Category: Media

Grateful Dead Close Out Their Lone Felt Forum Run: December 7, 1971

For their final East Coast shows of 1971, The Grateful Dead played a four-night run at the Felt Forum in New York City. December 7 marks the fourth and final one of these shows during a still transitional era for the band. Drummer Mickey Hart left the group earlier in the year and the Dead were still in the process of integrating new keyboardist Keith Godchaux who joined them in September.

Original keys player and founding member Pigpen had also recently rejoined the group after a stint in the hospital. With the band now at full strength, they unleashed a chock full two sets of music on this evening that showcased their full potential, paving the way for their legendary Europe ’72 Tour that would follow a few months later. This show in particular was deemed so good that it would later go on to become an official Dave’s Picks release, serving as Volume #22 in the series. It sees the band at their finest, mixing up a healthy blend of rock, rhythm, and blues along with a little holiday cheer.

Grateful Dead Felt Forum 1971 Dave’s Picks

The last show of the Felt Forum run of ’71 begins with “Cold Rain and Snow,” a song that had established itself as a common opener in this era of Grateful Dead. Garcia delivers a couple of pristine guitar licks with new keyboardist Keith Godchaux providing timely fills on organ. The newest member of the band then moves over to piano as Bob Weir takes over on vocals for a quick yet feisty “Beat It On Down The Line.” With the band seemingly warmed up on a couple of classic numbers, Pigpen then takes over on lead vocals for the first time with the fairly new “Mister Charlie,” a song that debuted just a few months ago at the Yale Bowl which would be played every night of this run and for good reason. His sultry singing combined with some more vintage Garcia guitar play make for a soulful combination that, alas, doesn’t stray too far.

The first extended play of the evening is another fairly new song that actually debuted at the same show, “Sugaree.” Garcia and Godchaux exhibit more great chemistry early on with each taking a nominal solo and bassist Phil Lesh locking down the bottom line in style throughout. An even newer song that would remain a staple of live Dead shows for their entire career then follows in “Jack Straw,” another one that made an appearance at all four shows of the run. Godchaux’s work on piano compliments Weir’s vocals perfectly and the band eases through this classic number that seems to pick up speed from start to finish. After a quick introduction from Lesh, Pigpen then returns to center stage for his typical rambunctious take on “Next Time You See Me” that includes a couple of ripping solos on harmonica. The joy that the Grateful Dead get in playing this blues cover is nearly palpable.

This carries right over into another one of the new batch of songs, “Tennessee Jed,” which has Weir and Garcia harmonizing nicely on the choruses. Another song that would remain on set lists for years, this one is peppered with an extra bluesy guitar solo from Garcia that’s dripping with flavor. After Weir leads the Dead through a lively “El Paso,” things slow down considerably with the “Brokedown Palace” that follows which gets a considerable round of applause from the Felt Forum crowd at the onset. It’s a true group effort with Lesh joining in on some vocal harmonies and another typically tender, yet brief, solo from Garcia.

With the Dead no strangers to a Chuck Berry cover, afterwards they get in the holiday spirit and bust out a cover of “Run Rudolph Run,” a song they would only play a handful of times ever this month. It’s classic 12-bar blues with Pigpen, naturally, on lead vocals for a quick song that’s melodically similar to Berry’s “Little Queenie.” The band then stays in blues cover mode with a rare take of “You Win Again,” a ballad first sung in 1952 by Hank Williams which made its live debut just last month and would never be played again after 1972. The first set then wraps up with a couple of Grateful Dead classic originals starting with a fiery “Cumberland Blues” that sees Lesh leading the way with spirited bass play and Godchaux delivering a flurry of chords on piano. That troublesome train conductor “Casey Jones” then caps off a jam packed first set that seems to cover all the bases.

With the bar set high from a rollicking first set, the momentum carries right over into the second set with a powerful opening 1-2 combination of “Sugar Magnolia” and “Ramble On Rose” that sees Weir and Garcia passionately belting out the vocals on each, respectively. The torch is then passed back over to Pigpen who leads the band through yet another classic cover, this time it’s Jimmy Reed’s “Big Boss Man.” Another soulful harmonica solo serves as the bridge to some more bluesy guitar licks delivered by Garcia on this one. A lightning quick take on the new “Mexicali Blues,” another song that found its way onto the set list all four nights, then precedes a silky smooth rendition of “Brown Eyed Women.”

This sets the stage for the last Pigpen-centered song of the evening and the most extended “jam” of the show – a 12-minute enthralling cover of Howlin’ Wolf’s “Smokestack Lightning.” Pigpen’s iconic singing and harp play mesh perfectly with Garcia’s blues-driven guitar stylings and the band takes their time on this one, stretching it out nicely. Sadly, this is the second to last version the Dead would ever play with Pigpen, a founding member of the band. The “I been gone so long” lyrics sang in repetition towards the end of the song hit especially hard knowing that.

This is followed up by a rather mellow take, compared to later standards of “Deal” another fairly new song in the band’s catalog that made its debut at Port Chester’s Capitol Theatre earlier that year. This is succeeded by “Truckin’,” a song the Dead played at every show of that vaunted Capitol Theater run earlier in the year and one that finally sounds like it’s starting to develop an identity and jam capabilities thanks to the addition of Keith Godchaux who shines on the organ on this rendition.

The second set then comes to a triumphant finish with the classic closing sequence of “Not Fade Away” > “Goin’ Down The Road Feeing Bad” > “Not Fade Away.” Bill Kreutzmann on drums makes his presence felt early and often on “Not Fade Away” which elicits a truly blissful jam of sorts that flows effortlessly into the beginning of “GDTRFB.” For an encore, the band breaks out one last song from the new batch, “One More Saturday Night.” It would only be the second time ever used in this spot, one that it would soon become commonplace for the rest of their storied career, closing out the fourth and final show Dead show at Felt Forum in grand fashion.

Grateful Dead – Felt Forum, New York, NY – December 7, 1971

Set 1: Cold Rain and Snow, Beat It On Down The Line, Mister Charlie, Sugaree, Jack Straw, Next Time You See Me, Tennessee Jed, El Paso, Brokedown Palace, Run Rudolph Run, You Win Again, Cumberland Blues, Casey Jones

Set 2: Sugar Magnolia, Ramble On Rose, Big Boss Man, Mexicali Blues, Brown Eyed Women, Me and My Uncle, Smokestack Lightning, Deal, Truckin’, Not Fade Away > Goin’ Down The Road Feeling Bad > Not Fade Away

Encore: One More Saturday Night

View this and more Grateful Dead shows from across the years in New York State with our interactive map below

December 6, 2024
LIMEHOF 20th Anniversary Holiday Celebration: DMC, Ernie and the Band, and More Shine at Two-Day Event

The Long Island Music and Entertainment Hall of Fame (LIMEHOF) marked its 20th anniversary with a special Holiday Celebration over the weekend of November 30th and December 1st. This two-day event brought together an incredible mix of local and legendary talent, creating an unforgettable experience for attendees.

Day 1: A Rich Tapestry of Sounds

The festivities kicked off on November 30th, featuring an eclectic mix of performances. Casey Adams opened the night with his soulful energy, followed by Mark Newman’s smooth rock stylings. The Kerry Kearney Band brought their signature blend of blues and rock, while the Stanton Anderson Band closed out the evening with an electrifying set that kept the crowd on their feet.

Day 2: A Star-Studded Celebration

The second day, December 1st, was a true celebration of music, featuring a lineup that spanned genres and generations. One of the highlights of the day was the performance by Ernie and the Band, who took the stage with a setlist that included Tangled Up in Blue, No Rest, Summertime, and Dead Man Walking. The band’s dynamic sound was a testament to their organic, genre-blending approach to music, which has earned them a devoted following.

I had the chance to talk with Ernie and the Band after their performance, where they shared insights into their musical journey. Founders John and Rob, best friends since childhood, were joined by Nick and Brady, who completed the band’s lineup. Their songwriting process is fluid, beginning with a simple melody, lyric, or progression that grows into a full song. The band cited standout performances at the Great South Bay Music Festival and their recent two-night run at Industry in Huntington as major highlights of their career.

Next up was the legendary DMC (Daryl McDaniels), who took the stage with Johnny Juice and Richard Barone. Before his performance, I had the chance to speak with DMC, where he shared how his passion for storytelling has expanded beyond music. He began by talking about how his college lectures evolved into speaking engagements at high schools, middle schools, and elementary schools, where he adapted his message for younger audiences. His love for storytelling led him to write a children’s book about his childhood experience with bullying, offering kids a relatable narrative that connects with his career in hip-hop.

DMC also reflected on his early influences, revealing how his love for comic books sparked his creativity before he found music through the diverse sounds of 1970s New York radio. When I asked about today’s hip-hop scene, DMC rejected the notion that hip-hop is only for the young, asserting that veteran artists like himself continue to carry the torch for future generations.

In a conversation with DJ Johnny Juice, renowned turntablist and producer for Public Enemy, he emphasized the importance of authenticity for aspiring DJs and producers, advising them to “do it for yourself” and trust that the right audience will follow. Juice distinguished between DJ culture and turntablism, praising the technical advancements but cautioning against losing the human touch, urging DJs to “inject your personality into the cut.” Reflecting on his roots as a Latin percussionist, he explained how his rhythmic style of scratching was influenced by playing bongos and congas as a child. His move from the Bronx to Long Island allowed him to blend diverse influences, creating a unique, genre-defying sound that set Long Island hip-hop apart.

A major highlight of DMC’s set was his tribute to Billy Joel, where he shared his excitement about a collaboration that blends Billy Joel’s You May Be Right with hip-hop. DMC jokingly revealed his dream of getting Billy Joel involved in writing original songs for his Broadway musical, which is based on DMC’s life story. “I think Billy Joel needs to be a part of this. We’re gonna make history, baby!” DMC laughed.

Following the tribute, DMC performed several Run-D.M.C. classics, including It’s Tricky, Walk This Way, and Christmas in Hollis. The crowd was energized as he seamlessly blended his iconic hip-hop sound with rock influences, paying homage to the roots of both genres. DMC’s son, Dson McDaniels, also performed his new song Pray, showing the next generation of McDaniels talent.

He also praised the LIMEHOF as a “holy place” where diverse genres come together to create a rich cultural tapestry—a “gumbo” that nourishes the heart, mind, body, and soul. Reflecting on his journey from a fan listening to rock legends on the radio to sharing stages with icons like David Lee Roth, Dave Navarro, and Aerosmith, DMC highlighted the surreal honor of standing among those he once admired. He emphasized the unity of genres—rock, hip-hop, blues, and jazz—and reminded the audience that while disco may have faded, the music and its spirit live on. With heartfelt gratitude, DMC concluded by urging everyone to keep dancing and supporting live music, leaving the audience energized and inspired.

After DMC’s electrifying performance, comedian Paul Anthony took the stage for a killer stand-up routine that had the audience laughing from start to finish.

The festivities continued with Firetog & Co, who performed tracks like How a Heart Breaks and Ball and Chain, followed by American Idol’s Christiaan Padavan, who captivated the crowd with his renditions of Vienna by Billy Joel, Just the Two of Us, I Left My Heart in San Francisco, and Please Come Home for Christmas.

The celebration at the LIMEHOF concluded with a high-energy performance from The Original Gossip Band, who closed out the weekend with their songs Above Water, Front Liners, Megan, and Driving to the End.

December 5, 2024
Interpol sells out NYC for their 20th Anniversary of “Antics.”
There’s something about anniversary shows that really gets a crowd going. Pressed against each other in the pit, hands swaying, chanting in time to favorite songs. What better way to celebrate 20 years of Interpol’s Antics than a 3-day sold out show at Brooklyn Steel? Longtime fans gathered for opening night on December 3. Ready to revel in the gritty, driving force of rich guitar playing and powerful lyricism.

Around since 1997, Interpol was formed under New York University doors, beginning with lead guitarist Daniel Kessler, frontman Paul Banks and drummer Greg Drudy. Their post-punk sound has become a staple amongst New Yorkers, emerging as a key rock revivalist of the early 2000s. In hopes to sound sleek and mysterious, they derived their name from The International Police Association, signing with Matador Records in 2002. Now, Interpol has played at a multitude of venues across the world, joined by Sam Fogarino on the drums.

With white sheer curtains draped across the front, a hush fell over the crowd as Interpol took stage a few minutes past 9:15pm. Opening with “Next Exit”, the band remained obscured. The crowd focused on projections of their silhouettes, jumping back and forth across the curtains. Once their second song, “Evil” reached crescendo, the lighting crew scrambled into the photo pit. The crew pulled back the expansive white sheet to reveal the band, dressed to the nines in black tailored suits.

After every song, fans whooped and hollered, dazed by the thick smoke and dramatic strobe lights. Lush storytelling balanced out catchy choruses, pairing with intricate guitar riffs to make a visually immersive performance. Their iconic color scheme of black, white and red alongside a sharp typeface held true. Non stop energy created through intriguing lighting choices and special effects.

As Interpol performed fan favorites such as “C’mere” and “Rest my Chemistry” the crowd pushed forward to the edge of the barricade, unable to peel their eyes off of the stage. By the time the 21 song setlist came to a close, the venue was absolutely packed. Reveling in the rush, fans lingered in the pit, chatting excitedly while sharing videos and treasured moments.

Interpol – Brooklyn Steel – Tuesday, December 3, 2024

Set 1 (Antics): Next Exit, Evil, Narc, Take You on a Cruise, Slow Hands, Not Even Jail, Public Pervert, C’mere, Length of Love, A Time to Be So Small
Set 2: Pioneer to the Falls, No I in Threesome, The Rover, Rest My Chemistry, My Desire, Roland, Lights, All the Rage Back Home, Obstacle 1
Encore: The New, PDA
December 5, 2024
In Focus: Dogs In A Pile and Eggy Co-Headline The Capitol Theatre

On Friday, November 29, perhaps the two biggest rising stars in the jam-band scene – Dogs in a Pile and Eggy – took another giant leap, packing out The Capitol Theatre to near capacity.

The first time both bands were set to headline the iconic venue, Dogs In A Pile and Eggy had their fans pour in early to check out a pre-show at Garcia’s featuring Residual Groove. The link between the two fanbases was as clear as day, as was the decision to make the two evenings a co-headlining spectacle.

Photo by Taylor Weinberg

As announced on social media by Peter Shapiro a few days prior via a coin-toss, Dogs In A Pile were set to open Day 1 with Eggy following, and the reverse happened the next day.

Dogs In A Pile hit the stage at 8pm sharp on Friday night, busting of the gate strong with “Look Johnny ll”. Hailing from Asbury Park, New Jersey, Dogs In A Pile have become a nationally recognized act, touring all around the country with great frequency. Certainly no stranger to the New York music scene, playing huge shows like the Phish after show last year at Sony Hall, Great South Bay Music Festival, as well as going on tour with Andy Frasco at Pier 17 and The Capitol Theatre itself, though this time, under a very different circumstance.

Childhood friends who met fellow students at Berklee, the band consists of Jimmy Law on Guitar and Vocals, Joey Babick on Drums, Jeremy Kaplan on Keys and Vocals, Sam Lucid on Bass, and Brian Murray on Guitar and Vocals. Ending on a real high note, a difficult task was set upon Eggy, following what had just occurred was no small feat.

Photo by Taylor Weinberg

Eggy gracefully took the stage to great anticipation. In quite fitting fashion, “Here and Now” was the designated opening number as dancing re-emerged throughout the audience. Fresh off the release of their new album, “Waiting Game“, the band consists of Jake Brownstein on Guitar and Vocals, Dani Battat on Keys and Vocals, Mike Goodman on Bass and Vocals, and Alex Bailey on Drums and Vocals.

New York is a frequent stop for Eggy, and its easy to see why. Their impressive song writing abilities, along with deep experimentation of the material, a fantastic tour-de-force is always on full display. As the first set winded down, Dani Battat slowed things down, paying tribute to his bandmate and dear friend, Jake, to celebrate his birthday.

A cake was brought out as this touching moment was rang in by Bailey switching to his cajon and Goodman to his standup bass. An acoustic set brought the evening home, but the festivities were not over just yet.

Photo by Taylor Weinberg

For an encore, Dogs In A Pile came back on stage to join Eggy in family band style fashion. Paying homage to the day, “Black Friday” by Steely Dan rang out, followed by the Hunter/Garcia classic, “Bird Song”.

The evening concluded with strong enthusiasm as another epic night of music awaited everyone the following evening. Though the two bands have similar fanbases and style, their momentums are respectively separate and strong.

Dogs In A Pile go on to play more dates throughout December, including a 4 night run through New Years in Saratoga Springs at Putnam Palace. Eggy will also be playing in New York at the end of this month, hitting Electric City in Buffalo on the 27th, and Levon Helm Studios in Woodstock on the 29th. Tickets for all shows are available now.

Photo by Taylor Weinberg

Dogs In A Pile Setlist: Look Johnny ll, Nicolette, Apeman, Today, Ugly Song, G Song, Linus and Lucy, Lazy Susan, Look Johnny, Bubble

Eggy Setlist: Here and Now, A Moments Notice, Sweaters for Strawmen, Searchlight, 12 Pounds of Pain, Eggy Birthday Song, Thorns, Bad Side of The Moon

Dogs/Eggy Encore: Black Friday, Bird Song

December 2, 2024
In Focus: Disco Biscuits Close Out Fall Tour in Rome and Buffalo

Just prior to Thanksgiving, the Disco Biscuits wrapped up their final tour of 2024, with shows in Rome and Buffalo. Over the next few weeks, the band enters the studio and have four final shows to close 2024 out.

photo by Pete Mason

Held at the Capitol Theatre in Rome, situated just west of Utica, the venue has been open since 1928, originally part of a chain of movie houses and screening films through 1974. The venue reopened in 1985 as the Capitol Civic Center, when live music and theatrical performances were offered in addition to classic films.

The show in Rome – a first for the band, and at the ‘other’ Capitol Theatre – was a high point from the start, with a 27-minute “Magellan” opening the show. Feeling rarer these days, “Magellan” hit home with the veteran fans in the audience, many of whom made the Upstate trio of shows a weekend adventure.

With the energy shifting out of “Cyclone,” a peak jam of the first set arose in “Times Square,” before passing the torch to “Bombs,” a once-shelved fan favorite that was brought back in May 2021 thanks to a fan request. “Shelby Rose” rounded out the first frame of music, which was full of songs for the older heads in attendance this evening.

Set 2 opened with the slow burn of “Fire Will Exchange,” setting forth a 95-minute torrent of music. This opening 25-minute version was patient as it built and ended up giving way to a full version of “Shem-Rah Boo” that clocked in at over a half-hour, “No Rain” tease and all.

Less than a month old, the Disco Biscuits version of Richard Strauss’ “Also Sprach Zarathrusta” is a hybrid of “Orch Theme” and Phish’s own version, “2001,” but this industrial version of “Also Sprach Zarathrusta” is nothing like what Strauss or your average Phish fan would expect. Darker, heavier and exploring the darkness between ascendent peaks, this “ASZ” in the industrial/classical crossover we didn’t know we needed.

Sandwiched in between “ASZ” were “No Recollection” and “Catalyst,” each keeping the fire burning in the set, and bringing it to an exultant finish. And with under 10 minutes left to wrap the show up, the band opted to stay old school with “Rock Candy” in the encore slot, and the show ended promptly before 11pm.

Setlists via Biscuits Internet Project

Disco Biscuits – Rome Capitol Theatre – Rome, NY – Friday, November 22, 2024

Soundcheck: The Very Moon -> Sirens Sing

Set 1: Magellan > Cyclone > Times Square > Bombs > Shelby Rose

Set 2: Fire Will Exchange > Shem-Rah Boo1 > Also Sprach Zarathustra > No Recollection> Catalyst > Also Sprach Zarathustra

Encore: Rock Candy
1 with âNo Rainâ (Blind Melon) teases

While NYS Music was not on hand for the Buffalo shows the next two nights, the two shows are each an adventure in their own right. Saturday night’s show features a reworked “Sirens Sing” (formerly, “The Champions”) with an inverted “Munchkin Invasion” in the second set.

Disco Biscuits – The Town Ballroom – Buffalo, NY – Saturday, November 23, 2024

Soundcheck: Little Lai, Rainbow Song, Frog Legs

Set 1: House Dog Party Favor > Grass Is Green 1 > Sirens Sing 2 > Falling 3 > House Dog Party Favor

Set 2: M.E.M.P.H.I.S. 4 > Trap Door 5 > Pimp Blue Rikki > Munchkin Invasion 1 > Floes

Encore: Morph Dusseldorf > Feeling Twisted > Morph Dusseldorf
1 inverted
2 Reworking/renaming of âThe Championsâ
3 Tractorbeam Remix (Falling 303)
4 with ‘Piano Concerto #21 Andante’ (Mozart) teases
5 1st time inverted

Sunday’s show was comprised of songs written by Joey Friedman over the last two years, in honor of his 500th show. The full show gives a faint picture of what to expect from the Biscuits time in the studio this month – get a full breakdown here via Relix.

2024 is nearly in the books and the Disco Biscuits barnburner of a tour is for now, to be continued.

Disco Biscuits – The Town Ballroom – Buffalo, NY – Sunday, November 24, 2024

Soundcheck: Park Ave -> Running, Confrontation

Set 1: To Be Continued > Ring the Doorbell Twice > Country Royale 1 > One Chance To Save The World > Risky Business 1 > Another Plan of Attack 2

Set 2: The Wormhole > Twisted in the Road 3 > Dino Baby > Another Plan of Attack 2 > One Chance To Save The World > Photograph > To Be Continued

Encore: Buy The Time > Ring the Doorbell Twice
1 1st time inverted
2 dyslexic (ending first, then beginning)
3 inverted

Rome Capitol Theatre photos by Dan Bocchino

December 1, 2024
The Prodigal Son Returns to Phish: December 1, 2003

Phish and the City of Albany have always had a cozy relationship. Going to back to 1989 and their first gig at Pauly’s Hotel, Phish has played a total of 17 shows in Albany during the course of their career. Shows in the early 90’s at the Palace Theatre helped establish their Upstate New York following. So it would come as no surprise when their 2003 20th Anniversary Tour rolled around that Albany would be one of the stops. This would only be a short, four-show trek around the Northeast, culminating in the “anniversary” of their first ever show on December 2.

The first two shows of the tour did not disappoint at all. Special guests like the Dude of Life popped out for the encore in Long Island on November 28, and Tom Marshall joined in on a classic version of “Buffalo Bill” the night before in Philadelphia. Now it was Albany’s turn and the band went even further back in their history for tonight’s guest selection.

Picking up on the palpable December pre-show energy, the show begins with a “Chalkdust Torture” that ramps it up even more. The entire Pepsi Arena crowd seems to join in on the “Can’t I live while I’m young” line. A blistering guitar solo from Trey Anastasio highlights this one before all is said and done. The “Stash” that comes next allows for plenty more audience participation. It eventually develops into a dark, yet fairly uneventful jam. A standard run-through of “Guyute” then follows, with the Albany crowd audibly loving every minute of this first set Phish staple.

An interesting little juxtaposition of both styles and song histories then proceeds this. The delicately mellow “Thunderhead,” from 2002’s Round Room release, makes a rare appearance. It’s only the sixth live performance ever of this song. And, to date, it has yet to be played a seventh time. After a tidy little jam that gradually picks up in intensity, “Sparkle” emerges. The high pace, first set romper dates all the way back to 1991 and has been played hundreds of times.

“Wolfman’s Brother” finally gives the band a chance to stretch things out a little again. Aside from “Stash,” this is really the only other true “jam” of the first set. Mike Gordon’s aggressive bass play provides the fuel for this one and dominates throughout. Gradually, the rest of the band seems to catch up in this “Wolfman’s” that easily glides past the 15-minute mark after an exuberant finish. “Good Times Bad Times” then puts a cap on a rockin’ but relatively quick first set. Perhaps this was done to allow some additional set break practice time with the still-TBA special guest.

Before said guest would be revealed, there was still some business to tend to first. Phish would grace the Albany crowd with three classic songs sure to make any show memorable. “Tweezer” promptly begins the second set. It sees more inspired guitar play from Anastasio atop the funky rhythms generated by Gordon and drummer Jon Fishman. The jam continues to ascend accordingly until about the ten-minute mark, when it takes an ambient hard left turn. The music continues to devolve and get spacey for another few minutes before Fishman slyly increases the tempo and the band is off and running with the instrumental “Also Sprach Zarathustra” aka the theme to Stanley Kubrick’s 2001: A Space Odyssey. Keyboardist Page McConnell takes control early on with his standard electric keyboard fills complementing Anastasio’s iconic guitar riffs.

Before the last remnant of “2001” even finish echoing, Phish launches into “You Enjoy Myself,” further delighting the Albany faithful with an epic start to the second set. There’s no issues with this version at all as the band rips through the composed sections with ease. Then another cohesive, psychedelic jam emerges with McConnell continuing to dazzle on piano.

Finally, it was time to reveal tonight’s special guest. It would be none other than Jeff Holdsworth, one of the original members and co-guitarists of Phish from its inception in 1983. Jeff would eventually leave the band before they gained much notoriety. Tonight marked the first time he played with Phish since a gig on May 17, 1986 at Goddard College in Plainfield, VT. As befitting for an anniversary run, they would play a few of the songs he wrote that are still regular fixtures at Phish shows to this day.

The first of these was “Camel Walk.” Holdsworth seems to have a little issue with the lyrics early on, but manages to keep it together for this longtime favorite. Trey then gives him proper thanks for writing that song as well as the next one, “Possum.” Despite some feedback issues, they manage to maneuver through this Phish classic as well, with Anastasio doing a lot of the heavy lifting.

Jeff stays on stage and even takes lead vocals on the first song Phish ever played as a band, a cover of The Hollies’ “Long Cool Woman In A Black Dress.” Understandably, he seems to be a little more comfortable singing on this one than the Phish songs he hadn’t played in more than 17 years.

“Run Like An Antelope” would then go on to close the second set. While Holdsworth would remain on stage to play guitar, he must have been turned down fairly low in the mix. This also gave Phish one last chance to surprise the Albany crowd. Longtime lyricist and friend of the band Tom Marshall emerged to deliver the song-ending vocals. One last cover, Jimi Hendrix’s “Fire,” would complete one of the more interesting and memorable Phish show in Albany’s rich history.

Check out the full audio below, or go here for track-by-track selections.

Phish – December 1, 2003 – Pepsi Arena – Albany, NY

Set 1: Chalkdust Torture, Stash, Guyute, Thunderhead -> Sparkle, Wolfman’s Brother -> Good Times Bad Times

Set 2: Tweezer -> Also Sprach Zarathustra > You Enjoy Myself, Camel Walk, Possum, Long Cool Woman in a Black Dress > Run Like an Antelope

Encore: Fire

Note – Camel Walk through Fire with Jeff Holdsworth on guitar

December 1, 2024
Troy Story Podcast Revisits 1978 Bruce Springsteen Concert at RPI

In the most recent episode of Troy Story: A Podcast for the Collar City, Times Union Sports Columnist and writer Joyce Bassett revisits her first Bruce Springsteen show. The journalist revisits their experience at the RPI Houston Field House on November 12, 1978, when Bruce Springsteen and the E Street Band performed for lucky Trojans and Engineers.

The concert was part of the band’s Darkness on the Edge of Town tour which crisscrossed the United States and Canada between May 1978 and January 1979. In the audience that night was 16-year-old Joyce Bassett—now an award-winning sports columnist and writer with the Times Union—who saw Bruce in concert for the very first time at the RPI Field House in Troy, just a mile away from her house in the city’s Frear Park neighborhood.

The show started with seats in the back rows but by the night’s end, Joyce was on her friend Patty’s shoulders in front of the stage, reaching out to The Boss.

During the episode, Joyce reflects on her memories of the Troy show and setlist, her first date with now-husband Mike seeing Springsteen in Buffalo in 1980, meeting Bruce in 2016, her favorite Springsteen show of the 40 she’s attended during the last 46 years, and how the RPI concert sparked a lifelong love of Springsteen.

The episode also features audio from the Troy concert, available via a bootleg recording called “Prove It All Night: Bruce Springsteen Live in Troy,” courtesy of JEMS—a tapers collective that began in the early 1970s responsible for this and countless other bootleg recordings of shows that have circulated by traders and later via the internet.

Troy Story: A Podcast for the Collar City, is a monthly oral history podcast produced and hosted by John Salka, who has served as Communications Director for the city of Troy and advisor for two mayors. Salka brings a firsthand perspective to the recent history of Troy amid developing strong relationships with community leaders, business owners, and residents.

The next multi-episode chapter looks back at Metallica’s first and only show in the Collar City when the band’s Damaged Justice tour took over the RPI Houston Field House on March 15, 1989. Episodes will feature world renowned drummer and Capital Region resident Jason Bittner (Shadows Fall, Category 7), former RPI student and concert security staff Eric Haskins, and then-high school student and Metallica fan Kevin O’Connell. All three attended the show that night in 1989 and share their recollections of the gig.

The full episode covering Bruce Springsteen’s performance at RPI in Troy is available on Apple Podcasts, Spotify, YouTube, and all major podcast platforms.

Bruce Springsteen and the E Street Band – RPI, Houston Field House, Troy – Sunday, November 12, 1978

Setlist: High School Confidential, Badlands, Streets Of Fire, Spirit In The Night, Darkness On The Edge Of Town, Independence Day, The Promised Land, Prove It All Night, Racing In The Street, Thunder Road, Jungleland, Rave On, Fire, Candy’s Room, Because The Night, Point Blank, Mona > She’s The One, Backstreets, Rosalita (Come Out Tonight), 4th Of July, Asbury Park (Sandy), Born To Run, Detroit Medley, Quarter To Three

November 30, 2024
Alice’s Restaurant: An American Thanksgiving Tradition

On a fateful Thanksgiving Day in 1965 in a Norman Rockwell town in Massachusetts, events began to unfold which would alter the life course of Arlo Guthrie in unexpected ways. He documented his story in a finger-picked folk song with the well-known chorus, “You can get anything you want at Alice’s Restaurant.”

What starts as a kind-hearted gesture to take out the garbage for friends Alice and Ray on Thanksgiving turns into a humorous romp through legal and bureaucratic systems, with a punchline about being deemed ineligible for the Vietnam War draft. Lasting in excess of 18 minutes, “Alice’s Restaurant Massacree” filled up an entire side of Guthrie’s first album. He never expected it to gain any airplay. However, in the politically-charged climate of late 60’s and early 70’s, the song became an anthem for war draftees and protesters.

The 1969 film Alice’s Restaurant features some of the people who were involved in the events, including a cameo by Alice Brock, who is immortalized in the song’s title. Radio stations began to play the song every year on Thanksgiving, a tradition that continues half a century later.

Today, Guthrie operates the Guthrie Center, which promotes cultural and spiritual experiences. The Institute is located at the church featured in the iconic song, and remains a pilgrimage destination for fans around the world.

November 28, 2024
In Focus: Mikaela Davis Brings Solo+Acoustic Tour to Homer

Melodic harp sounds reverberated through the Center for the Arts in Homer on Wednesday November 20, as Mikaela Davis brought her Solo+Acoustic tour to the refurbished church. John Lee Shannon opened the show.

Davis has risen to stardom over the last several years, thanks to a nearly relentless touring schedule. The Rochester native and classically trained harpist has performed muti-week residencies through out various music venues across New York State on several occasions the last two years. Those shows saw Davis joined by her band, Southern Star, and took on a very upbeat, jam-oriented vibe. For this run of dates, Davis stripped her music to its core, performing on either the harp or keyboard.

The evening opened with a set by John Lee Shannon. Shannon performed a 40 minute set of acoustic instrumental tracks, primarily off of Shannon’s 2020 release In & Of.

After a brief intermission, Davis took to the stage and took seat at her harp. She opened with the hauntingly beautiful “Cinderella” (off her latest release, And Southern Star), and followed up with “A Letter I’ll Never Send” and “In My Groove”. Stripped down to their foundation, the songs took on a different life and allowed Davis’ songwriting to shine. Davis would take turns performing on the harp and keyboard, while opener John Lee Shannon would add acoustic guitar for a new offering from Davis, “Rose Colored Glasses”.

Early in the show, Davis stated that this was the first time she felt nervous performing in a very long time. She talked about the fears that the audience would become bored and leave early. Any of those fears were squashed early on in the evening, as the theater became engrossed in the music. To say that the theater was so quiet you could hear a pin drop would be an understatement. The theater was so quiet, you could hear the click on the effect pedals as Davis switched amongst them during her songs. To garner such attention from the audience is a true testament to Davis’ abilities as a songwriter and performer.

Mikaela Davis – Homer Center for the Arts, Homer, NY – Wednesday, November 20, 2024

Setlist: Cinderella, A Letter That I’ll Never Send, In My Groove, Home in the Country, The Pearl, Promise, One of these Days, Delivery, Natural Women (Carol King), Rose Colored Glasses, Far From You, Little Bird, Emily, Saturday Morning

Encore: All I Do is Disappear

November 25, 2024
David Gilmour Enthralls New York City with 5 Nights of ‘Luck and Strange’

It was a great week for Pink Floyd fans when David Gilmour enthralled the crowds at Madison Square Garden for five nights. The five city, 20+ performance tour in support of his latest album, Luck and Strange concluded with these five magnificent nights at MSG.

Gilmour’s previous visit to the Big Apple in 2016 was a three-night spectacle unto itself, befallen upon Radio City Music Hall and Madison Square Garden. With the imprint those shows left on the city it’s no surprise that three nights sold out in a flash with two additional nights added to satiate the ticket demand.

“5 A.M.” served as the perfect opening for the evening, lending an ambience for Gilmour’s signature guitar sound to break through like a beam of light. Those first few notes seemed enough to already leave people lost for words on what they were in for the rest of the evening. The true spectacle of the shows were his iconic guitar solos – a roaring jam in “Fat Old Sun,” the melodic monologue of “Marooned,” a wailing lamentation concluding “In Any Tongue,” the helpless reminiscence of “High Hopes,” and of course, the unforgettable denouement of “Comfortably Numb.” It is easy to converse with fellow Pink Floyd fans which is the “best” or most “profound,” but in the context of Gilmour’s live shows at The Garden there can be no debate as his guitar work was so masterfully presented in each of his solos.

Luck and Strange was released only a few weeks before he began his tour in Rome, Italy, which gave a limited period for fans to listen to the new material before seeing the shows. It made sense that a few of the new songs had a less boisterous response compared to mainstays from the Pink Floyd catalogue. However, the entirety of Luck and Strange made it into the setlist unlike 2016’s Rattle That Lock which featured just a few songs from the album in that tour. It was very respectable to see the inclusion of the full album when so many fan favorites from Pink Floyd’s history could be selected.

Gilmour structured his two sets with a perfect blend of his new songs and later Pink Floyd era songs, along with a few quintessential songs from Dark Side of the Moon, Wish You Were Here, and The Wall. Weaving of the new songs with familiar territory created an exciting and refreshing concert experience for hearing the entirety of a brand new album.

Gilmour’s touring band was nothing short of a compliment of talent to each other and to Gilmour himself. His long-time collaborator, Guy Pratt (on bass), has worked with Pink Floyd since the A Momentary Lapse of Reason tour and also toured with Nick Mason’s A Saucerful of Secrets band showcasing the early years of Pink Floyd. Gilmour’s daughter, Romany Gilmour, took lead vocals on “Between Two Points” (a Montgolfier Brothers song) and sang beautifully on an acoustic, stripped-down version of “The Great Gig in the Sky,” demonstrating the forging of a musical legacy on stage within the Gilmour family. Completing the lineup are Greg Phillinganes and Rob Gentry on keyboards, Adam Betts on drums, Ben Worsley on guitar, Louise Marshall on piano/vocals, and the Webb Sisters; Hattie Webb on harp/vocals, and Charley Webb on guitar/ukulele/vocals.

Just as he did at the conclusion of his three 2016 shows in NYC, Gilmour bid the crowd goodnight after thunderous applause, remarking “…we hope to see you again soon.” That statement came true eight years later in 2024, so the door may be open for a few more shows down the road. Until then, let’s remember those nights as priceless musical treasures.

Set 1: 5 A.M., Black Cat, Luck and Strange, Speak to Me, Breathe (In the Air), Time, Breathe (Reprise), Fat Old Sun, Marooned, A Single Spark, Wish You Were Here, Vita Brevis, Between Two Points, High Hopes

Set 2: Sorrow, The Piper’s Call, A Great Day For Freedom, In Any Tongue, The Great Gig in the Sky, A Boat Lies Waiting, Coming Back to Life, Dark and Velvet Nights, Sings, Scattered

Encore: Comfortably Numb

Photos by Rob Tellerman

November 24, 2024