NYS Music 2023

Category: Capital Region

  • Ryan Montbleau Lights Up Lark Hall with Smoking 4/20 Performance

    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

    *Bob Marley and the Wailers cover

  • New York Series: The True Story Behind Ace Frehley’s “New York Groove” 

    Ace Frehley turns 72 on April 27th, proving you are never too old to keep rocking and rolling. While the famed guitarist is most known for his prominent role in the hard rock group KISS, he has also enjoyed a fruitful solo career. 

    Perhaps one of his biggest solo hits is “New York Groove” – an anthemic encapsulation of Frehley’s youthful spirit and the city that drove him to new heights. But it might surprise you to hear that he didn’t actually write the tune. And that it was popular in Europe long before it ever reached America.

    Ace Frehley was born Paul Daniel Frehley in 1951. He grew up in the Bronx and first picked up a guitar at the age of 14. It was here in New York City that Frehley saw the Who and Cream perform live, further solidifying aspirations of rock stardom into his young, impressionable brain.

    Frehley cut his teeth on the local NYC scene throughout the late 60s and early 70’s. It was during this time that he answered an ad calling for a guitarist in a hard rock group. It read, “Lead guitarist wanted with flash and ability.”

    That fateful listing brought him into the fold of bassist/singer Gene Simmons, rhythm guitarist/singer Paul Stanley and drummer Peter Criss –  KISS was officially born.

    The band was signed to Casablanca Records in November 1973 and for most of the decade they toured around the world, skyrocketing to the top of their charts. Catchy choruses, searing guitar riffs and a flair for the theatrics helped the band stand out in more ways than one. A string of platinum albums and sold-out tours lasted throughout the late 70’s.

    KISS 1983 - Paul Stanley/Getty images ace frehley
    KISS 1983 – Paul Stanley/Getty images

    Despite the hectic schedule, all four members of KISS recorded and released respective solo albums on the exact same day in 1978. Frehley’s project was self-titled and featured what would become one of his most popular solo tracks: “New York Groove.”

    While the song feels representative of Frehley’s own experiences in New York, the track is actually a cover, originally written by Russ Ballard and recorded by a glam-inspired rock band called Hello. The original track achieved a fair amount of success in Europe, charting at #9 in the U.K. and #7 in Germany. It was reportedly recorded in less than 5 hours in a studio just north of London.

    Ballard said in an interview that he had the idea for the song while on a plane ride to NYC.

    I felt that’d be a good title for a song,” he said. “The whole idea was of someone going back to New York and singing about the experience.”

    The song encapsulates the feeling of a nostalgic return to a place once called home. It starts with the lyrics: 

    Many years since I was here
    On the street I was passin’ my time away
    To the left and to the right
    Buildings towering to the sky, it’s outta sight

    After years of relentless touring, one would think Frehley could relate to the feeling of coming home for the first time in a while. But apparently, Frehley was not enthusiastic about recording the song; he had never even heard the track before covering it. But alas, the label wanted a more commercial song on the album and so, Frehley went ahead with it.

    In an interview with Louder Sound in 2016, Frehley put it like this:

    “A lot of people think I wrote New York Groove. It’s not a myth that I’ve perpetuated, but that’s the way it is. I wish I would’ve wrote the song, though. I would’ve made a lot more cash out of it, ha-ha-hargh!”

    While most of Frehley’s solo album was recorded in a studio in Connecticut, “New York Groove” was a late addition and was recorded in Plaza Sound Studios, right above Radio City Music Hall. 

    Ace Frehley’s hit single “New York Groove,” released September 18th, 1978

    Frehley, Simmons, Stanley and Criss all released their solo albums on September, 18th 1978. But Frehley was the only one who managed a hit single, with none other than “New York Groove. “It stayed on the U.S. charts for 21 weeks, peaking at #13.

    Frehley told Louder Sound in that same interview that there was no competition among bandmates to have the best record. But he also revealed that he hadn’t really listened to his fellow bandmates’ projects. 

    “I did put Gene’s on once,” he recalled in the interview. “When I heard his version of When You Wish Upon A Star I had to pull it off the turntable, ha-ha-hargh!”

    Origins Vol. 2, released in 2020, featuring classic rock covers such as “Good Times Bad Times” and Jumpin’ Jack Flash

    Frehley has continued to release solo projects in the past few decades. His most recent solo album, Origins Vol. 2, was released on September 18, 2020. It is a follow-up to Origins Vol. 1, released in 2016. Both consist of covers of some of Ace Frehley’s favorite songs. Still, “New York Groove” remains a signature song.

    In an interview, Russ Ballard attributes the song’s success to its simplicity. “I guess it surprised me because it’s so incredibly simple. They say a good song will always sell, and there’s a lot of truth in that.”

    “New York Groove” Lyrics

    Many years since I was here
    On the street I was passin’ my time away
    To the left and to the right, buildings towering to the sky
    It’s outta sight in the dead of night

    (Ooh) Here I am, again in this city
    (Ooh) With a fistful of dollars
    And baby, you’d better believe

    I’m back, back in the New York Groove
    I’m back, back in the New York Groove
    I’m back, back in the New York Groove
    Back in the New York Groove, in the New York Groove
    In the back of my Cadillac
    Wicked lady, sittin’ by my side, sayin’ “Where are we?”
    Stopped at 3rd and 43, exit to the night
    It’s gonna be ecstasy, this place was meant for me

    (Ooh) I feel so good tonight
    (Ooh) Who cares about tomorrow
    So baby, you’d better believe

    I’m back, back in the New York Groove
    I’m back, back in the New York Groove
    I’m back, back in the New York Groove
    Back in the New York Groove, in the New York Groove

    I’m back, back in the New York Groove
    I’m back, back in the New York Groove
    I’m back, back in the New York Groove
    I’m back, back in the New York Groove

    I’m back, back in the New York Groove
    I’m back, back in the New York Groove
    I’m back, back in the New York Groove
    I’m back, back in the New York Groove

    I’m back, back in the New York Groove
    I’m back, back in the New York Groove

  • The Legacy of J.B. Scott’s: An Interview with Vinnie Birbiglia

    In Albany’s storied music history, the short tenure of J.B. Scott’s has lasted for decades as a Central Avenue music venue of legend. With a capacity of ~600, J.B. Scott’s opened in 1979 and closed in 1982 after it was damaged by a fire.

    J B Scott's vinnie birbiglia

    But if you were alive and around in the Albany environs in the turn of the eighties, you might have gone to a sonic bunker of a place called J.B. Scott’s. Owned by Douglas Jacobs and Vinnie Birbiglia, this nightclub had a list of bands – including In those three years, bands including U2, John Mellencamp, Stevie Ray Vaughan, Bryan Adams, Judas Priest, Thin Lizzy, Pat Benatar, Meat Loaf, Iggy Pop, The Go-Go’s, Count Basie and Buddy Rich – that would, at the same time, be chewing through the Billboard Top 40.

    I reached out to owner Vinnie Birbiglia, and I learned quite a bit.

    RadioRadioX: J.B. Scott’s, ‘J’ and ‘B’ are yours and Douglas Jacobs’s last names. So you two started this in 1979. I’ve been around a ton of scenes, seen them start and fade away. What was it like in the weeks before you opened? Was it just to make a couple of bucks, or was it something more?

    Vinnie Birbiglia: I was working at the time at Record Town. I was the general manager for Upstate Music. We had the store on New Karner Road and Albany Street, I believe. And Doug came in one time, and we were talking, and we hit it off. We then started doing shows at the Madison Theater. And that’s how we started J.B. Scott’s.

    J B Scott's vinnie birbiglia
    Vinnie Birbiglia with James Brown at The Colonie Theater. Photo by Dave Suarez

    RRX: Madison Theater is doing some pretty cool stuff now.

    VB: It was a great theater as far as acoustics went. And the only problem that the place had was parking, because it’s a residential area.

    RRX: The only experience I had with J.B.’s was J. B,’s Theater, which was across from Westgate Plaza. I’ve never been to J.B. Scott’s, the original place. What was the space like; what was the venue like when you first went in it?

    VB: It was a rectangular building that – we put the stage on the opposite wall to the bar. Therefore, everybody was right on top of the stage, which, when the bands came in, they loved it.

    RRX: That’s cool, because the way a lot of clubs are set up, if you’re in the back, you’re in the nosebleeds.

    VB: Yeah, exactly.

    RRX: What was the place before you guys had it?

    VB: It was the S&H Green Stamp building. When you went shopping, they would give you little stamps that you put into a book, and then you use the book to buy stuff. It was a very plain building. It was a concrete floor, cinderblock walls and a wood roof.

    RRX: How long did it take you to build it up into the club itself?

    VB: Honestly, I don’t remember. It wasn’t that long. The only thing we had to do was build the bar and build the stage.

    RRX: One thing everybody remembers about J.B, Scott’s is that you had everyone there. U2, Tom Petty and the Heartbreakers, Pat Benatar, Rick Derringer, Buddy Rich to name a few. In fact, Al Quaglieri, in the Facebook group, Albany: The Way it Was, compiled a list that looked to be two feet long. How did you get those people to show up?

    VB: I was pretty well-known in the music industry. So I had lots of contacts at the labels. Since we had starting doing shows at the Madison Theater and at the Palace Theater, we did a show or two at Proctor’s Theater, the agents saw that we knew what we were doing. We got along with the bands, and like I said, I had my contacts at the labels, with the promotion departments at the record companies. That helped us decide who we were going to book, and that also showed the industry, again, that we knew what we were doing. That’s how we basically started, and word got out and bands wanted to play for us.

    RRX: When you were doing a different national act every day practically, what were some of the challenges you faced? Were there any challenges that weren’t just the basic challenges of running a club?

    VB: Back then, at that timeframe, it was getting the customers to come in. For every band that we did, it was one winner, three losers, financially. And then, because of politics, we were getting screwed by the agencies, even though the name of the game was ‘you book the band the first time they come to an area, that band is your band going forward.’ Yet when we had acts that we broke in the Albany market, some agencies would give the band to a different promoter when they were big enough to play the Palace Theater.

    RRX: Yeah, that sucks.

    VB: Tell me about it.

    J B Scott's vinnie birbiglia

    RRX: The J.B. Scott’s was, aside from the mechanical aspects, thinking the whole scene: do you think it could be done today, with the way the industry is?

    VB: I don’t think so. I think that the cost factor is too prohibitive. If we were to think of opening up a club in this environment, it would be a very expensive proposition.

    RRX: I had a practice space in J.B.’s Theater, when New Music was in there, and a friend told me I was playing where Stevie Ray Vaughan once drank a fifth of Crown Royal. I doubt that’s true, but it actually references one of the saddest moment for the area music scene; the fire that closed J.B, Scott’s. What can you tell me about that?

    VB: Some kids tried to rob us, and they set a fire, and thy got caught a year later. Actually, we made the front page of the Times Union for the fire, and made the back page of the first section when the kids got caught because when they got caught, it was the same day as Erastus Corning, the Albany mayor, died.

    And the place didn’t actually burn down. Like I said, it was concrete floor, concrete walls. The only real damage was the roof. The worst part about it was the fact that the fire voided our lease. While we had insurance and paid the bills that we had outstanding, the landlord still voided the lease that we had. So that’s what became the end of J.B. Scott’s.

    RRX: Okay, so J.B.’s Theater, as I brought up before. How much time between J.B. Scott’s and J.B.’s Theater?

    VB: Over a year. And it lasted about a year or so. It was too big for the area. Also, the drinking age went to twenty-one, so that became a problem. And we were the first place in the state, I believe, that had underage patrons in a place that had a bar. We actually closed off the bar and used the roller skating section for where we built the stage and did a majority of shows.

    RRX: So we cover a lot of smaller venues, and there are a lot of interesting local scenes. What advice would you give to the owner of a smaller venue to get near to where J.B. Scott’s was in its time?

    VB: I don’t think anybody can. We had the balls, so-to-speak, to do all different types of genres in the music industry. Now, unless you have a big bankroll, you’re really locked in to doing local bands. The cost factor is just too prohibitive.

    RRX: This is where you answer the question I didn’t ask.

    VB: Had it not been for the fire, it’d be very interesting to see where we would’ve been today. We had some competition, but the competition we had tried to only stick with certain types of artists coming in. We tried to broaden the horizon.

    This article was originally featured in RadioRadioX

  • Willie Nelson’s Outlaw Music Festival Comes to SPAC and Forest Hills Stadium this Fall

    The Outlaw Music Festival has added an additional 16 shows to its lineup, including a performance at the Saratoga Performing Arts Center (SPAC) and Forest Hills Stadium this fall. Additionally, it was previously announced that the festival would have a performance at the Darien Lake Amphitheater and Bethel Woods Center for the Arts this July.

    Presented by Wheatley Vodka, the largest-ever Outlaw tour continues the celebration of Willie’s milestone 90th birthday just as Willie wants it – on the road with his friends, family, and beloved fans.

    Willie Nelson performing in 2004. Credit. willienelson.com

    The Outlaw Music Festival first began in 2016, and the sold-out show was so well received that Blackbird Presents and Nelson have developed it into one of North America’s biggest annual touring franchises. Musicians such as Robert Plant, Neil Young, Bob Dylan, Van Morrison, ZZ Top, Eric Church, Bonnie Raitt, Luke Combs, Chris Stapleton, Sheryl Crow, Sturgill Simpson, The Avett Brothers and many more have been a part of the Outlaw Tour.

    “I am so thrilled to announce these additional dates for our 2023 Outlaw Music Festival Tour,” said Willie Nelson. “I can’t wait to keep the celebration of my 90th birthday going into the fall with this great lineup of artists, my friends and family, and of course, the amazing fans.” 

    David Binder, Willie and Wheatley fan and brand director at Sazerac, said “Wheatley Vodka is thrilled to be hitting the road with Outlaw Music Festival this year. Our vodka is made in the heartland of the USA in Frankfort, KY, and is crafted to be the smoothest, most sippable vodka on the market. It’s the perfect spirit to enjoy when rocking out to music from all the talented artists on tour with Outlaw this summer.”

    Tickets to the Outlaw Music Festival, which includes a performance at SPAC and Forest Hills Stadium, go on sale April 28 at 10 a.m.

    Information on individual Outlaw Music Festival tour dates and lineups:

    Friday, September 8, 2023

    Raleigh, NC – Coastal Credit Union Music Park @ Walnut Creek

    Willie Nelson & Family

    Tedeschi Trucks Band

    The String Cheese Incident

    Los Lobos

    Particle Kid

    Saturday, September 9, 2023

    Charlotte, NC – PNC Music Pavilion

    Willie Nelson & Family

    Tedeschi Trucks Band

    The String Cheese Incident

    Particle Kid

    More TBA

    Sunday, September 10, 2023

    Franklin, TN – FirstBank Amphitheater

    Willie Nelson & Family

    Bobby Weir & Wolf Bros. featuring The Wolfpack

    Particle Kid

    More TBA

    Tuesday, September 12, 2023

    Simpsonville, SC – CCNB Amphitheatre at Heritage Park

    Willie Nelson & Family

    Bobby Weir & Wolf Bros. featuring The Wolfpack

    Particle Kid

    Friday, September 15, 2023

    Saratoga Springs, NY – SPAC

    Willie Nelson & Family

    Bobby Weir & Wolf Bros. featuring The Wolfpack

    The String Cheese Incident

    Los Lobos

    Particle Kid

    Saturday, September 16, 2023

    Mansfield, MA – Xfinity Center

    Willie Nelson & Family

    Bobby Weir & Wolf Bros. featuring The Wolfpack

    The String Cheese Incident

    Los Lobos

    Particle Kid

    Sunday, September 17, 2023

    Forest Hills, NY – Forest Hills Stadium

    Willie Nelson & Family

    Bobby Weir & Wolf Bros. featuring The Wolfpack

    The String Cheese Incident

    Los Lobos

    Particle Kid

    Wednesday, September 20, 2023

    Bridgeport, CT – Hartford HealthCare Amphitheater

    Willie Nelson & Family

    Bobby Weir & Wolf Bros. featuring The Wolfpack

    Particle Kid

    Friday, September 22, 2023

    Clarkston, MI – Pine Knob Music Theatre

    Willie Nelson & Family

    Bobby Weir & Wolf Bros. featuring The Wolfpack

    The String Cheese Incident

    Particle Kid

    Friday, October 6, 2023

    West Palm Beach, FL – iTHINK Financial Amphitheatre

    Willie Nelson & Family

    The Avett Brothers

    Gov’t Mule

    Elizabeth Cook

    Particle Kid

    Saturday, October 7, 2023

    Tampa, FL – MIDFLORIDA Credit Union Amphitheatre

    Willie Nelson & Family

    The Avett Brothers

    Gov’t Mule

    Elizabeth Cook

    Particle Kid

    Sunday, October 8, 2023

    Orange Beach, AL – The Wharf Amphitheater

    Willie Nelson & Family

    The Avett Brothers

    Gov’t Mule

    Elizabeth Cook

    Particle Kid

    Wednesday, October 11, 2023

    Huntsville, AL – The Orion Amphitheater

    Willie Nelson & Family

    The Avett Brothers

    Mike Campbell & The Dirty Knobs

    Particle Kid

    Friday, October 13, 2023

    Brandon, MS – The Brandon Amphitheater

    Willie Nelson & Family

    The Avett Brothers

    Mike Campbell & The Dirty Knobs

    Elizabeth Cook

    Particle Kid

    Saturday, October 14, 2023

    Southaven, MS – BankPlus Amphitheater at Snowden Grove

    Willie Nelson & Family

    The Avett Brothers

    Mike Campbell & The Dirty Knobs

    Elizabeth Cook

    Particle Kid

    Sunday, October 15, 2023

    Pelham, AL – Oak Mountain Amphitheatre

    Willie Nelson & Family

    The Avett Brothers

    Mike Campbell & The Dirty Knobs

    Elizabeth Cook

    Particle Kid

  • In Focus: The Wailers at The Strand Theater in Hudson Falls

    The Wailers from Jamaica brought classic roots reggae to The Strand Theater in Hudson Falls on Saturday, April 22. Playing to a packed theater, the band got the crowd to their feet for a night of reggae dancing after much enticing and cajoling. In the end, as it always is with roots reggae, it was the music that brought them to their feet. Roots infects the soul with a groove, and when it is the classics from The Wailers, there is no resisting the dance. New Yorkers that caught The Wailers at the Brooklyn Bowl back in 2019 know this so well!

    Mitchell Brunings, lead singer of The Wailers. Photo by Derek Java.

    Lead by the son of famed bassist and founder Aston “Familyman” Barrett, the band brought love and light to The Strand. Aston Barrett, Jr. sat tight on the drums all evening, keeping a groovy rhythm with bassist Owen “Dreadie” Reid. On lead guitar was Wendel “Junior Jazz” Ferraro, and on keys was Andres “Ipez” Lopez. Backup singers Alecia Marie and Teena “Tamara” Barnes were amazing and held the crowd in love. Lead singer Mitchell Brunings is perfect singing Bob Marley’s parts on the classics. Reggae is good for the soul, and this night proved to be a refreshing experience for a thirsty crowd. This concert-goer can not wait for them to return!

    The Wailers band leader Aston Barrett Jr. Photo by Derek Java.

    Set 1: Trenchtown Rock, Is This Love, Concrete Jungle, Chant Down Babylon, Satisfy My Soul, Destiny, Get Up Stand Up, Stir It Up, Three Little Birds, One Love.

    Set 2: No More Trouble, Rat Race, Rebel Music, No Woman No Cry, Crazy Baldhead, One World, Coming in From the Cold, Lively Up Yourself.

    Encore: Redemption Song, Buffalo Soldier, Could You Be Loved.

    Catch The Wailers on tour now across the US and back again.

  • Dopapod and Baked Shrimp Light Up Saratoga Springs with Help from Members of Moe and Twiddle

    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*

    *”I am the Slime (Frank Zappa) tease

  • Citrus Maxima Releases Energetic Single “I Don’t Wanna Die” 

    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. 

    Citrus Maxima Releases Energetic Single “I Don’t Wanna Die” 

    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.  

    Citrus Maxima Releases Energetic Single “I Don’t Wanna Die” 

    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. 

    For more by Citrus Maxima, click the link here. 

  • University at Albany Department of Music and Theatre Ends Season with Six Ensembles in Four Concerts

    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.

  • An Interview with Jazz Drummer Matt Niedbalski

    I’ve been hearing about Matt Niedbalski for nearly 30 years. From the day he was born, it seems that he was destined to become a great drummer. I’ve been fortunate to hear all about his accomplishments and achievements, including his earliest lessons, gigs, even equipment from his uncle.

    You see, Matt is no ordinary drummer. His musical tutelage began with his uncle; The Drummer of Love, Mr. Gene Sennes. Gene and I have been friends, bandmates and fellow percussionists for years, and one of his favorite topics of conversation is his nephew, Matt Niedbalski.

    photo by Derek Java

    My first real conversation with Matt took place at Parkway Music, where I was scheduled to interview another drummer, who couldn’t make it. Fortunately, I spent a couple of hours talking drums, jazz, and life with Matt. I found Matt to be a very engaging, knowledgeable, humble individual, with a very “old soul” vibe. I was impressed with his humility, and lack of ego. He is very complimentary of other local players and quick to give credit to his colleagues, teachers and friends.

    Matt’s playing is both relaxed and restrained; with an easy going, smooth use of polyrhythms, and exceptional dynamics. He’s a phenomenal player, and a terrific human being. Gene Sennes told me, “He’s my favorite drummer. He is technically sound, plays with great feel, has great time and an excellent sense of dynamics and color. The kid is world class, man!” So please welcome, Matt Niedbalski!

    RRX: How old were you when you started playing drums? How did you get started?

    MN: I got my first kit when I was two years old. I saw my uncle Gene playing drums as a toddler (either with the Royals, or Rabb for context. I know you remember!) and thought it was the coolest thing I’d ever seen and wanted to do that. It started with beating up on random objects around my grandmother’s house with a pair of sticks he gave me and after I started putting dents in the end table my uncle and grandmother realized I had the bug and got me a junior CB drum-kit which I believe the family still possesses to this day. I know they say you don’t start forming memories until later than two but I still see them pulling the sheet off the kit. I started taking formal lessons at age eight with Ted Mackenzie.

    RRX: Who were some of your influences early on?

    MN: My grandmother had a cassette of the compilation “Past Masters Vol 2” by the Beatles and the first track on that is “Day Tripper”. Ringo was definitely my first drumming influence, followed by Joey Kramer in Aerosmith and then John Bonham. After getting involved in drum lessons and being introduced to jazz Elvin Jones made me start to focus on what I actually wanted out of the drums.

    RRX: What are some of your earliest gigging experiences?

    MN: I got involved in this small jazz group of older students when I was around 13 and we had a coffee shop gig every Sunday at this spot called Virgil’s Coffee House in Saratoga, which is now the hardest place to get a beer in town, Henry Street Taproom. Around the same time or slightly after I started sitting in with guitarist Tony Jenkins who was based around the Glens Falls area and had a Friday night gig at Wallabee’s Jazz Bar which is now the Bourbon Room. He’d have me sit in with the band and my parents would have to sit at the bar to make sure I didn’t drink or smoke and eventually I got the gig with him.

    RRX: Who are some of your influences now?

    MN: I still listen to my earlier influences and drummers I started checking out in college so from a jazz perspective it’s the ones everyone always lists in an interview situation to make sure they’re viewed as a credible jazz drummer…so Elvin, Philly Joe Jones, Papa Jo Jones, Billy Higgins, Art Blakey, Max Roach etc. But I really gravitated towards two drummers specifically during my time at college. I went to school at William Paterson University which has a great jazz program and is located about 40 minutes outside of NYC. I would go to the city and check out drummers, but my two favorites were Eric McPherson and Nasheet Waits. Oddly enough they were best friends growing up in Greenwich Village and Nasheet’s dad is the legendary jazz drummer Freddie Waits. I saw them and quite literally went, “Oh shit!”! I ended up hanging out with them after gigs, pestering them with questions and took a lesson with Nasheet. I still keep in touch with him. They are both super gracious and all about music. I’m known as a jazz drummer by most people, but my first love is rock and I fucking LOVE Soundgarden and Matt Cameron is a huge idol of mine. And he has a great first name. Finally, Bill Goodwin was a professor of mine at WPU, and happens to be a legend in his own right but also is like an uncle to me. One of the coolest people ever, a great record producer and all around amazing human being.

    Matt Niedbalski
    Photo by Derek Java

    RRX: Tell me about your first kit.

    MN: After the CB kit I mentioned, my first full size kit was a Pacifi c 5pc. Kit, the cheaper DW because Uncle Gene is a DW guy. He snuck into my parents’ basement on my 8th birthday and set it up, complete with your classic Sabian B8’s.

    RRX: How about your current set-up?

    MN: I feel like there are two kinds of drummers, and I further confirmed this working at Parkway. There’s the drummers that have 18 kits and a few cymbals or the drummer that has one or two kits and a million cymbals. I’m the latter. I switch between a Yamaha Maple Custom absolute kit in bop sizes that my parents got me as a graduation present and a 1967 Rogers Holiday kit in black onyx. That one is 12 14 20 so I can either tune that kick up higher and wide open for a more “jazz” sound or throw a super kick II or some muffl ing in it to get a more punchy rock sound. Some bigger drums are in my future… My go to snare as of late is a Pearl Masterworks Mahogany drum which is 6.5×14. Very warm and has a lot of depth but can bark if you need it to. When I used a metal snare it’s a 1960s Ludwig Supraphonic

    Ted Mackenzie gave me which he took all the chrome off of because it was flaking off and cutting his hands. My setup for cymbals is changing at the moment. I was playing a 1960s 20” Zildjian A with 3 rivets given to me by Bill Goodwin and a 15” 60s A Crash that once belonged to Sarge Blotto. It had a bunch of cracks in it that I drilled holes in so they didn’t get worse. That cymbal has a lot of vibe. As for hats 1960s pre serial Paiste 602s. I recently just signed an endorsement deal with Bosphorus after playing a few models of cymbals recently. I really dug them.. I liked them since they are still handmade. Some of the modern cymbals I’ve played in recent years felt very stiff to me which is why I always would go back to my vintage Zildjians. The Bosphorus stuff plays pretty soft and you can really dig into them. I have a fear of those cymbals cracking, and the guys at Bosphorus did an incredible job capturing the vibe of my old cymbals and modernizing them. I currently play
    s 20” Bosphorus 20th Anniversary ride with 2 rivets, 18” Bosphorus 1600 crash and 14” Master Series Hi Hats. I currently endorse Vater drumsticks.

    RRX: Do you play any other instruments?

    MN: I do, my father plays guitar and I wanted to learn when I saw him playing with his buddies on the weekend so he gave me a book of chords around age 12. Around 14 I bought a bass and in college I had to take piano lessons as part of the general curriculum. When I’m not practicing drums or working on a mix (I also do some recording engineering) I’m usually making demos for fun in my home studio to shed recording and or just playing the guitar. I use the piano as a compositional tool for some of the jazz projects I’m involved in.

    Matt Niedbalski

    RRX: Tell me about your current projects.

    MN: I currently play with Charles Cornell. I’ve been playing trio with him and Steven Kirsty since we were in high school, and I love them like brothers. Charles has been developing a successful YouTube page in the last few years and lives in Colorado. Steve and I jump on a plane and fl y out that way to record and film for his channel so that will be a big focus of 2023. I co-lead a trio with Tyler Giroux and Dylan Perrillo called GNP, a rather clever acronym, yes? We released an album called “Codes” on a small label called Ears & Eyes and are currently working on a follow up album. I’ve been playing with my friend Rob Fleming for his project Rhoseway, which features his great original music. Other than that, freelancing with various musicians usually playing jazz.

    RRX: Now for some fun; tell us about your dream kit, dream gig, and who is in your dream band?

    MN: Either Elvin Jones’s 70s Yellow Stop Sign Gretsch kit or the Bonham Green Sparkle Ludwigs. Dream gig is being in the touring band for Chris Cornell’s Euphoria Morning tour. That first solo album is pure gold. Dream band for rock, definitely Chris Cornell on vocals/guitar, Ken Andrews on guitar and John Paul
    Jones.

    RRX: Any drumming horror stories or good drummer jokes?

    MN: Oh, plenty of horror stories. It all started with me playing the finger cymbal part in concert band 4th grade and the rope broke and rolled under the clarinet section. I was mortified. Then there was the time I played two crash cymbals and ride without wingnuts on the stands during this concert up at the Strand Theater. We hit an intense section and I play with my eyes closed otherwise I get distracted. I went to hit the crash and “missed” and thought hmm that’s strange, so I tried again and hit the stand, opened my eyes and realized I sent two cymbals flying and all I had left was the ride. Finally, I was playing at this biker bar, the Great Notch Inn in North Jersey for my buddy Vin’s CD release party. Everyone was hammered and wouldn’t you know it was the only time I ever brought my own drums. The owner was a drummer and had an old set of Ludwigs as a house kit but on a CD release party, a special occasion, I brought my Rogers. Second to last song there’s a couple doing the do se do and the bar is kinda tight and another patron connects with the couple and flies through my drums sending the rack tom flying and knocking the ride over. Luckily, my pal Steve Kirsty was playing bass and managed to catch the ride with his knee and told me he couldn’t feel his leg from knee down but was pretty proud of saving the cymbal. As for drummer jokes, I don’t think mine are appropriate for an interview…

    RRX: Fair enough! OK: Tommy Lee, or Travis Barker?

    MN: This is a tough question. I would say Travis Barker. I’m not really a fan of either Motley Crue or Blink however I can tell Travis truly loves the drums and always has a practice pad with him. We all know what Tommy Lee loves.

    RRX: Wrong! The answer is Buddy Rich. Do you know Buddy Rich’s real name? No cheating!!!

    MN: Ted would be really disappointed in me, but I blanked. So, no. But I had to look it up otherwise I wouldn’t be able to sleep tonight. Bernard… take away my music degree.

    RRX: Your secret is safe with me. Finally, how has your drumming changed over the years?

    MN: This is a great question. I would answer by saying I am now at a point where I try to balance technical ability and musicality, and that balance was WAY off in my early 20s. I would see some of my heroes play some pretty impressive shit and then get up on the bandstand and try to insert that into the music where it wasn’t appropriate. I try to be more patient and listen to what the other people are playing more now and wait for space in the music to make a statement. Yes, there are times when I want to push someone and make the earth under them move a little bit, but I try to be tasteful. I heard a saying once, “the drummer is the mother of the band” It’s kind of our job to make everyone sound as good as they can while also bringing some energy and excitement to the situation so I try to keep that in mind when I play. I could go further into some philosophies but I already feel myself becoming long winded so I will leave it there.

    RRX: You were great! Thank you for your time. Matt Niedbalski is a name you won’t forget; just go see him play and you’ll see what I mean.

    This article was originally publisher by RadioRadioX

  • Jim Cesare, North Side Sound, and Leyeux Featured on This Week’s EQXposure

    Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear new music from, Jim Cesare, North Side Sound and Leyeux

    jim cesare

    WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.

    Jim Cesare “Away We Go”

    North Side Sound “Take my Time”

    For fans of rock, indie, reggae, or funk, North Side Sound, a band out of Albany formed in 2020 and create genre bending music, releasing their EP Take My Time, January 2022.

    Leyeux “Tightrope”

    Leyeux (Jack Snyder) was born and raised in Central Vermont. He began drumming at the age of 8, and performed as a singer and guitarist in high school, playing drums in the school jazz band and other professional gigs. From 2013-2015 he attended the Berklee College of Music in Boston and joined the a capella group Pitch Slapped, which competed and won the International Championship of Collegiate A Cappella in the Spring of 2014.