For those of us who remember the music of the 80’s & 90’s it was a trip down memory lane with an unforgettable night of music at Tags in Big Flats, NY on Saturday, July 8th. That music came in the form 80’s Metal as headliner Tom Keifer the former singer of Cinderella, Stephen Pearcy former front man of the 80’s band Ratt and and the all woman hard rocking Glam metal band Vixon. Throw in amazing weather ironically in the 80’s and you have an amazing night of music.
Tom Keifer bringing 80’s metal back to Tags.
Tom Keifer has come along way since his days of Cinderella and the tough times of dealing with “vocal cord paresis” in the early 90’s. It’s a disease that litterally attacks the vocal cords and forcing Tom to litterally learn to sing from scratch. Hey brought many of his favorites this night such as “Coming Home”, “Nobody’s Fool”, “Gypsy Road” and “Don’t Know What You Got (til it’s gone).”
Former Cinderella front man Tom Keifer playing to a great crowd at Tags.
Tom’s band is called Keiferband and includes Tony Higbee on lead guitar, Bill Mercer bass (both from Nashville, TN), Jarred Pipe on drums from Hendersonville TN, and Kory Myers on keys hailing from Southaven, Mississippi. Back up singers are Tom’s wife Savana and Tanya Davis, also from Nashville.
Before Tom got things going it was Stephen Pearcy bringing back the 80’s in style.
Stephen Pearcy performing to an excited crowd at Tags.
Pearcy, the former front man for the 80’s hair band Ratt proved that age is just a number by belting out famous Ratt ballads as good as he did 40 years ago. Ratt favorites “Back for More”, “ Wanted Man” and “Round & Round” we well received by the crowd.
Stephen Pearcy, former front man for Ratt helped bring 80’s metal back to Tags for the night.
Starting the night was Vixen with there all female lineup featuring original member Roxy Petrucci on drums, Britt Lighting tearing it up on lead guitar, Lorraine Lewis on lead vocals and recent addition Julia Lage on bass.
Vixen, whose history goes all the way back to the streets of St. Paul, Minnesota in 1980, has withstood the test of time by being the only female band from the 80’s to sell over a milllion albums, had six #1 videos on MTV and had four songs in Billboards top 100. The Tags crowd gave them a huge ovation when they finished their show with “Edge of a Broken Heart.”
Lorraine Lewis of Vixen enjoys an excited crowd at Tags.
The show was another amazing night celebrating 30 years of music at Tags Summer Sound Stage in Big Flats, located between Corning and Elmira. The next big show on the horizon is Country star Dustin Lynch on August 11. Go to www.tagstickets.com for more info.
Vixen’s Julia Lage gets excited for a great crowd at Tags. Vixen Drummer Roxy Petrucci playing for an excited crowd at Tags.
The anticipation was palpable as My Morning Jacket took the stage at the Artpark Amphitheater in Lewiston on June 26. The crowd erupted in cheers as the band launched into their set with the powerful and infectious “War Begun.”
From that moment on, it was clear that this would be a night to remember. My Morning Jacket flawlessly navigated through their setlist, effortlessly blending old favorites with newer tracks. “Circuital” and “Mahgeetah” showcased the band’s signature sound, with Jim James’ distinctive vocals soaring above the intricate guitar work and driving rhythm section.
The band’s musicianship was on full display throughout the night. The intricate guitar solos and dynamic drumming added depth and complexity to each song. Whether it was the introspective beauty of “Golden” or the raw energy of “One Big Holiday,” My Morning Jacket commanded the stage with a magnetic presence that held the audience in rapt attention.
As the evening progressed, the crowd was treated to a range of emotions. The hauntingly beautiful “Never in the Real World” and the introspective “If All Else Fails” showcased the band’s ability to delve into more introspective and introspective territory. The energy reached its peak during fan-favorite anthems like “Wordless Chorus” and “One Big Holiday.”
The encore was a fitting culmination of an already exhilarating performance. “Touch Me I’m Going to Scream Pt. 1” enveloped the venue in a wave of sound, with its infectious rhythm and soaring vocals. The atmospheric “Spring (Among the Living)” provided a brief moment of reflection before the band unleashed the explosive “Touch Me I’m Going to Scream Pt. 2.” The combination of these three songs created an electrifying finale that left the audience wanting more.
Setlist: War Begun, I Will Sing You Songs, Circuital, Love Love Love, Mahgeetah, Golden, Never in the Real World, Anytime, One Big Holiday, Death Is the Easy Way, Feel You, If All Else Fails, Lay Low, Friends Again, Off the Record, Evil Urges, Wordless Chorus
Encore: Touch Me I’m Going to Scream Pt. 1, Spring (Among the Living), Touch Me I’m Going to Scream Pt. 2
Alternative/Indie group Public Water Supply has announced an interactive music and fashion extravaganza, encouraging fans to participate in a red-carpet-style fashion show on July 22.
Taking place at the Dawn Lipson Canalside Stage at the Rochester JCC as a part of their Summer concert series, Public Water Supply wants to create Upstate New York’s version of the Met Gala, complete with a red carpet event, creative outfits, and some of their tunes.
The red-carpet event starts at 6:00 pm on Saturday, July 22, as paparazzi and media interviews will welcome guests into the fashion show experience. In addition to this, the band will also release limited edition merchandise for the show which is available for purchase throughout the event.
Lead singer Iggy Marino, and the rest of the band compiling Karis Gregory, Spencer Kornrich, Alex Brophy, and Tanner Kartes believe the fashion/music event will be a perfect opportunity for fans to express themselves while taking in some of their favorite PWS music.
This event is all about self-expression. Bust out the vintage or come-as-you-are. Just let your outfit speak for itself…when the energy is right, the band loves to throw on a costume. So, now we want to see what our fans can bring in fashion form.”
– Iggy Marino
A pop-up shop, Little Shop of Hoarders will also be on-site so concert-goers may purchase extra accessories if needed.
In between sets, judges will go around the venue to select the five best-dressed people. The judges will crown one individual “concert royalty” and the winner will have their photo taken for the cover of the band’s next single.
Expect PWS to perform much of their self-titled debut album, unreleased tracks, and some of their fan-favorite covers coming from Dolly Parton, Waylon Jennings, and many others.
Tickets are $15 and available online and at the door. When it comes to weather cancellations, the event will go on as planned unless extreme weather takes place. Cancellations or any other changes in the schedule will be posted on the JCC website.
Beer and wine will additionally be available for purchase.
Another beautiful summer night on the shores of Canandaigua Lake enjoying some live music at CMAC. Such was the fate for the thousands of fans who filled the shell and lawn for the Tedeschi Trucks Band show Tuesday night. What could be better?
The stage would also be filled to the max. Reggae great Ziggy Marley and his ten-piece band would command the stage for an hour-long opening set before the Tedeschi Trucks Band would take over, besting Marley with their unit of twelve. At nights end however a band of eighteen would be serenading the audience. Six from Marley’s band would join the headliners for a raucous encore of a mashup of Sly and the Family Stone’s “Sing a Simple Song” and “I Want to Take You Higher.”
Like a series finale, all the story lines from the evening came to a head at once, resolving in highly entertaining fashion. Mini-jams broke out all over: a keyboard duel, a 2-man bass-off, a drums and percussion battle, a triple guitar threat, horns aplenty, and a handful of vocalists directing it all to a t. The entire audience was on their feet, amazed at how they managed to wrap up the evening so perfectly.
Watching it unravel song by song, it was a lot to binge in just one evening. Marley flexed his heritage in the opening set, getting properly political with the dark dub of “See Dem Fake Leaders” and “Justice,” which effortlessly worked in splashes of his father’s “Get Up Stand Up.” Those contrasted nicely with the sunnier “We Are the People” and “Circle of Peace.” His two female backup singers added some edge with rapping over “The Lucky One” and the soulful closer “Look Who’s Dancin’” while also exhibiting some entrancingly good dance moves.
The intrigue was set, it was time for the main act. The Tedeschi Trucks Band worked a solid groove on Joe Cocker’s “Woman to Woman,” using it as a quasi walk-out tune for Susan Tedeschi. When she finally took the stage, she immediately commanded it, her incredible voice carrying over all else. She would continue to be the person of interest in the following “Anyhow,” ripping a rocking solo reminiscent of Traffic’s “Dear Mr. Fantasy.”
Each ensuing song would bring different members of the endlessly talented ensemble into the spotlight. Piece by piece the story of the band would come together, all working toward that grand finale. The three segments of the band, be it Tedeschi, Truck, or Band, got equal time and each had their highlights. Tedeschi’s voice shined brightest on “Don’t Think Twice It’s Alright,” just crackling and soaring. Trucks’ guitar found no better time to growl, stretch and moan then the set-closing “I Want More / Beck’s Bolero” combo. The drummers took over on Dr. John’s “I Walk On Guilded Splinters,” blasting low rumbles leaving the rest of the band hanging on and hanging in. Keyboardist Gabe Dixon took a turn on the vocals and highlighted his playing on the New Orleans soaked “Gravity.” Saxophonist Kebbi Williams got his turn on the retro soul groover “Part of Me,” and also got to tangle for a spell with Trucks, Dixon, and bassist Brandon Boone on a gorgeous “Midnight in Harlem.”
Whatever they made it out on a Tuesday night for, be it Tedeschi, Trucks, or any and all of the band, there’s not a chance anyone went home unsatisfied. And now the difficult wait for the next season to get released so we can binge on their talents all over again.
Whirlybird Music and Arts Festival have announced their stacked lineup featuring a wide variety of genres and bands! The festival returns to Downtown Jamestown from July 20-22.
Whirlybird Music & Arts Festival is a collection of carefully curated concerts that take place at a variety of venues across downtown Jamestown. Featuring three days of music with 20 artists scheduled, as well as live painting, comedy, dancing, and more, the festival has something for everyone. Headlining the festival will be jamtronica legends Jimkata along with Colorado-based festival favorite Magic Beans. Other acts include the Smackdab, Sophistafunk, Space Bacon, Miller & the Other Sinners, Charity Nuse & Friends, Grub, and many more. This years Grateful Dead tribute will be performed by Eberwine & Friends.
The Beer Snob and Jamestown Wine Cellar will play host to Whirlybird’s ticketed evening headliners; Sophistafunk, Space Bacon, Grub, Organ Fairchild, & Well Worn Boot. These shows are 21+ and require a Whirlybird Pass or Cover Charge to enter.
Free pop-up solo performances by the likes of Adam McKillip, SON, Kallie Williams, Ryan Buzzetto, Ion Sky, Catch Phrase, and more will be happening at Labyrinth Press Co, Brazil, 4 Below Haggy’s Bar and Grill, and Jamestown Public Market all throughout the festival.
For tickets, schedules, and information, please visit here.
Summer is in full swing and that means the slate of venues for music all around the state has just gotten exponentially larger. Typically the only theme with these posts is the very best shows to see no matter where. But this month we’re specifically highlighting some unique places to catch some tunes, and maybe some rays, in Rochester this July.
Described perfectly by fellow local musician Chaz Hearne, the Old World Warblers are a “bare bones acoustic trio that utilizes the percussive elements of the their instruments without wasting a single note.” What better way to enjoy then on a historic packet boat cruising down the Erie Canal? You can do just that when the Sam Patch hosts them this Friday evening.
The Big Takeover, from the Hudson Valley, take roots reggae and put their own unique spin on the classic sound, with Jamaican born singer-songwriter Nee Nee Rushie leading the way. And you can see them play their hearts out nestled in the gardens at the George Eastman Museum. What could be better?
Magic Beans are a four piece that are beginning to make big strides in the jam band world by combining elements from the full range of modern music and taking them for long exploratory rides, as jam bands are wont to do. Check out what their all about at the Rochester Public Market as a part of their annual Bands on the Bricks series. Litz will open the show.
More music on a boat! The newest boat in town is the Riverie, taking cruises down the Genesee River from the newly minted dock in Corn Hill. This night you can take in the river sights, the sunset, and the sweet sounds of local folk duo The Archive Ravens. Sounds like a great night.
Is there anything better than seeing superbly played old-time music played at a meticulously appointed old-time town? Take the opportunity to partake in such a fantasy scenario when area bluegrass barnburners Heatwave Bluegrass take the stage inside the Genesee County Museum. You can dress however you like but vintage-wear would probably be most appropriate
Tickets are $8 and the show starts at 5:30p.
These are just a few of the great shows you’ll find in Rochester this July! Stay tuned for our August picks in a few weeks!
The CGI Rochester International Jazz Festival finished out another marathon nine days, inviting well over 200,000 music fans into downtown Rochester to enjoy over 300 sets of exceptional music in 19 different venues and outdoor stages. It was, and always is, a glorious slog, tiring, but fruitful and exhilarating. NYS Music was there absorbing as much as we possibly could.
At just about the midway point of the long haul, Christian Sands sat down at the baby grand in the intimate, beautifully wood-paneled and acoustically near perfect Hatch Hall. Seated at the bench ready to launch into his hour set he first addressed the crowd, “What I love about solo piano is, the possibilities are endless.” But that could be said about jazz in general, and this festival certainly exhibited that. Sands would proceed to take that piano for a ride through originals like “My Mother” and deconstructed covers like The Beatles’ “Blackbird,” adding bits of electronics and recordings here and there for an enthralling hour.
The very next night he would sit at the piano in the larger but equally beautiful Kilbourn Hall, this time joined by Marvin Sewell on guitar, Ryan Sands on drums and Isaac Levien bass for a set as a quartet. Possibilities? Still endless, as they frayed the edges of the music, finding gorgeous spaces in the drifting in and out of pieces.
The Rochester International Jazz Festival has run on it’s aphorism, “It’s not who you know, it’s who you don’t know.” But after 20 years of introducing festival-goers to what’s what in the world of jazz and music, they “know” a thing or two these days. Perhaps it’s time to shift the thinking to, “It’s who you know, and how well you know them”? Sands himself was returning from his sets in 2018 and in both cases gave the opportunity to see him both solo and with his band. People, then, through the festival, are able to see artists grow and shift through the years. They can also get unique perspectives difficult to obtain elsewhere, such as seeing Sands play solo and as a quartet in consecutive days.
Appropriately, the 20th Anniversary lineup included some of the festival’s top returning artists. No one in Rochester needed to be introduced to Grammy-winning singer Catherine Russell when she took the Theater at Innovation Square stage in her eighth Rochester International Jazz Fest visit. Nor did anyone have any doubt who Trombone Shorty was when he wrapped up the festival with another packed show at Parcel 5 with his band Orleans Avenue. He was also making his eighth visit, after debuting at the Big Tent in 2010. At the same venue his cousin, Glen David Andrews, introduced himself to Rochester this year and wowed the crowd with a similar formula of nine parts leading a street party and one part blowing his trombone. Another fest favorite on the rise?
Scottish sax man Tommy Smith came back for his ninth festival, appearing through the years solo, in various duos and as a sideman. He returned with fellow Scot pianist Peter Johnstone for some sets of continuous improv at Hatch Hall. Smith’s searing horn weaving through Johnstone’s keys work for some magnificent and endlessly intriguing interplay. They worked the “Happy Birthday” theme into the improv, dedicated to the festival’s anniversary, a message that couldn’t have come from a more appropriate source.
But perhaps no artist has become more embedded in the fabric of the Rochester International Jazz Festival than guitarist Bill Frisell, returning for the tenth time this year. With Frisell, the more you know him, the more you love him. It’s a thrill to bear witness to each and every set, listening to his trio tease apart familiar themes in new and exciting ways each time, his distinctive tone ringing through your head. They fold melodies into an origami, creating dimension where there was none, different points coming together, wrapping atop each other in beautifully unsuspected ways. Their performance of “You Only Live Twice” that closed the early set, brought together all of these elements and then some, a highlight of this year’s visit.
Guitarist Charlie Hunter took a different path, premiering at the festival with his trio in 2006, returning last year as a sideman for vocalist Kurt Elling and again this year as a sideman fostering the young talent in Victoria Victoria, a project from soul singer Tori Elliott. Hunter was more than happy to give Elliott the spotlight though he did carve out some space to show off some of his signature guitar/bass chops.
Lionel Loueke made his third appearance at the festival, appearing with Gretchen Parlato at Kilbourn Hall, to perform material off their latest release, Lean In. They met 22 years ago, the same year the festival began, at their auditions for the Thelonious Monk Institute of Jazz. There they performed for a panel of Wayne Shorter, Herbie Hancock and Terrance Blanchard. And for their festival set, they played their interpretation of Shorter’s “Juju,” an assignment way back when by Blanchard himself. The rest of the set was filled with the joyous, melodic and very rhythmic pieces from their album. Loueke’s unique guitar and rhythmic vocals, Parlato’s beautiful scatting and singing, coming together in a one-of-a-kind enchanting dance. Another special set inside the hallowed Kilbourn Hall for sure.
Bruce Hornsby returned to the Rochester International Jazz Festival after headlining in 2016, this year opening the Parcel 5 stage that Trombone Shorty would burn down four nights later. Even if it were his first festival, with longtime hits like “Mandolin Rain” and “The Way It Is,” and a stint with the Grateful Dead, this was a man who needed no introduction. Still, he tried to appease the “jazz” crowd with a jazz-aesthetic in songs like “Sneakin’ Up on Boo Radley” and “Spiderfingers.” Hornsby and his band The Noisemakers hit that aesthetic even more so in the way they handled the material, stretching it in new and interesting ways, adding riffs and themes making the familiar, like “End of the Innocence,” feel fresh and new. The “possibilities are endless.”
Drummer Mark Guiliana first made it to the festival in Rochester as a member of Avishai Cohen’s band 20 years ago, and has since returned in various groups. But this year he came for the first time as a leader. His quartet, featuring Jason Lindner on piano, Chris Morrissey on base and Jason Rigby on tenor sax, blasted through their set at a packed Christ Church. Each instrument took on a life of its own, telling its own story. Yet somehow, the sounds magically worked together to create a cogent cacophony, sometimes quietly, sometimes with ferocity. The crowd, generally fleeting at this festival, off to capture other overlapping sets, were glued to the pews, stunned and delighted. The church remained packed to the last notes.
Of course, in the ever burgeoning world of jazz, there is always room for discovery and there were plenty of newcomers to fill in the “it’s who you don’t know” bucket. Matthew Whitaker and his group took the familiar for some unfamiliar rides, adding his spins to everything from Brubeck’s “Take Five,” to Eddie Harris’s “Freedom Jazz Dance,” and Chick Corea’s “Spain.” Whitaker flipped his playing between piano, synthesizer and B3 organ effortlessly, bringing new energy and fresh perspectives to some well-worn material.
Oslo’s Oddgeir Berg Trio provided the yearly Nordic discovery at the festival. A melodic and very tight keys trio, they added elements of rock music to some at-times chaotic and schizophrenic pieces, making for a very intriguing and satisfying set. Guitarist and vocalist, Albino Mbie, from Mozambique, brought an absolute melting pot of a band, representing Brazil, Cuba, Panama and the U.S., single-handedly fulfilling the “International” portion of the festival’s name. Mbie led the band through his sunny African soul music with slick guitar work and excellent vocals, including a fully vocalized drum solo. Guitarist Olli Hirvonen, native of Finland but based in Brooklyn, brought a trio that was more instrumental rock than fitting into any preconceived jazz sect, falling into the “endless possibilities” category. Tough to categorize and tough to describe, their sound combined elements of Explosions in the Sky with Pat Martino, soaring and cinematic with splashes of mind-melting fusion.
South African pianist Nduduzo Makhathini made his Rochester International Jazz Festival debut with Francisco Mela on drums and Zwelakhe Duma Bell La Pere on bass. Makhathini gave the piano a full-body workout, slamming his Nike high tops on the sustain pedal with gusto, filling Kilbourn Hall with notes echoing and reverberating long after their intended moment. The pieces found a groove in textures more than in melody, bass, drums and piano equally contributing to the resulting tapestries. Makhathini broke from the music for a couple short lessons on the importance of music in South African history and culture, and his philosophies behind his music, lending an extra layer of importance to an already highly elevated live experience. He doesn’t compose music, rather he “taps into sounds that already exist in the universe.” No wonder then that the “possibilities are endless.”
Weezer delivered an electrifying performance on their Indie Rock Roadtrip tour at CMAC on July 3, catering to audiences new and old with their expansive and iconic discography. For almost thirty years Weezer has been churning out hit after hit, including the notable “Buddy Holly” to “Island In The Sun,” as well as their infamous cover of “Africa” by Toto.
Photo by Jamie Mohr for NYS Music.
With storms earlier in the day, the clouds lightened up and the beautiful hot sun pounded down on those ready to see a night full of great indie music. Punk rock band Joyce Manor was the first opener of the night, with their grunge-esque sounds and aesthetic, the group kept the audience engaged and in the mood for the night ahead.
The second opener, Future Islands, was a whole different vibe and experience than the band before it. With their futuristic-sounding instrumentals, unique and intimidating vocals, and a stage presence like no other, the almost 20-year-old band pulled from their extensive and creative discography for a set like no other. Lead singer Samuel T. Herring put on quite the show with his immersive and passionate performance, moving all around the stage and even falling to the floor a few times.
Future Islands, photo by Jamie Mohr for NYS Music.
Finally came the moment everyone was waiting for, Weezer taking the stage. Founded in 1992, the band features Rivers Cuomo (lead), Patrick Wilson (drums), Scott Shriner (guitar), and Brian Bell (bass). Since its inception, Weezer has sold more than 35 million albums worldwide, finding fame with their 1994 record Weezer, dubbed “the Blue Album.” When the curtain fell to start the show, the stage emerged into a car, with the radio and wheel, and graphics showing different roads throughout the whole night, very fitting to the Indie Rock Roadtrip name.
Photo by Brian Ferguson for NYS Music.
Weezer opened with “My Name Is Jonas” an iconic and nostalgia-infused track from their first record. The crowd immediately started jumping and moving back and forth as the music started, with the band just as hyped. Quickly moving through tracks, the band performed one of their most famous tracks “Beverly Hills,” featuring the audience screaming the lyrics, “Beverly Hills/That’s where I want to be.”
Photo by Jamie Mohr for NYS Music.
Keeping up with the pace, the band grooved to their instrumental track “Return to Ithaka,” and brought out some oldies including “The Good Life,” “Pork and Beans,” “Pink Triangle,” and “El Scorcho.” During “You Gave Your Love to Me Softly,” Weezer brought out the lead singer of Joyce Manor, Barry Johnson, to sing, adding more vocals to the already perfected harmonies the band has. At this point, I was already spent from dancing and singing, but I carried on because the show was so energetic and infectious.
Things got softer in the middle of the show to give the audience the much-needed break, with Rivers Cuomo performing solo acoustic tracks like “I’m Just Being Honest,” the live debut of the track, and the infamous “Only in Dreams,” bringing out the rest of the members for the songs long instrumental break.
Photo by Brian Ferguson for NYS Music.
The rest of the concert was exciting and fun with more popular tracks like “Island in the Sun” bringing out new stage effects like a giant sun, and other tracks like “Say It Ain’t So,” seeing the crowd at their loudest. My favorite part of the night was the encore because the crowd was the most hype they had been so far, with songs like “Surf Wax America,” and “Buddy Holly,” ending the most perfect evening. Overall, Weezer’s Indie Rock Roadtrip was exciting, fun, and very tame, leading to a great experience full of amazing music.
Set: My Name Is Jonas, Beverly Hills, Return to Ithaka, The Good Life, Pork and Beans, Pink Triangle, El Scorcho, You Gave Your Love to Me Softly, Blast Off!, Undone – The Sweater Song, I’m Just Being Honest, Susanne, Only in Dreams, The Greatest Man That Ever Lived (Variations on a Shaker Hymn), Island in the Sun, Perfect Situation, All My Favorite Songs, Say It Ain’t So, Run, Raven, Run (instrumental only), Hash Pipe, and Thank You and Good Night.
Encore: The Waste Land, Surf Wax America, Buddy Holly.
JazzBuffalo announced the lineup for this summer’s Jazz on the Plaz! concert series. The event takes place in downtown Buffalo every Friday at 5 PM from July 7 to Aug. 25 at the West Plaza of Seneca One Tower. The concerts feature some of the best jazz artists from around Western New York.
The Seneca One Tower is one of the mainstays of the Buffalo skyline. Originally built between 1969-1974, the building has long served as headquarters for banking institutions. Now, the tower has become a multi-use space, housing start-up companies and apartments. Thanks to recent updates, the building now aims to be a collaboration hub within the city.
Courtesy of JazzBuffalo.com
Jazz on the Plaz! is part of JazzBuffalo’s extensive programming of shows, educational opportunities, and events. Created to build appreciation for the genre, JazzBuffalo is committed to impacting and encouraging the arts scene in the city. There will also be food trucks and beverages available as part of the performances. All concerts are free and open to the public. Donations are encouraged and will go toward the Keep Jazz Alive Fund. Click here for parking information and here for more details about the performances.
Summer Lineup
July 7: My Cousin Toné
July 14: Wendell Rivera Latin Jazz Ensemble
July 21: Jay Sharp-tet
July 28: Donny Frauenhofer Trio: Jazz Fusion Exprience
It was a night to celebrate 90s rock music on Sunday, as Counting Crows brought their Banshee Season Tour to CMAC on Sunday, July 2nd. The concert featured direct support from Dashboard Confessional.
It’s hard to believe it’s been 30 years since Counting Crows burst onto the music scene, releasing their multi-platinum debut album August and Everything After in 1993. The California natives have gone on to release seven more studio albums, along with numerous live albums.
Fronted by Adam Duritz (vocals), the band also features David Bryson (guitar), Charlie Gillingham (keyboards), Dan Vickery (guitar, pedal steel), David Immergluck (guitars), Jim Bogios (drugs) and Millard Powers (bass guitar). The band is touring in support of their latest release, Butter Miracle Suite One (2021).
Heavy showers swept across the concert facility minutes before gates opened on Sunday evening. This did not deter a passionate fan base from arriving early to take in opener Dashboard Confessional. Originally the solo-acoustic project of Chris Carrabba, it would morph into a full band in 2002, as Carrabba was asked to perform on MTV Unplugged. The added bandmates allowed Carrabba’s songwriting to take on new depths and sounds.
Just after 7:30, Carrabba and his band mates took to the stage, and were met with a heavy cheer from the audience. The band launched into the upbeat “Don’t Wait”, which delivered a call and echo vocals, to with the audience enthusiastically obliged. From there the band would perform “The Sharp Hint of New Tears”, a song from Carrabba’s 2000 debut release (with lyrics that showcase the origin of the band’s name). Once known for writing acoustic emo rock, with themes centering around heartbeat and loss, Carrabba and his mates delivered a 60 minute set, spanning the band’s twenty year catalog and was filled with songs of hope and self-triumph. The band would close out their set with perhaps their biggest hit, the high energy “Hands Down”, which saw his band mates jumping and leaping around the stage.
As the 9pm hour approached, a pedal steel guitar was wheeled to stage left. Moments later, the house lights would dim and Duritz and his bandmates took to the stage. A lone spotlight illuminated guitarist Dan Vickery as he began to pluck the hauntingly familiar guitar riff to “Round Here”, one of the band’s most well known songs. Additional lights would slowly illuminate the remaining members of the band as Duritz moved to the center of the stage to start delivering his poetic lyrics, at times acting out key moments in the song. As the song built on energy and emotion, the audience became engaged, belting out lyrics. The band continued to build on the energy and emotion, following up with the upbeat “Hard Candy” and then the familiar “Mr. Jones”.
While the band’s set would lean heavily on music from their early years, Duritz didn’t hide his excitement when they would perform tracks of the band’s latest two releases. Tracks like “God of Ocean Tides” and “The Tall Grass” hit home with the audience as well as the band’s early hits. The later portion of the band’s set saw them perform their latest release Butter Miracle Suite One in entirety. They would conclude the main set with the familiar classic “Long December” which saw the grounds illuminate with cell phone lights and erupted into an audience sing along.
Crowd pleas for an encore would be obliged by the band, as they would return to the stage and deliver a four song encore. Returning to the stage with “Time and Time Again,” a beautiful track of their debut release, Duritz’s voice proved to be strong as ever, as the chorus echoed through out the center. Chris Carrabba and his band would join the Counting Crows for the next piece of the encore, Dashboard Confessional’s 2006 hit “So Long, So Long” which saw Duritz provide a guest vocal appearance on the studio recording. Carrabba would return the vocal favor on the next song, trading lyrics with Duritz on the hit “Hangin’ Around”. Fans flocked to the aisles to sing and dance along, as Carrabba and Duritz bounced around the stage, singing and triumphantly trading high-fives with fans.
Counting Crows ‘Banshee Season’ Tour – CMAC, Canandaigua, NY – July 2, 2023
Setlist: Round Here, Hard Candy, Mr. Jones, Colorblind, Butterfly in Reverse, Omaha, Catapult, God of Ocean Tides, Friend of the Devil, Goodnight Elisabeth / Pale Blue Eyes, The Tall Grass, Elevator Boots, Angel of 14th Street, Bobby and the Rat-Kings, Rain King, A Long December
Encore: Time & Time Again, So Long, so long, Hanginaround, Holiday in Spain
