Author: Pete Mason

  • ONCO Fermentations in Tully Announces Sunday Blues Series for 2025

    ONCO Fermentations, located in Tully, NY, has announced a new Sunday Blues Series for 2025. The brewery, kitchen and event space, opened in 2019, is located 20 minutes south of Syracuse, and showcases regional musicians on most Fridays, Saturdays, and/or Sundays.

    ONCO fermentation
    ONCO Fermentations in Tully

    The brewery in Tully is centrally located right off Route 81 (Exit 67) on the edge of Onondaga and Cortland counties, making ONCO a draw for customers from Binghamton to the North Country, and from as far as the Finger Lakes. With this geographical positioning, ONCO helps acts that may otherwise play in a concentrated local area, making Tully a destination for folks looking for live music that don’t want to drive to a city, or those fans who enjoy a short, scenic drive into the near-rural area.

    While the early music schedule at ONCO has been based on musician schedules and other events at the brewery, 2025 is the first year patrons can expect music every Sunday – with very few exceptions.

    ONCO fermentation

    ONCO is filling in most Sundays with the blues this year, one of the brewery’s favorite styles of music. Founder and Tap Room Manager Erin Bullard is a huge promoter of all of her acts, often saying “We put an urban warehouse brewery in rural America,” even though Tully isn’t truly rural.

    All shows are free of charge at ONCO, which straddles the line of listening room and bar, with a roughly 100 person main tasting room atmosphere that is festive as well as appreciative when the music plays. 

    In 2022 the brewery opened the Neo Kitchen within their space, focusing mainly on cold fermented Neapolitan pizzas, but a small expansion of offerings is currently under development. The brewery brews its own award-winning beer, and also offers nonalcoholic options, wine, hard cider and a selection of cocktails.

    ONCO fermentation

    These three threads bring people back to ONCO time and time again – beer, food, and music. The brewery also has a 3,500 square foot “Back Space” area for patron overflow and alternate activities during the shows, and a large outdoor beer garden adjoins the facility. When the weather warms up, all music is scheduled to be outside, but will be located inside if the weather is unpleasant.

    There will be no blues on select days – Superbowl Sunday, Easter, and a special events including F.I.R.E. Festival on March 9 with Jess Novak, the brewery’s 6th Anniversary Weekend Party finale on March 16, and ONCtOberfest on September 21, as well as other occasional music showcase treats.

    ONCO fermentation

    Musicians interested in performing at ONCO can reach out to Erin at music@oncoferment.com with a sample of their music, EPK, schedule and rate. The website is updated regularly with events, as well as regular posts on FacebookInstagram, and YouTube.

    ONCO Fermentations Sunday Blues Series

    Jan 5  / Joel Kane’s Uptown

    Jan 19 / Bradshaw Blues

    Jan 26 / Tangled Roots

    Feb 2  /  Austin Jimmy Murphy

    Feb 23  /  Tangled Roots

    March 2 / Stacey & The Copycats

    March 23 / Steve Grills & The Roadmasters

    March 30 / Jes Sheldon & The Stewards of Sol

    April 6 / The Ripcords

    April 13 / StratCat Willie & The Strays

    May 4 / Steve Grills & The Roadmasters

    May 11 / Blue Tonic

    May 18 / The Shylocks

    May 25 / Jane Zell Trio

    ONCO Fermentations Sunday Blues Schedule
  • In Focus: Hayley Jane and Laura Leigh Warm up Ophelia’s in Albany

    Hayley Jane and Laura Leigh paired up for an unforgettable night of music at Ophelia’s in Albany on the bitter cold night of December 21st.

    Hayley Jane and Laura Leigh
    Photo by Pat Rogers

    The show capped off a week that saw Ophelia’s welcome Slidin’ Dirty relocating from Troy and serving up a deep menu of top notch burgers and more.

    Hayley Jane and Laura Leigh
    Photo by Chris Bobillo

    The evening was presented by Guthrie/Bell Productions and also the final Jam for Tots show of the holiday season. (thanks to all who brought an unwrapped toy!)

    Hayley Jane and Laura Leigh
    Photo by Pat Rogers

    A natural pairing for this show, Hayley Jane and Laura Leigh have performed shows together since 2022. Hayley pulls inspiration from so many styles – 60s + 70s rock + pop, musical theater, folk, blues, soul, psychedelic, funk + bluegrass – and offers a no holds barred approach to her sets. This made each song a performance, nothing less. Hayley Jane’s passion and energy are expressed out to the audience, bouncing back off and driving each show to new heights.

    Photo by Chris Bobillo

    Opening up, Laura Leigh’s set picked up steam slowly and offered no break once the wheels were turning. Hailing from Cambridge in Washington County, Laura Leigh has gone from busking around the Capital Region to performing on local stages to a growing audience. Her 2021 album Livin’ in Cambridge painted a picture of her small town, and newer songs since written offer a glimpse into a songwriter’s journey.

    Learn more about Hayley Jane and Laura Leigh.

    Photos by Chris Bobillo

    Photos by Pat Rogers

  • “Twas the Night Before Christmas” Celebrates 201st Anniversary of Publication

    The latest episode of Troy Story: A Podcast for the Collar City, marks the 201st anniversary of “‘Twas the Night Before Christmas” by Clement Clark Moore.

    Twas the Night Before Christmas

    The favorite holiday tale was first published in The Troy Sentinel on December 23, 1823 as a poem. It would later go on to shape modern conceptions of Santa Claus and many familiar holiday traditions.

    The episode features guest Kathy Sheehan—Executive Director of the Hart Cluett Museum and historian for Troy and Rensselaer County—who explains the story behind the iconic “Twas the Night Before Christmas” and its place as American holiday lore, the more recent debate over authorship, and the poem’s more than two-century connection to the Collar City.

    Troy Story: A Podcast for the Collar City is a monthly oral history podcast produced and hosted by John Salka—longtime Troy resident and former Communications Director for the city of Troy and advisor for two mayors.

    The full episode is available on Apple PodcastsSpotifyYouTube, and all major podcast platforms.

  • Albany’s MVP Arena Ranked 83rd in the World for Attendance by Pollstar

    Albany’s MVP Arena, has been ranked by Pollstar as 83rd globally, and 52nd in the United States, in terms of attendance, a premier status for the Capital Region’s #1 venue for live events.

    Other New York venues found on the global 200 list include Madison Square Garden (2nd), Barclays Center in Brooklyn (6th), UBS Arena in Belmont Park (30th) and Keybank Center in Buffalo (94th).

    This ranking highlights the arena’s continued success in attracting large audiences for a variety of events, including sports, concerts, and other entertainment spectacles. 

    MVP Arena’s strong performance in global rankings reflects a wide range of events that resonate with audiences, including Major League Lacrosse, Arena Football, a variety of concerts, comedians, College Basketball, and much more.

    Rogers Waters at MVP Arena - July 2022 - photo by Dave Decresente
    photo by Dave Decrescente

    Notably, gross ticket sales generated in Albany (more than $28 million dollars) exceeded major markets such as New Orleans, Cleveland, Glendale, Minneapolis, Columbus, Grand Rapids, Atlantic City and many international cities that ended the year behind Albany’s ranking. 

    “We are proud to be ranked among the top 100 venues in the world,” said Bob Belber, General Manager of MVP Arena. “This achievement is a testament to the hard work of our team, the support of our community, and the incredible fans who fill the arena for every event. We look forward to continuing to host unforgettable experiences for our guests.” 

    Phish Albany Box of Rain MVP Arena
    photo by Conor McMahon

    This milestone further reinforces Albany County’s commitment to providing a top-tier facility. The re-investment that County Executive McCoy has made into the arena with upgrades to seating, technology, locker rooms and the enclosure of the atrium has made MVP Arena a must play for many tours. 

    Slipknot knotfest Albany 2022
    Photo by Mike Miller

    “This ranking reflects how years of strategic investment and management have transformed MVP Arena into a first-class venue for residents and visitors alike. I would like to thank our partners at ASM Global as well as our naming sponsor, MVP Health Care, and the Albany County Legislature for their continued support. Together, we are ensuring that our arena remains a source of pride for our County and a key driver of tourism and economic activity in the Capital Region. I look forward to seeing even greater success and growth as we continue to raise the bar and attract world-class entertainment,” said Albany County Executive Daniel P. McCoy. 

    The ability for Albany to make a strong showing in the Top 200 venues shows a resilience for the town, that despite the monikor ‘Smallbany,’ folks come from all over to take part in the rich variety of arts and music offered in the state capital.

  • Caffè Lena Launches New Peak Jazz Series to Showcase World-Class Jazz Talent

    Caffè Lena has announced the launch of the Peak Jazz Series, an exciting addition to its monthly concert offerings. Made possible by the generous support of Joseph and Luann Conlon, this series is dedicated to fueling the growth of jazz in Caffè Lena’s renowned listening room.

    Hailing from Saratoga Springs, the nation’s oldest continuously operating coffeehouse new Peak Jazz Series will focus on ensembles that lean toward cool jazz, fusion, and funk, offering audiences a dynamic and diverse jazz experience.

    Peak Jazz Series

    By ensuring a steady flow of world-class jazz acts, the series enriches Caffè Lena’s programming and reaffirms its commitment to fostering live music in an intimate and premium setting.

    The Peak Jazz Series joins the already thriving Jazz at Caffè Lena Series, hosted by accomplished jazz pianist Chuck Lamb. Each month, Chuck and his trio welcome a special guest to the stage, offering unique collaborations with some of the most remarkable names in jazz. Recent highlights include performances with Jimmy Greene and Stanley Jordan, showcasing the diversity and brilliance of the genre.

    “We’re thrilled to expand our jazz programming. With the Peak Jazz Series adding a fresh layer to our monthly offerings and Chuck Lamb’s Jazz Series continuing to bring in extraordinary guests, Caffè Lena is solidifying its place as a top destination for live jazz in the region.”

    Sarah Craig, Executive Director of Caffè Lena

    “Supporting the Peak Jazz Series at Caffè Lena is an exciting opportunity to celebrate the depth and diversity of jazz,”said Joseph Conlon, sponsor of the Peak Jazz Series. “We’re proud to help bring extraordinary ensembles to such an intimate venue, showcasing the energy, artistry, and innovation that define this genre. Our hope is to inspire both long-time jazz enthusiasts and new audiences to connect with the music in meaningful ways.”

    The Momentum Series, also made possible by the Conlons in honor of Thom O’Neil, will continue to bring high-energy performances—solo and band—that fill the room with electrifying energy. Together, these series provide unparalleled opportunities to experience the power of live music across genres at Caffè Lena.

    Caffè Lena invites jazz enthusiasts, music lovers, and the community to experience the debut of the Peak Jazz Series and its exceptional lineup of artists. For tickets and information, visit www.caffelena.org.

  • A Holiday Classic: Darlene Love performs “Christmas (Baby Please Come Home)” on Late Show with David Letterman

    From 1986 until 2014, David Letterman would close out his final show of the year with a Christmas episode that featured the one and only Darlene Love. Over the span of those 28 years, Love would perform her holiday hit “Christmas (Baby Please Come Home),” one of Letterman’s favorites.

    darlene love letterman christmas

    The appearance found its origins after Letterman saw Love perform the song at the Bottom Line, in a show called Leader of the Pack. He immediately had to have her on the show. Love told Variety in 2014:

    He had David [were] down to see the show. [Letterman] said, “You know that song that girl sings? That Christmas song? That’s the greatest Christmas song I’ve ever heard. We need to get her on the show.” That was 1986, and so I’ve been doing it ever since.

    The tradition spanned two networks over nearly three decades, appearing from 1986 until 1993 on Late Night with David Letterman, and later on the Late Show with David Letterman when Letterman joined CBS.

    The song was originally recorded for the 1963 Phil Spector album A Christmas Gift for You, and while Love performed the song on Letterman’s shows, she told the New York Times in 2014 that she will not sing it for any other TV talk-show hosts moving forward.

    For her final performance, the Late Show paid tribute to Darlene Love. Following her brief interview with Dave, the stage filled in with additional musician, including string and horn sections and several backup singers. These singers would not overshadow Love’s powerful voice, and sang her final last verse from the top of Paul Shaffer’s piano, with fake snow falling around her.

    Recently, an animated version of “Christmas (Baby Please Come Home)” has been released through Legacy Recordings. The short video follows a young Black girl as she walks home through a snowy neighborhood, accompanied by a happy snowman. Along the way, she stops to admire a Christmas tree and runs into her dog, who is singing along with a pair of carolers. The girl and her dog arrive home, where they are lovingly greeted by her parents. As the video nears its end, the girl opens up one of her presents to find a snow globe with the smiling snowman inside.

    At the end of the music video, Love posted a message paying tribute to her late sister, Edna Wright Perry, who sang backing vocals on the track.

    Featured on the show prior to Love’s show-stopping performance, Letterman annually welcomed comedian Jay Thomas, to share, as Letterman put it, “the best story I’ve ever heard.” Thomas would then launch into his true story about an encounter with Clayton Moore, the actor famous for playing The Lone Ranger. For 17 years starting in 1992, Thomas would come on the show and deliver the joke, much to Letterman and the audience’s approval. Watch the story unfold over the years.

    After Thomas delivered the punchline, he and Letterman would alternate throwing a football at the meatball on top of the Late Show Christmas tree. To wrap up the show, Darlene Love would come out for “Christmas (Baby Please Come Home)” and send the show into the night.

  • December 1999: Rochester gets a Phish Fall Tour Heater

    Phish has made their way across New York State in the Fall many times over the years, particularly in 1995 and 1997. Those stand out years in Phish history overshadow 1999, and the December 5 show in Rochester deserves a second look for more than the “Jennifer Dances” premiere with which it has come to be associated.

    A warm afternoon before the show gave way to a cold and windy night, just the weather shift you’d expect near Lake Ontario in early December. Two years removed from their December 11 show at Blue Cross Arena, which featured a monster “Down with Disease” and the debut of Ween’s “Roses are Free,” you’d be forgiven if you didn’t listen to the other Rochester Phish show from the tail end of the 90s. But what a show this one was too.

    Rochester Phish 1999

    An overlooked Fall Tour show, this one captures ‘Never Miss a Sunday Show’ perfectly. Give a listen via Phish Tracks and you’ll see why. The first set begins with “Carini” busting out of the gate for a short and sweet version. “Gotta Jibboo,” was just beginning a span of heavy rotation that went through Fall 2000, and featured deep bass from Mike Gordon who tucked himself right into the pocket of the groove, with Trey Anastasio accelerating towards a hearty finish.

    “Back on the Train” follows, adding another of the four Farmhouse tracks heard this night, then a top tier “Taste” that clocked in over 13 minutes is a must hear version as well. “Bug” and “Sparkle” follow, and then BAM!, a strong “Tube” with added keys from Trey who explored this added outlet many times on this tour, all the way through Big Cypress.

    “Lawn Boy” and “Ginseng Sullivan” filled in before a new twist on “Twist” emerged, with a new arrangement that would continue to evolve over time, and may feel even more familiar to fans these days than versions prior. This long and winding “Twist” keeps it up for 12 minutes to close the first set.

    Starting set 2 with “Mike’s Song” boded well and ol’ reliable did not shy away from stretching its legs until an unexpected segue into “Meatstick,” which had been finding frequent plays since that summer. While this version clocks in at a strong 12 minutes, it is only the second most notable version from New York State (at that time,) as the band led an effort to have the crowd perform the “Meatstick” dance at Camp Oswego enter the Guinness Book of World Records. Little did the Rochester audience know that this song would usher in the new millenium a mere 26 days later.

    This version of “Meatstick” is now unique in that it does not feature Japanese lyrics, something that would not appear until the next summer in Japan, and later in America, becoming a staple of nearly every version of since 2009.

    After “I am Hydrogen” segued out of “Meatstick,” a fiery “Weekapaug Groove” with no let up wrapped up this Mike’s Groove. A loud speaker hiss can be heard before the start of “Brian and Robert,” and after this breather, Trey spoke to the audience, saying,

    Thank you, we played here a few years ago and we were talking backstage, this is definitely a very favorite room of ours, people are very cool and its a special place and we apprecaite being here. we’re going to trying out a brand new song on you, it’s called “Jennifer Dances”

    Trey Anastasio, preparing the world for “Jennifer Dances”

    With a little less salt in the gravy this night, the excitement and elation of getting a debut original was palpable, and the crowd got the first of the storied “Jennifer Dances.” Maybe you enjoy it, maybe you chase it, and perhaps you loathe the mention of this ‘ballad,’ but on this night, the audience was laser focused on the new tune.

    The remainder of the set picked up after the dip in the middle that the interrupted the flow. The “Maze” clocks in at nearly 15 minutes, full of driving funk via Page McConnell’s keys, and is followed up nicely by “Fluffhead,” adding an exclamation point to the “Maze.” But wait, there’s more! “Chalkdust Torture” > “Frankenstein” closed the set with as much back to back energy as pounding a Red Bull and following up with a 5 Hour Energy – hearts were pumping at full capacity for the final half of this set.

    Phish rochester 1999

    For an encore, the band left the stage and returned to a microphone set up on Page Side, so those on the floor gravitated over for an up close version of the barbershop quartet “Hello My Baby, ” by then a fading acapella number and the last one until 2009. “Character Zero” found the energy from the second set, bottled it up and unleashed on the crowd to close the night.

    Phish have made their presence known in Rochester over the years and made their December 1999 show as memorable as the 1997 show that garners the most attention. In that way, December 5, 1999 is the Jan Brady of Phish shows in the Flower City. Stream the show via Phish Tracks.

    Phish, December 5, 1999 – Blue Cross Arena, Rochester, NY

    Setlist via Phish.net

    Set 1: Carini > Gotta Jibboo, Back on the Train, Taste, Bug, Sparkle, Tube, Lawn Boy, Ginseng Sullivan, Twist[1]
    Set 2: Mike’s Song -> Meatstick > I Am Hydrogen > Weekapaug Groove, Brian and Robert, Jennifer Dances[2], Maze, Fluffhead > Chalk Dust Torture > Frankenstein
    Encore: Character Zero, Hello My Baby
    [1] Slightly new arrangement.
    [2] Debut.

  • Flashback: Nine Inch Nails 1994 Albany Show Cut Short at Knickerbocker Arena

    On a late-fall Sunday evening in Albany, Nine Inch Nails brought their “Further Down the Spiral Tour” to the Knickerbocker Arena (now MVP Arena). The December 4, 1994 performance was notable not just for the opening acts – Marilyn Manson and Jim Rose Circus – but also a show cut short when a fan threw a shoe at the head of NIN drummer, Chris Vrenna.

    Ticket stub - Nine Inch Nails, Albany, NY - December 4, 1994
    Ticket stub – Nine Inch Nails, Albany, NY – December 4, 1994

    The second part of Nine Inch Nails’ Self Destruct Tour saw shows in Buffalo and New York City coming on either side of the Albany show, and following the release of the critically acclaimed album The Downward Spiral. With recent performances that summer – not only the legendary mud show at Woodstock 94, but also in Poughkeepsie at the Mid-Hudson Civic Center a few weeks prior on August 3, 1994 – the Albany show was hotly anticipated by grunge loving teens.

    And while this show’s openers were Marilyn Manson and Jim Rose Circus, other openers this tour included bands from the grunge era – Hole, The Melvins and Pop Will Eat Itself.

    Manson and his band were introduced onto the stage by the Jim Rose Circus, with a lineup including serial killer inspired aliases – Daisy Berkowitz (guitar), Twiggy Ramirez (bass), Madonna Wayne Gacy (keyboard) and Sara Lee Lucas (drums). This was among the first times fans could see the controversial Marilyn Manson live, and while memories of the opening set are fleeting – the 30 minute set likely began close to the ticket time of 7:30pm, with many fans still waiting to get inside – one fan recalls from Manson’s set a vulgar tirade directed at a young woman in the crowd.

    Both before, during and especially after Manson’s set, hundreds of fans in seated sections rushed down the aisles past security, packing the floor to nearly uncomfortable levels even before Jim Rose Circus took the stage. The ensuing snarl of bodies on the floor meant the circus – a freak show, really – meant that there were many more eyes on the stage for graphic stunts. The modern-day circus freak show that first made its name at Lollapalooza 1992, had interjections from Rose who kept the crowd on the hook as ringmaster, guiding the captive audience through a series of tricks and stunts taking place across the stage.

    Early 1994 NIN Tour After-Show Pass

    Among the acts were swallowing and regurgitating razor blades, smashing a cinder block on a strongman’s chest, ‘eating’ sparks from a grinding machine, and one member of the circus taking a unstrung 1970s tennis racket (smaller than today) and squeezing his entire body through the racket, slowly but surely dislocating appendages and succeeding in the act. For the more adventurous, click here to see what the performance included, but for those in attendance, time has thankfully aided in forgetting some of this set.

    Note – I was a week away from turning 17, and still to this day, have only rushed the floor at a concert once. While the Nine Inch Nails performance was as memorable as could be, the Jim Rose Circus interlude has stuck with me for 30 years. I don’t know where my seats actually were for the show, but they sure weren’t on the floor. Of all the times to rush the floor and crowd near the stage…

    nine inch nails 1994 photo by Paul Carter
    photo by Paul Carter

    And for the next 20 minutes or so as the freak show went away and a screen lowered behind Nine Inch Nails’ gear, the anticipation grew steadily for an already GRAMMY-winning band (Best Metal Performance – “Wish”) to play songs from the new album, as well as the previous seven ‘halos‘. What would amount to a 74-minute show due to the aforementioned shoe to the head, was nothing short of memorable, albiet confusing at the end.

    The Nine Inch Nails lineup for this tour included frontman Trent Reznor (vocals, guitar, keys), Robin Finck (guitar, keys, backing vocals), Danny Lohner (bass, guitar, keyboards, backing vocals), Chris Vrenna (drums), and James Woolley (keys, programming, backing vocals). With a sepia-toned screen/banner behind the band, projections followed along with the music as themes of darkness, death and generally disturbing imagery were shone, adding a visual layer to a band that drew heavily on imagery in music videos for “Closer” and “Hurt,” in addition to previous videos.

    nine inch nails 1994
    Ticket stub – Nine Inch Nails, Albany, NY – December 4, 1994

    The band went through the setlist (seen below) as they likely did for many shows that tour – a good deal of The Downward Spiral songs, plus some older songs, and the anger-filled anthem “Head Like a Hole” closing the show. It was during this song that someone in the audience threw a shoe (rumored to be a boot, but alas, a sneaker) and hit drummer Chris Vrenna in the head. Presumably, someone threw someone else’s shoe, making it easier to avoid being caught for the offending toss.

    Vrenna finished the song, the band left the stage, and a few moments later, an announcement would come over the public address system, saying “The drummer suffered a concussion. The band is unable to continue.” With that, the lights were up and the show was over. Confusion abounded but the crowd was shuffled out towards South Pearl Street, an abrupt ending to an epic evening.

    Without a basis for pop-culture shoe-throwing references, this notable tennis shoe toss was relegated to urban legend status, as the incident took place a full three years before Austin Powers coined the phrase “Who throws a shoe, honestly?” and 14 years before an Iraqi journalist threw a shoe at then-President Bush.

    nine inch nails 1994 photo by Paul Carter
    photo by Paul Carter

    On December 17, 1994, the Daily Gazette gave brief mention of the show in the “Spotlight” section of the paper by writer M.L., under the heading “Really Nailed.”

    “For Nine Inch Nails drummer Chris Vrenna, the show ends when the shoe hits him in the head. The Nails refused to come back for an encore after their Dec. 4 show at the Knickerbocker Arena when Vrenna was beaned in the noggin by a sneaker thrown by rowdy fans, according to Soo Hyun, a music publicist in New York City.”

    It does not seem though that Vrenna had a concussion, but given the circumstances and sudden stopping of the show, giving the audience a reason was paramount at the time.

    This author’s NIN cap from the 90s, still in good/used condition

    M.L. continues, “Although the show left a nice bruise on Vrenna’s head, it seems the offending sneaker injured the drummer’s pride more than his body, Hyun said. “There was no damage, it was just a shoe,” Hyun said. “He’s played while bleeding before without any problems.”

    The show marked a first for Vrenna, as it was the first time he had been hit while performing on stage by fan throw items. Hyun continued “While fans often chuck objects at the band during their shows, the Knick concert was the first time that Vrenna has been struck while playing. They really expect this kind of stuff to happen.

    Luckily, two audience recordings of this show are available here (Sony ECM-155 + Aiwa J505) and here (Sonic Studio DSM6 Mics + Sony TCD-D7). The recordings are decent for the time period, with a little chatter over ambient sections of songs. A close listen to “Head Like a Hole” may indicate when in the song Vrenna was struck – Head, meet Sole – but kept playing til the end.

    The memory of the non-encore stands out, and looking back on setlists of the tour, “Closer” and “Something I Can Never Have” were among the songs the crowd missed out on. Still, between rushing the floor, a musical freak, a freak show, and Nine Inch Nails, the night of December 4, 1994 at the Knickerbocker Arena was nothing short of memorable.

    nine inch nails 1994
    Ticket stub – Nine Inch Nails, Albany, NY – December 4, 1994

    While no video footage of the show exists, you can view the Nine Inch Nails performance a few days later at Madison Square Garden, on December 7 and 9, 1994, which shows what the entire show in Albany would have been like, encore and all.

    Nine Inch Nails – December 4, 1994 – The Knickerbocker Arena, Albany

    Setlist: Pinion. Mr. Self Destruct, Sin, March of the Pigs, Piggy, Reptile, Gave Up, Happiness in Slavery, Eraser, Hurt, The Downward Spiral, Wish, Suck, The Only Time, Down In It, Head Like a Hole

  • Support NYS Music on Giving Tuesday

    We are proud to announce that NYS Music is now a 501(c)(3) charitable organization! This Giving Tuesday, we are looking to raise $1,000 to continue to expand our coverage and support our team across the state.

    We’re pushing into our 10th year in 2025 with a renewed focus on music and arts journalism. New York State Music is the ONLY publication that focuses coverage on up and coming bands, rising artists, breaking music news and celebrating music history from every region in New York State.

    support NYS Music
    Support NYS Music’s mission for Independent Music and Arts Journalism across New York State!

    NYS Music empowers new and aspiring music and arts journalists with a passion for all things music through coverage of concerts, festivals and live music of all genres. Serving as an incubator for independent journalism is more important now than ever before. NYS Music is proud to help build the next generation of writers and photographers while covering the best music coming from all parts of the Empire State. 

    Next week we will be previewing what’s to come in our 10th year! The team at New York State Music is grateful for your support. Be sure to check out our merchandise options as well!

    Donate via ActBlue to support NYS Music!

  • Protect Your Hearing: Earplugs and the Live Music Experience

    In the fall of 2010, I became acutely aware of a ringing and slight pain in my ears. I ignored it yet it persisted the next few days as well. Over the next week, the ringing faded to non-existence, but a week later at a club show, I found myself taking pictures near a speaker and later that night, I felt the ringing come back, quite strongly. The ringing this time did not go away and I continued to see live music but kept away from speakers.

    In December of that year I contacted an ear/nose/throat specialist and he informed me that I likely had tinnitus, the constant ringing sensation in my ears that would not go away, and was noticeable, especially in the silence before I went to sleep each night. Earplugs were in order.

    earplugsThis is when I decided it was time to invest in a good pair of ear plugs. For nearly every show since December 2010, I have worn earplugs and not missed a note of music and as a result, the ringing has subsided somewhat. While I have a couple of pairs of ear plugs that work well, I continue to notice, more than four years later that many of my friends and regulars at shows do not wear earplugs. The typical response is because they didn’t want to miss the sound of the show. The benefits of earplugs cannot be understated, as they filter out some of the unnecessary noise and improve the quality of the live music experience rather than hamper it. Around the time of this diagnosis, I sought out different styles and brands of earplugs to test which ones worked best and to share the benefit of earplugs with others so that fewer do not succumb to tinnitus, or worse, hearing loss. Four years later and I still have tinnitus but my hearing is no worse than it was in late 2010, but it would be a different story without a small investment in earplugs.

    earplugsFor parents who wish to bring their children to concerts and live music events, hearing protection is of paramount concern, as younger ears are more easily susceptible to damage. Doctors advise choosing to protect  children’s hearing especially, noting “Had I not been educated as to how fragile a child’s hearing was, I may have not protected both my kids early enough to ensure they won’t have hearing loss. Now, they wear them to fireworks, music, anything loud. My son even has them on right now while doing his homework in his bedroom.” For parents looking into hearing protection for their children, a variety of earmuffs are compared here.

    However, musicians are in a precarious position, especially bands that are just starting out, because they are faced with three choices – earplugs (affordable), in ear monitors (expensive) or no hearing protection at all (expensive in the long run). Each musician is different, where in ear monitors work for one, earplugs work for another. In the case of some musicians, needing to hear the subtleties of every note played is necessary and can be an issue when playing on stage, but still carry the side effects of being subjected to loud decibel levels of music for hours at a time, both in practice and during a performance. The dilemna for musicians is real.

    I spoke with Dr. Michael Devito, an ENT specialist, or Otolaryngologist, practicing in the Capital District of New York regarding hearing protection, the benefits of earplugs and what can happen without proper hearing protection.

    “Tinnitus is a subjective noise that some people describe as a motor running, a high pitch, etc…, but because it is subjective, there is no real objective way to solve it, and thus, treatment is difficult. It was originally thought Tinnitus came from the ear cells in your inner ear as they get floppy and move around, which gives a neural impulse to the brain and the sound is then interpreted as a ringing. However, instead it may originate in the auditory cortex of the brain.”

    Dr. Devito notes that the hazards associated with lack of hearing protection are quite severe.

     “If it is continuing to ring for a month, then the ringing might not go away at that point. Hearing loss is the other concern for protracted, long-term noise exposure. Depending on the music, artists and your proximity to the speakers, the sound can greatly impact you. The more decibels, the worse it can be on unprotected ears.”

    With that in mind, let’s talk ear plug basics:

    Attenuation

    When looking at earplugs, the most important thing to look for on a package or website is the Mean Attenuation.  This refers to how many decibels (dB) the hearing protection will reduce the sound, or how much the sound will be dampened based on quality of hearing product. If a given earplug gives you 20 db of attenuation, it will make 100 dB sound like 80 dB, without lessening the sound.

    Proper insertion

    Make sure to insert all earplugs properly. This is done by putting your left arm behind your back and pulling your right outer ear backwards from the lobe. Gently insert the earplug with a light twist with your left hand. Repeat with the opposite hand for the other ear. This is sometimes called the ‘monkey grip’ (per KillNoise). Do not over-insert into the ear, only to the point where you can remove them successfully.

    Proper care

    Keep earplugs in a case (most of those sampled below come with cases) and gently wash with soap and water – earplugs do need to be cleaned from time to time. If you use disposable ear plugs you can wipe them off, but they don’t need to be washed since they are designed for single use.

    Brands

    Of the brands surveyed below, none of these will fall out or feel like they might slip, provided they are properly inserted. Dance, rock out, rage proper and the earplugs will stay securely in your ear.

    Matrix Orange (single use), made by HowardLeight.com. This pair is firmer and may be tough to get into your ear but once in, they do not dull the music much and it feels almost the same as not having them in.

    Mean Attenuation at 2000 hertz: 36 dbearplugs

    Ear Peace: These are the smallest pair sampled for this article and very light. They can hide in your ears so well that no one can see them at all and it can feel like you are seeing a show without earplugs inserted. Being so small, they can be a bit weird to remove, as there is a tiny rubber end that allows you to pull the entire plug out at once. Removal becomes easier the more you use them. Bonus – these come with an awesome case on a small key chain. One size fits all.

    Mean Attenuation at 2000 hertz: 22 db


    HEAROS High Fidelity for small ear canals: It’s not the size of your ear canal that matter – get what feels best and fits best. These earplugs can be angled at three depths, denoted by soft ridges on the plugs. Comes with a case

    Mean Attenuation at 2000 hertz: 22.5 db

    Etymotic High-definition Earplugs: This pair of earplugs comes with a cord that attaches the two earplugs together, so that you can put them in and take them out and let them hang around your neck when the music isn’t playing. They fit in nicely, much like the HEAROS mentioned above (Etymotic also makes HEAROS) and keep the static out evenly without lessening the music experience.

    Mean Attenuation at 2000 hertz: 20 db

    HEAROS Xtreme Protection: Made out of soft squishy foam, these make music easier to tolerate close up, without making it quieter; they simply take away the bass and static that you wouldn’t recognize otherwise. When away from the music, it can be difficult to hear so you may have to take them out and reinsert them. They also roll up nicely, fit tight and are soft to touch. No case, but they fit easily into a wallet or purse.

    Mean Attenuation at 2000 hertz: 38.6 db

    earplugsKill Noise: Developed in Sweden, these small rubbery earplugs fit in easily with four depth levels and a rubber disc to stop them from going in too far. They definitely kill the noise, but only the bad stuff; the music gets through cleanly and clearly. It may take a few tries to get them in right, since they are a bit flexible and could have more rigidity but once they are in, they fit just right. They come with flat a snap-shut case.

    Mean Attenuation at 2000 hertz: 23 db

    Keep a pair in your backpack for a festival, your glovebox for club and theater shows, and a pair in your purse or wallet – cover all your bases. Don’t see live music without them if you want to continue hearing live music for many years to come. Taking care of your hearing is the most important thing live music fans should do for themselves, to ensure that the music never stops.

    Love it loud, but not to the point where you have to shout it out loud.

    Time Limits For Hearing DamageBelow are the accepted standards for recommended permissible exposure time for continuous time weighted average noise, according to NIOSH (National Institute for Occupational Safety and Health) and CDC (Centers for Disease Control and Prevention), 2002. For every 3 dBs over 85dB, the permissible exposure time before possible damage can occur is cut in half.
      Decibel 
    Level
    Hearing Damage
    Time Limit
    Activities
    30 Whispers, trees rustling
    60 Normal conversation
    70 Radio
    80 City street
    85 8 hrs Beginning of OSHA regulations
    88 4 hrs Hair Dryer
    91 2 hrs Lawnmower
    94 1 hr Motorcycle
    97 30 min Stereo Headphones
    100 15 min Tractor
    103 7.5 min Football Stadium
    106 3.8 min Nightclub
    109 1.9 min Rock Concert
    112 < min Air raid siren
    115 < 30 seconds Jackhammer