Funk n Waffles, a one-of-a-kind venue in Syracuse, will be hosting Kyle Smith and Pat Tato on August 11th as a stop on the “Grill Em All Tour.”
The Food Network featured venue truly embodies its name – not only do they serve delicious breakfast, lunch, dinner, desert, and of course, waffles, but they truly bring the “funk” with live music every night, and a full bar. Performances by Kyle Smith and Pat Tato ensure a night of ambitious music, delicious food, and talent that you won’t want to miss.
Kyle Smith, a singer-songwriter from Ventura, California, is best known for his unique blend of “Cali-Reggae,” influenced by Ska, Hip-Hop, and Punk-Rock, a combination that is simultaneously catchy, raw, and truthful. Kyle’s music often pays tribute to his troubled youth and addiction. His self-titled debut EP offers a glimpse into the life he endured, with songs like “Dope Fiend” and “Jaded” referencing his troubled past, all while keeping an uplifting spirit and tempo. Despite his roots, Kyle’s goal in life is to give hope and spread positivity through his music. His raw, natural talent is effortless, and his personality immediately warms up the room, inviting those around into his world.
Pat Tato, known for his unique, thought-provoking sound, was not always a solo artist. In 2013, the band Baked Potatoes could be found playing nearly every house party, skate shop, and dive bar at SUNY Oneonta. In the years following, Pat and the rest of the Baked Potatoes graduated college and recorded their first full length album, ‘Loaded’ (2016) to much critical acclaim. Following their graduation and album release, the band found themselves taking a hiatus as the original members moved to Ohio, Arizona, Tennessee, and Alaska. Aaron and Pat decided to live on a bus, continuing to play music and drive up and down the east coast, busking on the street. Eventually, Pat shifted focus and started releasing music as Pat Tato. The sound is different, ambitious, lyrical, and thought provoking.
Since then, Pat Tato has a new band and has started to emerge on the Festival Circuit as an early crowd favorite. He combines set lists of old Baked Potatoes songs with New Pat Tato songs, and continues to evolve and mature into the new sound that is ‘Pat Tato & the Baked Potatoes.’
To see Kyle Smith and Pat Tato at Funk n Waffles, get tickets here.
Mercury Studios recently announced that “DIO: Dreamers Never Die”, the first-ever career documentary of legendary rock artist Ronnie James Dio, will be released on DVD and Blu-Ray on September 29. There will also be a special Deluxe Edition of the film which will include exclusive merchandise. All of the upcoming versions of the documentary will feature 20 minutes worth of deleted and extended scenes.
The South by Southwest film festival originally debuted “DIO: Dreamers Never Die” in 2022. The film garnered praise from critics and fans alike, eventually making its way to theaters. Digitally, the documentary can be found on SHOWTIME.
Ronnie James Dio, was born in New Hampshire but grew up in Cortland, New York. At the age of 5, he began playing the trumpet. Despite piecing together a somewhat successful career on trumpet and bass, Dio became enthralled with heavy rock as he grew up.
The artist would help to create the band Elf in 1967. While the group’s music was not as hard or heavy as the kind that Dio would eventually be known for, Elf provided the New Yorker a space to experiment and practice his vocals. It was his unique and passionate singing that eventually landed Dio a spot with Ritchie Blackmore’s Rainbow (Rainbow).
“DIO: Dreamers Never Die” chronicles Dio’s transition from a budding instrumentalist into a full fledged rock star with Rainbow. The vocalist helped to pen and arrange many of the band’s most noteworthy songs. Some of Rainbow’s biggest hits came with Dio, including standout tracks “The Temple Of The King” and “Man On The Silver Mountain”.
After leaving Rainbow in 1979, Dio would replace Ozzy Osbourne in Black Sabbath. While the artist would reach mainstream notoriety with the group, he never truly felt at home with the outfit. Dio left Black Sabbath just three years later. The vocalist would go on to create his own band aptly named “Dio” where he released the critically acclaimed album Holy Diver.
The documentary features unseen photos and footage from Dio’s tremendous career. “DIO: Dreamers Never Die” offers an intimate look into the musician’s relationship with manager and wife Wendy Dio, bandmates Tony Iommi and Geezer Butler, and many more.
Dio’s estate fully authorized and approved the film. Don Argott and Demian Fenton directed the project. Wendy Dio also executive produced “DIO: Dreamers Never Die.”
Ronnie James Dio and Wendy Dio
I wanted this documentary to be authentic, for the fans to see the roller coaster ride that was Ronnie’s life—the good times, the bad times and everything in between, especially including events that even the most diehard fans would not have known about. It’s all in there, right up to the very end
Wendy Dio
Powered by Universal Music Group, Mercury Studios remains editorially independent. The studio has actively participated in creating several high-profile documentaries, including “If These Walls Could Sing,” “Contact High: A Visual History of Hip-Hop,” and “Shania Twain: Not Just A Girl.”
Click here for more details and pre-order information.
The Cayuga Chamber Orchestra has announced its 2023-2024 season titled Beethoven and Beyond, featuring the four finalists in the search for the next Music Director.
Music Director Finalists.
Each finalist will conduct a concert on the CCO’s Orchestral Series during the coming season, including a Beethoven Symphony, a concerto, and a “conductor’s choice.” Candidates include Jeffery Meyer, Guillaume Pirard, Michelle Di Russo, and Octavio Más-Arocas. Meyer recently joined the Orchestral Conducting faculty at the Indiana University Jacobs School of Music and serves as Artistic Partner with the Northwest Sinfonietta in Tacoma, Washington. Di Russo is currently the Associate Conductor of the North Carolina Symphony.
Pirard was a founding member and Co-concertmaster of the Brooklyn-based chamber orchestra, The Knights, and will serve as Visiting Professor of Violin at Ithaca College for the coming academic year. Más-Arocas directs the Michigan State University orchestras, the Mansfield Symphony Orchestra in Ohio, the Marquette Symphony Orchestra in Michigan, and the Clinton Symphony in New York. All four conductors have ties to Ithaca through their work.
The Cayuga Chamber Orchestra was founded in 1976 and is officially designated “Ithaca’s Orchestra.” Each season includes an Orchestral Series, Chamber Music Series, Holiday concerts, free Family Concerts, and the long-standing Willard Daetsch Youth Outreach Program, which earned the 2015 Yale Distinguished Music Educator award. In 2017, the CCO added a Youth Orchestra program for advanced students, and in 2019, a new Diversity Career Fellowship program was established to provide opportunities for college students from communities that have been historically underrepresented in classical music.
The 2023-2024 season will also include the popular Chamber Series and a performance of Händel’s Messiah. Concertgoers will be treated to a final concert, Passing the Baton: The Four Seasons, featuring Concertmaster Christina Neubauer as soloist. Interim Music Director Grant Cooper will make his final appearance on the podium as Interim and the next Music Director will be announced at that concert. A special reception is planned immediately following the concert.
The Waterfall Unity Festival presented by The Waterfall Unity Alliance has announced its lineup, taking place at a traditional Haudenosaunee teaching longhouse in West Fulton from July 28-30.
The Waterfall Unity Alliance is a non-profit organization dedicated to fostering cultural understanding, promoting unity, and preserving the cultural heritage of the Haudenosaunee people. Through various initiatives, including the Waterfall Unity Festival and the acquisition of Iotsi’tsisons (Skywoman’s) Forever Farm, the Alliance strives to build alliances across movements and cultures and help create collaborative solutions to the challenges of our time. The Kanien’kehá:ka, known as the Mohawks, are celebrating the rematriation of their ancestral homelands in the Schoharie Valley with the 2023 Waterfall Unity Festival.
We are excited to extend an invitation to individuals from all walks of life to join us at this year’s festival where we will celebrate and honor our return to our homelands. The success of our inaugural festival last summer helped us raise the necessary funds to purchase Bohringer’s Fruit Farm. It has been renamed as Iotsi’tsisons (Skywoman’s) Forever Farm – a 60-acre berry farm in the heart of Skóhare, the ancestral lands of our people where my own great-great grandmothers came from. This isn’t just a berry farm to us. These lands hold a significant part in our journey to self-discovery. We are so grateful for this opportunity to return here while creating the space needed for our people to heal and grow.
Kawenniiosta Jock, Co-Executive Director of the Waterfall Unity Alliance.
During the day festival attendees can participate in a variety of workshops, teachings, traditional social dance, vendors, food, and crafts – all aimed at fostering a deeper understanding and appreciation for the Kanien’kehá:ka culture. All proceeds will go directly towards building a Kanien’kehá:ka language and culture immersion program. “As we continue to walk the path of healing and sovereignty, returning to our language is crucial. Our immersion programs will ensure that our language and life-ways will be carried forward to future generations,” says Kawenniiosta.
Performers at the Waterfall Unity Festival include Theresa Bear Fox, Peter Yarrow (Peter Paul & Mary), Keith Secola, Bethany Yarrow, Kyp Malone (TV On the Radio), Semiah Smith, Kahsenniyo Williams, Mercedes Terrance, Onondaga Women’s Singing Society, Kanerahtiio Roger Jock, Maria Esther Pallares, Tsering Lodoe, Sean Rowe, Whise, Stephanie Rooker & Ben Tyree, Rebecca Martin & Larry Grenadier, and more.
Peter and Bethany Yarrow.
There is a suggested donation of $40 per day. Overnight camping during the festival is available for an additional donation of $50 per night. For more information, tickets, and registration, please visit here.
Hip hop pioneer Slick Rick has announced he will make his New York State Fair debut on Aug. 26 at 2 p.m. as part of the statewide I Love NYSummer of Hip Hop celebration.
With his British accent, witty lyrics spoken through a leisurely cadence, and nasally voice, Slick Rick has one of the most recognizable voices in hip-hop. Featuring legendary lyrics and note-worthy fashion, he has inspired many artists including JAY-Z, Eminem, and Idris Elba. Dubbed “the most sampled hip-hop artist in history,” it all started in 1984 when Slick Rick – who went by “Ricky D” at the time – joined Doug E. Fresh and the Get Fresh crew to record the breakout hit, “La-Di-Da-Di.” He then signed to Def Jam Records and had several multi-platinum albums, including The Great Adventures of Slick Rick (1988) and The Art of Storytelling (1999), his highest-charting album to date.
Not just an inspiring artist, he also is active in the New York City real estate community, providing affordable housing to communities in the Bronx. As a philanthropist, he supports efforts to fight youth incarceration and poverty, and works to raise awareness about homelessness, food insecurity, and children’s literacy. In 2020, Slick Rick and his wife co-founded the Victory Patch Foundation, which empowers underserved and overlooked communities by partnering with FreshDirect, City Harvest, and the New York City Department of Youth & Community Development.
I Love NYSummer of Hip Hop is a statewide celebration held in partnership with cultural organizations around the state – including Lincoln Center in New York City, The Plaza in Albany, and The Strong National Museum of Play in Rochester. “Since The Fair is a showcase of New York State, we also appreciate Slick Rick’s connections to New York. Hip hop was founded in The Bronx, which is where Slick Rick settled when he moved to this country at age 11, and where he spends time advocating for community causes today. It’s always great when we can highlight New Yorkers in our musical line-up!” said Sean Hennessey, Interim Fair Director.
New York State Fair Lineup
Chevy Court
Aug. 23 at 1 p.m.- Chubby Checker
Aug. 23 at 6 p.m.- Salt-N-Pepa
Aug. 24 at 6 p.m.- Quiet Riot
Aug. 26 at 1 p.m.- Peppa Pig Live! Peppa Pig’s Adventure
Aug. 26 at 6 p.m.- Julio Iglesias Jr.
Aug. 27 at 1 p.m.- The Prodigals
Aug. 27 at 6 p.m.- Matt Stell
Aug. 28 at 1 p.m.- Herman’s Hermits starring Peter Noone
Aug. 28 at 6 p.m.- Anne Wilson
Aug. 29 at 1 p.m.- Tommy James and the Shondells
Aug. 29 at 6 p.m.- Bret Michaels
Aug. 30 at 1 p.m.- Danielle Ponder
Aug. 30 at 6 p.m.- Chapel Hart
Sept. 1 at 6 p.m.- The Fray
Sept. 2 at 12-9:45 p.m.- JAMS Funk Fest Featuring: Brick (6:45 p.m.) & Dazz Band (8:15 p.m.)
Sun. Sept. 3 at 1 p.m.- Disney Junior Live On tour: Costume Palooza
Sept. 4 at 12 p.m.- The High Kings
Suburban Park
Aug. 23 at 2 p.m.- Steven Page
Aug. 23 at 8 p.m.- Lainey Wilson
Aug. 24 at 8 p.m.- Theory of a Deadman
Aug. 26 at 2 p.m.- Slick Rick
Aug. 26 at 8 p.m.- George Thorogood and the Destroyers
One could not have asked for a more pristine summer evening, on Wednesday, July 12, when Fleet Foxes brought their sounds to the Beak and Skiff Orchard in Lafayette.
There is perhaps no other band more in touch with the various seasons these days than Fleet Foxes. Hailing from Seattle, Washington, Fleet Foxes continue to tour in support of their latest release, 2020’s highly praised Shore. The album, which was released for public consumption precisely at the autumnal equinox, drew much praise from critics and fans alike. Known for creating acoustic folk-rock with exquisite harmonies and musicianship, they have released four studio albums, several EPs as well as 2021’s live offering A Very Lonely Solstice.
Nigerian-born singer/songwriter, Uwade opened the evening. She is well known to fans of Fleet Foxes, having sung extensively on their latest release. Taking the stage by herself and armed with only an acoustic guitar, Uwade quickly took a captive hold of the audience. She delivered a thirty-minute set of acoustic folk tracks, intimately and honestly. It seems often this type of permanence can get lost in a large venue such as Beak and Skiff, however, this was not the case on this evening. The area surrounding the stage was quiet enough to hear a pin drop, as Uwade performed tracks dealing with topics such as the illness of her father. he was joined by Fleet Foxes members Christian Wargo and Christopher Icasiano to finish out her set.
After a brief intermission, the Fleet Foxes took to the stage. Boasting an impressive eight-piece band, and accompanied by opener Uwade, they immediately launched into “Sun Giant.” It was an appropriate opener to showcase what was to come, featuring a beautiful acapella track with layers of harmonies that floated about the concert field. The band followed with the mellow “Wading In Waist-High Water,” which saw Uwade again take lead vocals (as she did on the studio track) as layers of the band’s instrumentation built. The band then followed with the more upbeat “Can I Believe You,” which had the audience singing and dancing along.
As their set rolled on, the band would dig deeper into their catalog. Backed with a video board that showed nature scenes and other colorful visuals, the band churned out fan favorites such as “White Winter Hymnal,” “Montezuma,” and “Mykonos.” In what is becoming a tradition at their concerts, the band pulled an audience member from the crowd to sing and play guitar on “White Winter Hymnal.” For the uninformed, one would not have known this fan was not a lifelong member of the band.
In all the band would perform over 20 songs followed by a three-song encore. The band would close the evening with “Helplessness Blues,” a track about longing for a simpler life. Featuring the lyrics “If I had an orchard, I’d work ’til I’m raw,” it was a near-perfect ending to a brilliant evening of music.
Legendary blues guitarist Joe Bonamassa recently released a new song titled “Well, I Done Got Over It”. The track was originally released by Guitar Slim back in 1953. Bonamassa’s rendition is part of his upcoming Oct. 6 album Blues Deluxe Vol. 2. The project comes 20 years after the New York native’s breakthrough album Blues Deluxe.
Photo Credit: Robert Sutton
“Well, I Done Got Over It’ is a high-energy tune that perfectly captures all of the attitude and groove of classic blues-rock songs. Packed with the rich sounds of horns and capped off with an impressive guitar solo, the track showcases every ounce of Bonamassa’s artistic ability.
“My father introduced me to Guitar Slim a long time ago, back when I was a kid… He has such a velvety smooth voice, and he had such a way of delivering a song. We did a very British take on this Guitar Slim song, it’s like the Blues Breakers meets Guitar Slim meets Joe Bonamassa, Josh Smith and company”
Joe Bonamassa
Born in New Hartford but raised in Utica, Bonamassa discovered music at an early age. By the time he was 12, Bonamassa was traveling around the state playing various local shows. The guitarist made a name for himself off of debut 2000 album A New Day Yesterday, which reached the #9 spot Billboard Blues chart. From 2002-06 Bonamassa had five albums reach the Blues Top 10, including his 2003 effort Blues Deluxe.
Bonamassa’s new project will see the Grammy-nominated artist return to some of his original sources of inspiration. Blues Deluxe Vol. 2 features two new original songs as well as eight new covers. The album also gets contributions fromReese Wynans (keys), Calvin Turner (bass), Lamar Carter (drums), Kirk Fletcher (guitar), and Josh Smith (guitar).
“Well, I Done Got Over It” follows the release of the album’s previous single “Twenty-Four Hour Blues” which dropped back in June. The song is a rip-roaring interpretation of Bobby “Blue” Bland’s classic song which was released in 1974. Bonamassa’s version includes an inspired and passionate vocal and guitar performance.
“The outro guitar solo is incredible… It happened live on the floor and has some deep lines you’ve probably never heard Joe play before. The band is absolutely smoking, and Calvin Turner did an incredible String and Horn arrangement. Super proud of this one”
Guitarist Josh Smith
Bonamassa has a slew of performance dates during the Summer and Fall. Stops in New York include shows at the Northwell Health at Jones Beach Theater and Bethel Woods Center for the Arts.
Here for album pre-orders and details. Check out here for tour tickets and additional information.
Summer 2023 U.S. Tour
August 2 – Vina Robles Amphitheatre – Paso Robles, CA
August 4 – The Cosmopolitan of Las Vegas – Las Vegas, NV
August 5 – Eccles Theater – Salt Lake City, UT
August 6 – Red Rocks Amphitheatre – Morrison, CO
August 9 – Hollywood Bowl – Los Angeles, CA^
August 12 – Northwell Health at Jones Beach Theater – Wantagh, NY
August 13 – Bethel Woods Center for the Arts – Bethel, NY
Fall 2023 U.S. Tour
October 23 – Memphis, TN – The Cannon Center
October 25 – Shreveport, LA – Shreveport Municipal Auditorium
October 27 – San Antonio, TX – Majestic Theatre
October 28 – Sugar Land, TX – Smart Financial Centre At Sugar Land
October 29 – Austin, TX – ACL Live
November 1 – Fayetteville, AR – Walton Arts Center
November 3 – Little Rock, AR – Robinson Performance Hall
November 4 – Grand Prairie, TX – Texas Trust CU Theatre
November 5 – Oklahoma City, OK – Civic Center Music Hall
November 8 – Tulsa, OK – Tulsa Theater
November 10 – Kansas City, MO – The Midland Theatre
November 11 – St. Louis, MO – The Fabulous Fox
November 12 – Cedar Rapids, IA – Paramount Theatre
November 14 – Rochester, MN – Mayo Civic Center
November 15 – Rockford, IL – Coronado Performing Arts Center
November 17 – Fort Wayne, IN – Embassy Theatre
November 18 – Detroit, MI – Fox Theatre
November 19 – Columbus, OH – Palace Theatre
November 21 – Reading, PA – The Santander Performing Arts Center
November 22 – Providence, RI – Providence Performance Arts Center
November 24 – Springfield, MA – Symphony Hall
November 25 – Baltimore, MD – The Lyric
November 28 – Savannah, GA – Johnny Mercer Theatre
November 30 – Sarasota, FL – Van Wezel Performing Arts Hall
In the summer of 1999, amid an extensive tour, Phish held a two-day festival in the small town of Volney, NY at the Oswego County airport. While reliable numbers are not available, somewhere between 15 and 20,000 attended the two day show, arriving a full day early in some cases to enjoy the scene that set up on the tarmac for a mere 60 hours, before the band moved towards the Midwest and the end of the tour a week later.
Phish had played three prior festivals at the end of large tours, but never a festival during a tour. The result were two memorable nights amid the most unbearable heat and humidity, leaving fans with a lasting memory of guests sitting in with Phish and an “Icculus” for the ages. Editors Pete Mason and Tim O’Shea attended Camp Oswego, albeit separately. Below is their look back at Camp Oswego.
Phish Oswego poster by Pete Tschudy
The Ride in and Arrival
Pete Mason: I happened to have no issues with arrival, and managed to avoid nearly all traffic. I was living in Syracuse, taking summer classes at SU, and proceeded to leave the day before the festival starts, on July 16th, a Friday. We left around 4pm and were at the gates by 5pm. Syracuse to Oswego is about 45 minutes, so getting to the festival, without much traffic, was a pretty nice start to the weekend. We camped about one car length in from the tarmac, about a five minute walk to The Green, where there was a wall of payphones and place to leave messages for friends. Ah, the days before cellphones.
This was also the last time I encountered little to no traffic arriving at a Phish show. 13 hours for Big Cypress was a comeuppance in a way, for dealing with no traffic getting to the Oswego and Lemonwheel festivals
Tim O’Shea: The two hour drive started off just fine with all parties wildly throwing out predictions and wishes for the weekend. Beeps and head nods from other like-minded cars on the road were aplenty and increased in frequency the closer we got. Towards the end of the two hour drive, as festival traffic began to pile up and the sun was at its peak, the bus’ engine temperature began to skyrocket. In an effort to prevent it from overheating and making sure we had a ride back on Monday, we actually wound up pushing the bus for the last half hour of our journey through the stop and go traffic with the engine off. What better way to get stretched out for long weekend of music than with some cardio and light weights? It would certainly not be the last time all weekend that heat played a factor.
The Heat
TO: For anyone who attended Camp Oswego, the first words out of their mouth generally have something to do with the ridiculous temperatures that weekend. To say it was a dry and steady heat would be doing it a disservice. Roasting and oven-like are two of the words that initially come to my mind. Shade was at an ultra premium and there were constantly long lines for the few communal water spigots. If you weren’t staying hydrated, you had no chance. In addition to the blazing temperatures, discovering this communal atmosphere and something that was way bigger(and more fun) than just myself really resonated with me since this was all so new at the time.
PM: The heat was unbearable, oppressive and constant. It was humid and well into the 90s. There was no relief either. We had 3 tents among myself, Madison and Dave. No tarp, no EZ-Up, nothing. Not that that would have helped either, but we did find solace in the air conditioned car, only to walk out into the heat moments later. Hydration was key, and led to little drinking of alcohol that weekend. It was just too damn hot to do much of anything but see Phish, just as the sun was getting lower in the sky and started to cool down.
A week later, I attended Woodstock 99. The weather was almost as bad, but the result of patrons who had to deal with the heat was far different. At Oswego, people were misting you as you walked by, offered water to strangers, my friend Madison used a Supersoaker to hose down random passersby, with a reaction of ‘Whoa WTF?!’ followed immediately by ‘Ah, that feels great! Thanks!’ At Woodstock, it was pure hell. Little running water, expensive bottled water ($4 even then was highway robbery) and patrons were not as kind as you would find at Phish. More than a few late 90s bros found their way to the front of the drinking line without waiting, didn’t take care of their neighbors and more or less let the festival community and vibe go to shit. Phish fans took care of one another – that was my big take away from the two weekends, and one that drew me into the Phish community.
Phish Oswego inspired art by Alfred Sohn
Day 1 Music
PM: I honestly recall little of the show on the 17th. Two sets, and all I can definitively remember was Son Seals sit-in, which made me wonder if the other guests at The Green stage were going to sit-in the next night. “Down with Disease” was solid, but I was still somewhat new to Phish and hadn’t yet enjoyed the long jams. Beyond that, I became a fan of “Squirming Coil” in the encore. I blame the heat and adult beverages.
TO: While my memory certainly isn’t pristine as it pertains to all the music that weekend, there are certain moments and images that still resonate strong. I remember baking in the sun (literally) as the first night’s sunset was accompanied by a scintillating Tweezer jam and hearing the first of many, many Character Zeros to end the first set. I remember legendary bluesman Son Seals gracing the stage in the second set for ‘Funky Bitch’ and being amazed at how well he was able to manage that Phish song.
Phish Oswego sticker
Day 2 Music
TO: I remember being delighted at the Del McCoury sit-in the following day and feeling a real strange sense of pride as I danced along to ‘The Meatstick’ in the Guinness Book of World Records attempt that was in vain. And above all else, I remember a mind bending ‘Piper’ in the third and final Sunday set that I still consider one of the best ever played which seemed to seal the proverbial deal for me. Throw in a hilarious ‘Smoke on the Water’ jam/banter and the ever whimsical ‘Icculus’, and you’ve got a set for the ages.
PM: I could write a book on the music from Sunday, but I’ll keep it short. Set 1 was pretty solid, with the sun setting and a ‘Punch’ opener. I was still a noob back then, so “Farmhouse, Water in the Sky, Bathtub Gin” were all familiar and made me happy. I was far more focused and rested than the night before, and recall a great deal of the show to this day. When Del McCoury and sons came on stage, I smiled because I sort of predicted that, heard a bunch of bluegrass songs, which I credit to my initial interest in bluegrass music, and a sweet ‘Reba’ that was a highlight of the set for me.
Second set was fun because “Runaway Jim > Free” meant more music I knew, then finally, this ‘Meatstick” song that I had heard about, which had a dance. Complicated music interests me, and dancing to such music was just feeding the addiction. I danced around with what I thought was the Meatstick dance and loved every second. The rest of the set I was just smiling like I never had before.
Third set, which I had no idea was happening – I thought second set was it – started out with more music I knew, “My Soul > Piper”, the latter of which went on for a while, and had the slow start. “Prince Caspian” was kinda cool to me back then, and then shit got weird. “Wilson > Catapult > Smoke on the Water > Icculus” and “Quinn the Eskimo” were pretty mindblowing, for the banter alone. Whatever was going on onstage, I wanted more of. Fluffhead finale and Hood encore as we walked back to the car, beating all traffic, I was in my apartment by 2am, learning of David Cone’s perfect game earlier that day.
Takeaways from the Festival
PM: Oswego was simply the best Phish festival experience I have had, after Big Cypress of course. It was the right time and place for me, right mindset, friends, and music, all in one place. I go back there every so often and find that same giant smile, every time.
TO: 111 shows later, I guess you can say I took a shining to this band and all they can deliver. But for me, Oswego will always hold a special place in my heart not only because it was my first Phish festival in my first string of shows, but because it was my first large scale festival of any kind which opened my eyes to a whole new way of experiencing music. After Camp Oswego, I knew what I wanted to do every summer for the rest of my life. And how to do it in frying pan-like conditions.
Download both nights of Oswego here (July 17/July 18) – recording by Lenny Stubbe
The Binghamton Philharmonic is set to kick off its free summer concert series, Concerts in Every Corner with four beautiful and unique performances by the Empire Saxophone Quartet. The series will begin on July 20th at 11:20 AM with performances by the quartet stretching into the 21st.
The Binghamton Philharmonic is no stranger to introducing their community to rich and tasteful music as the group presents an annual series of classical, pops, and chamber music concerts in Downtown Binghamton and throughout Broome County. Concerts in Every Corner will feature the Quartet in four locations throughout the city including the Ross Park Zoo, Columbus Park, Cheri A. Lindsey Memorial Park, and Fairview Park.
Bringing home the Empire Saxophone Quartet is quite the treat for the orchestra as the chamber music ensemble has a repertoire that includes classics from the Renaissance Era through the 21st century as well as pop, jazz, and ragtime selections. Their diverse musical abilities and delightful performances have astonished audiences for years and Binghamton should be prepared for nothing less. The quartet was originally founded by April Lucas who is now joined by saxophonists Daniel Miller, Crystal Fisher, and Nicole Mushalla.
The concerts will be a family-friendly mix of jazz, pops, and contemporary classics suited and welcome to all ages, so come and celebrate the summer through the sweet sounds of music.
Concerts in Every Corner
July 20, 2023:
11:20am: Ross Park Zoo, 60 Morgan Road, Binghamton
12:30pm: Columbus Park, 26 Columbus Park East, Binghamton
July 21, 2023:
11:20am: Cheri A. Lindsey Memorial Park, 1 Truesdell Street, Binghamton
12:30pm: Fairview Park, 58 Fairview Avenue, Binghamton
The Cortland Repertory Theatre (CRT) is proud to present the arrival of their annual Summer show for kids of all ages “The Emperor’s New Clothes.” Selecting a different production each year, 2023’s show will be brought to life July 13-15 in the first-floor reception hall at the Little York Pavilion in Preble, NY.
An adaptation by E. Gray Simons III from the story by Hans Christian Anderson, “The Emperor’s New Clothes” follows the story of the Emperor and events leading up to a Royal Fashion Show.
Additionally, Syracuse director and actor Tanner Elfinger designs and directs the production, bringing along a talented CRT intern cast to the Cortland stage for the show.
CRT’s performing intern company made a recent appearance in the production “Xanadu” and also plans to star in “The Wizard of Oz” later in their Summer schedule.
The cast of “The Emperor’s New Clothes” features Aubrey Alvino, Mia Caslowitz, Jessica Cerreta, Michael Hartman, Breanna Lemerise, and Trevor Shingler.
For the performance schedule, “The Emperor’s New Clothes” shows take place Thursday, July 13 at noon, Friday, July 14 at 10:00 AM and noon, and Saturday, July 15 at 10:00 AM.
Tickets are available for purchase for $5.00 for those 13 and up and free for kids 12 and under by calling 800-427-6160 or by visiting the CRT Box Office at 24 Port Watson Street in Cortland.
Tickets are also available through CortlandRep.org with ETIX, for a small additional charge.
