turkuaz, a year back. It includes Shira Elias and Sammi Garett (vocalists), Chris Brouwers (trumpet), Josh Schwartz (tenor/baritone sax/vocals), Greg Sanderson (alto/ tenor sax), Michelangelo Carubba (drums) and Craig Brodhead (guitar/keys). For this tour, the group is augmented by master bassist Julie Slick (Adrian Belew Power Trio/The Crimson ProjeKct) and percussionist Yahuba Garcia-Torres.

The Prince/Sly Stone/Tower of Power vibes were in evidence from the opener, “Gotta Give It Away,” sung with bravado and David Byrne-like hand gestures by Josh Schwartz (those would return in the next set too!). Shira Elias distinguished herself with lead vocals on “NAH” and “Tied Up,” while Sammi Garett shined on the ballad ,“With You,” and the baritone sax-driven set closer, “Try.”

Cool Cool Cool is not only a joyful party band but an ensemble of players’ players. In a duo of tunes, saxman Greg Sanderson slowly architected long spiraling solos that brought to mind the great Kenny Garrett in Miles Davis’ late 80s/early 90s band. On “With You,” Chris Brouwers offered up a muted trumpet solo with plenty of spacey echo. It was one that fused his own Milesisms with the prog/ambient leanings of ECM Records’ trumpet great Nils Petter Molvaer.

Harrison and Belew covered 14-songs in their set, most of Remain In Light, along with classics like “I Zimbra,” “Cities” and “Drugs” from their 1979 album, Fear of Music, and “Psycho Killer,” the set opener from their debut disc, Talking Heads: 77.

As he did in King Crimson, Belew handled most of the lead vocals in a style that bears more than a passing resemblance to David Byrne.

As anyone who’s seen him live can attest, Belew has boatloads of charisma. He’s got an amiable everyman vibe that invites everyone into the party, while sometimes obscuring his revolutionary talent as a guitarist. On “Psycho Killer,” he projected the appropriate amount of psycho and slayed with the first of his many animalistic guitar solos on the outro. The following tune, a rendition of “Houses in Motion,” greatly benefited from the backing vocals Shira and Sammi provided to Harrison’s lead. And here, there was another revelatory solo from Belew, who made his guitar sound like the Indian horn instrument heard on another Harrison’s The Beatles tunes, the shehnai.

Cool Cool Cool’s horn section ladled on added heft to many of the songs, especially “Cities” and “Born Under the Punches.” The latter was sung, more so preached with Byrne-like hand gestures, by Schwartz.

Jerry Harrison enjoyed a solo spot on two tunes, “Rev It Up” from his solo disc Casual Gods and “Slippery People” a much-covered song from the Heads’ 1983 album, Speaking in Tongues. The first number left space for an obtuse keyboard solo from Harrison and a nice guitar solo from Cool’s Craig Brodhead, who added some funky wah wah clavinet through both sets. Belew got his solo turn with a high-energy take on “Thela Hun Ginjeet” from King Crimson’s Discipline. More whammy bar guitar solo torment (a very VERY good thing) from Adrian on this track, one which featured a playback of his recounting his mugging in NYC from Crimson’s original recording.

Schwartz was back on lead vox doing his best Byrne for “Once In A Lifetime” and the set reached a peak with “Take Me to the River.” The Harrison/Belew version had even more punch than the Talking Heads’ original, bolstered by a Stax Records/Memphis stew of horns and backing vocal power.

The evening ended with a delightfully off-the-rails spin on “The Great Curve.” On Remain In Light, this tune percolates at 152 beats-per-minute, a hectic pace bettered in this live performance. It is also the song where Belew first got to fully stretch out on record. On record and at this concert, he stopped the show with his uniquely “apeshit” brand of Fender Stratocaster abuse, a step ahead in guitaring and stomp box logic that was the natural extension of Hendrix’s “Star-Spangled Banner” at Woodstock.

As fan well knows, the likelihood of seeing the original Talking Heads reformed in concert is quite dim. And Remain In Light itself is one of the sticking points, with songs that grew out of collective grooves and improvs at rehearsals for which Harrison, drummer Chris Franz and bassist Tina Weymouth may not have gotten their due.

And while he just dropped in to overdub his parts, Belew is another important ingredient without whom this album may not have been quite as iconic and continually relevant to new generations of music-lovers.

Photos by Jarron Childs

March 11, 2023
E.R.I.E. Share Sophomore Indie-Rock EP “Suburban Mayhem”

Capital Region indie-rock quartet E.R.I.E. have just released their second EP Suburban Mayhem on March 8^th. The band previously released the single “World is On Fire” to tease the album in early February featuring local scene friend Sydney Worthley.

Suburban Mayhem arrives to the scene with grander scope and vision. The album turns its focus externally, commenting vividly on the outside forces burrowing into our brains on a daily basis. It’s a resplendent examination of the world around us, rife with equal parts cynicism, wit and hope.

The album features pitch-perfect collaborations with Brooklyn-based dream-pop trio ALMA, and fellow Albany songwriter Sydney Worthley. The record showcases a band not only finding their footing, but settling into a signature sound affectionately self-described as Tom Petty cosplaying as blink-182.

The first song on the album “Oh Well” gives listeners a peak into what Suburban Mayhem is truly about. Others songs like “Bad Mans World,” “Suburban Mayhem (Holy Fuck),” and “The Motions” truly show the dedication and ambitions that the band has. “Bad Mans World” is a favorite of mine, with its lyrics being meaningful yet a jam at the same time.

The four members of E.R.I.E. – guitarist Matt Delgado, drummer Chad Flewwelling, and bassist Levi Jennes spent most of 2022 self-recording their sophomore full-length, yielding 12 nostalgia-tinged songs. Suburban Mayhem further lends credence to the frequent comparisons to The Gaslight Anthem, Frank Turner and The Get Up Kids that the band has garnered, with its “crunching guitars, catchy choruses and a down-to-earth, working-class vibe that recalls modern heartland punk rock…” (Daily Gazette).

Upcoming Tour Dates:

Mar 18 – Albany, NY @ Lark Hall

To listen to Suburban Mayhem, click the link here.

For more on E.R.I.E., click the link here.

To read the previous NYS Music article on E.R.I.E., click the link here.

March 8, 2023
Musicians of Ma’alwyck Announce their First Live Concert Since 2020 with ‘Celestial Melodies’ in the Capital Region

The Musicians of Ma’alwyck announce their first live concert since 2020 with Celestial Melodies, celebrating the music of William & Catherine Herschel and their contemporaries, taking place March 11 and 12 in Schenectady and Albany.

The Musicians of Ma’alwyck are a flexible-size chamber ensemble in residence at the Schuyler Mansion New York State Historic Site and Schenectady County Community College. Founded in 1999 by violinist and director Ann-Marie Barker Schwartz, the group specializes in music performed in America during the eighteenth and nineteenth centuries. They were named the best chamber music ensemble of the Capital Region for both 2008 and 2009 by Metroland and were nominated for the Eddies Music Award.

The ensemble released its first commercial CD in 2016, Music in the Schuyler Mansion, which the Times Union called “elegant and charming,” and their second in 2021, Hyde Hall & the Silver Goddess: Operatic Brilliance of Auber, Bellini, Meyerbeer, and Rossini from the Drawing Room.

The Celestial Melodies program will feature the music of composers and astronomers William and Catherine Herschel, as well as others. The concert will include not only the music of the Herschels and their contemporaries but a visual component as well, a specially developed sky show, with dazzling images and unique looks at the constellations as they appeared in Herschel’s lifetime. The program also
features the world premiere of a new work Invocation by Max Caplan, inspired by the NASA data sonification project.

William Herschel was born into a musical family, with his father being a professional oboist and himself a fine violinist, harpsichordist, and organist. He came to England in the 1750s as a member of the Hanover Band and worked as the Bath Church’s organist and director of the orchestra and concert series. He is known for his incredible astronomical discoveries, which include the discovery of infrared radiation, astronomical spectrophotometry, the planet Uranus and far-seeing telescopes. Herschel’s younger sister Caroline was also an outstanding musician and astronomer, she was the first female astronomer to receive a salary and in 1828 she was awarded the Gold Medal of the Royal Astronomical Society.

Their first performance of Celestial Melodies will take place in Schenectady on March 11 at the Museum of Innovation and Science, and tickets are $35. The second performance will be at Schuyler Mansion New York State Historic Site in Albany, and tickets are $40 for general admission and $10 for students. Reservations are strongly suggested as seating is limited. For more information and to purchase tickets, visit here.

March 8, 2023
Aqueous Fans Brave Albany Blizzard for Bittersweet Send-Off

Emotions ran high over the weekend as Buffalo jam band Aqueous made their final Albany appearance before setting off on indefinite hiatus. Braving snowy weather and treacherous travel conditions, there was no turning back for the plethora of die-hard AQ fans who made their way to The Hollow on Friday, March 3^rd with Litz opening the night.

Selling out the venue one last time, Guthrie-Bell Productions has been bringing the acclaimed band to town for many years, however it was their first time back to this room since a memorable pre-Halloween show with Mungion back in 2018.

Aqueous performing for the final time in Albany before going on hiatus; 3/3/2023

Opening the show with about at much gear on stage as The Hollow could handle was high-octane funk rockers LITZ from Frederick, Maryland. Consisting of brothers Austin (vocals, keyboards, saxophone) and Logan Litz (bass) as well as guitarist Pat Shine and drummer Nick Thrasher, the hybrid party band has been around for almost a decade now.

Prior to their set, they expressed gratitude to the guys in Aqueous for the years of friendship and for having them out on this last run. Building momentum with long, trancey EDM-type grooves on songs like “Sunrise” and “New God”, the colorfully dressed Austin would spend the set going back and forth between his stack of keyboards, talk box and a large saxophone that remained anchored to the center of the stage. Trading off huge sax solos with guitarist Pat Shrine, it was bass player Logan Litz who would garner the biggest cheers of the set with his dynamic slap style bass playing and general sense of “cool.”

After working through a “Fifth Element”> “Straight to the Moon” sandwich, LITZ would play one of their most popular songs, “Morning Dew” off their 2016 album Illusion of Time before hitting us with a “Japanese Love Affair.” Perhaps pulling our fingers a bit, things would get a little weird before playing their final song of the set, announcing to the crowd that someone had spilled beer on Shine’s pedal board and that it had shorted out. As is the nature of improv music, LITZ rolled with the punches and somehow managed to bypass the problem and launch directly into their hip-shaking party anthem “Funkin’ Problem” to close out the fun filled opening set.

Brothers Austin and Logan of LITZ got the crowd fried up early at the Hollow on 3/3/2023.

Packed in like sardines, Aqueous’ most dedicated fans used the set break as an opportunity to push forward and claim a better spot for the main event. Many of these fans have been following the band since their infancy and have organically formed one of the most positive musical communities in the scene. Affectionately known as “AQuaintances,” the hugs were flowing all night long, as anyone “in the know” knew this could perhaps be one of the final shows they’d get to see of their beloved band from Buffalo. If you were an outsider trying to push closer to the stage, forget it. The territoriality here was fierce and it just wasn’t happening.

All tuned up and ready to rock, the band seemed to be in good spirits from the start. Consisting of Dave Loss and Mike Gantzer on guitars and vocals, Evan McPhaden on bass, and drummer Rob Houk, the guys joked they had each picked a song out and were all going to play it at the same time, hoping to be on the same page. They weren’t, at first, but they quickly settled in nicely on “Dave’s Song.” One of the founding members of the band, Dave Loss had taken much of the previous year off to focus on the birth of his first child. Too integral to simply replace, the band opted to recruit a revolving door of high-profile guests to help round out their sound while fulfilling remaining bookings in the beginning. Dubbing themselves AQ and Friends, it just simply wasn’t the same without Dave. Now back and with just the right touch, the contributions from Loss could be heard immediately.

Dave Loss performing with Aqueous in Albany on 3/3/2023

“Weight of the Word” would be played next before fan favorite and one of the biggest jam vehicles of the night, “Triangle,” landed in the three hole. The 2019 pop/punk singalong “Burn It Down” came next, complete with a heady “Shakedown Street” tease for good measure. Aqueous then segued into one of their most popular songs “Kitty Chaser (Explosions)” to bring the show to it’s halfway point.

As the snow continued falling outside, things were just starting to heat up inside. After a brief intermission, the guys returned to the stage as Chatty Cathy’s. Drummer Rob Houk was doing most of the talking as he lobbied his bandmates to cover the 1990’s smash hit “Hunger Strike” from the legendary grunge supergroup Temple of the Dog (Chris Cornell and Eddie Vedder). While Houk even began singing it, the rest of the guys pulled a fast one on him going into a tease of Collective Soul’s “December.”

All joking now aside, things got straight up funky as Aqueous then launched into the fan favorite “Mosquito Valley pt 1” which after about 12 minutes, transitioned into the hard charging “Eon Don” in silky smooth segue. During this standout version of the song, one of the most memorable moments of the night came when the band worked in a well-placed Metallica “Enter Sandman” tease before segueing into another homage to one of their biggest influences in Steely Dan’s “Josi.” The uninterrupted frame of music continued on as the band then landed on “Second Sight” which received a huge pop from the Albany crowd.  You can check out fan shot video of that below:

Fan shot footage of Aqueous performing at The Hollow on 3/3/2023

Cooling down for a bit of tuning and some priceless banter, an impromptu cover of “Sweet Home Alabama” emerged, before Gantzer finally pulled the rip cord. What we got next had some fans calling it an “all time” rendition of “They’re Calling For You,“ which went the full distance and would return us back to an “Eon Don” reprise.

Fan shot footage of Aqueous performing at The Hollow on 3/3/2023

Already approaching 2am and the heavy wet snow now 4 inches deep, the band opted to skip the usual encore theatrics of leaving the stage. Perhaps disagreeing with the song choice, Houk would break the fourth wall a bit, peering out from behind his kit to ask the crowd ‘what’s the most depressing song [they] could play?’ An intriguing question that immediately sparked a dozen different responses, it was here when the ‘beginning of the end’ feeling suddenly became too difficult to ignore.

You see, until this point in the evening, there was never really any acknowledgement by the band that we were closing in on an end of Era, at least not during the show. Instead, they let their music do the talking and chose to send us home with “Realize Your Light,” a song that features some of Dave Loss’ most heartfelt crooning and one of Mike Gantzer’s most emotive and expressive guitar solos.

And we can see where this can go

Around the corner still unknown

And we can see where this will go

In chilling snow, the thrill can still grow

And all the time that slips away

Will come back to you someday

Be anything. Not just anything. Realize your light like a spark in the night
Lyrics from ‘Realize Your Light’

As the pseudo-balled reached its epic conclusion, you could just feel the band digging into it with a different level of purpose. They were making a statement. They were going out on their terms and while still at the top of their game. No one ever called this ‘goodbye,’ but looking around the room, you could feel the emotion and see it in peoples eyes. Aqueous was their band. Real, hardworking, blue-collar nice guys with a propensity for dank, groovy improv music, who at one time seemed poised for major mainstream success.

Why it didn’t happen for them we may never know, but it certainly wasn’t for lack of talent. Maybe the masses just weren’t ready for this type of greatness? After all, the biggest whale in the sea got that way by never getting caught. Leaving behind a treasure trove of spectacular soundboards to tide us over until the 2.0 era door optimistically opens, we can only consider ourselves lucky to have been a small part of this amazing journey with Aqueous, one of New York’s best and most underappreciated bands.

Up next before hiatus officially begins, Aqueous will head to Erie, Pa for a gig at Kings Rook on March 11^th. After a few weeks off, they’ll be in Baltimore on April 7^th and Ardmore, PA on April 8^th. The last scheduled Aqueous appearance is set to take place at the Summer Camp Music Festival in late May 2023.

Aqueous | March 3, 2023 | The Hollow | Albany, NY

Set 1: Dave’s Song¹, Weight of the Word > Triangle¹, Burn It Down² > Kitty Chaser (Explosions)

Set 2: Mosquito Valley pt 1 > Eon Don³⁴ > Josie⁵ > Second Sight, Sweet Home Alabama⁶, They’re Calling For You > Eon Don

Encore: Realize Your Light

1) with ending
2) Shakedown Street tease
3) Enter Sandman full band quote
4) Second Sight tease
5) Steely Dan
6) Lynyrd Skynyrd

LITZ | March 3, 2023 | The Hollow | Albany, NY

Setlist: Sunrise > New God, Fifth Element > Straight to the Moon > Fifth Element > Kali, Eye of the Pyramid, Morning Dew, Japanese Love Affair, Funkin’ Problem

March 8, 2023