Ithaca indie electro rock outfit Jimkata performed at Indian Ladder Farms on Friday, November 8, on the heels of the release of Running in Place. The event was marked by their own IPA on tap, “Running in Place West Coast IPA.â
Performing in the Clear Mountain Room, the recently opened venue boasted a decent sized crowd who traveled to the outskirts of Albany County for a unique setting for a Jimkata show. On the brisk evening, Evan Friedell, Aaron Gorsch, Packy Lunn and new bassist Cooper Casterline were clearly having fun on stage, teasing “Crosseyed and Painless” a few times during an “OG” Jimkata show with a healthy amount of improv.
Next up for Jimkata are shows in Washington D.C., the Midwest and in January, Colorado.
R&B sensation Tinashe returned to New York for her second show this year with a dazzling performance at the newly renovated Brooklyn Paramount November 4.
Part of the singer-songwriter’s Match My Freak world tour, the sold-out show followed the release of her seventh studio album Quantum Baby—featuring the viral lead single “Nasty,” which propelled Tinashe to her first solo entry on the Billboard Hot 100 this summer.
Tinashe’s smooth vocals and expert choreography were as fierce as ever Monday night, as her ever-growing fanbase packed every inch of the 2,700-capacity music hall. After a soulful opening set from Raveena, Tinashe made a confident entrance and kicked off the show with “Getting No Sleep,” the second single from Quantum Baby.
The historic theatre felt more like a vibrant nightclub as fans danced and sang along to Tinashe’s hits like “Needs,” “2 On,” “Gravity,” and more. Backed by a skillful team of dancers, Tinashe never missed a beat as she moved through each precisely choreographed number, complete with unique visual effects for each track. As both a masterful vocalist and a former competitive dancer, Tinashe’s stage presence is magnetic, and the crowd erupted with cheers at nearly every move.
Even before heading out on the road, Tinashe has had a busy 2024—the release of Quantum Baby amplified her pop notoriety as “Nasty” quickly became a viral sensation. She was also featured on Charli Xcx’s track “B2B” from brat and it’s completely different but also still brat, a remixed companion to one of the most culturally significant albums of the year, as well as “More Than a Little Bit” from Grammy winner Kaytranada’s album Timeless.
The Brooklyn Paramount show looked to be an upgrade in production value from Tinashe’s February BB/Ang3l tour stop at Terminal 5, before “Nasty” was released. Virality aside, Tinashe has been hard at work delivering vibrant performances and R&B hits for years, and it seems the public is finally taking notice.
Setlist: Getting No Sleep; When I Get You Alone; Needs; Link Up; Bouncin; Bouncin’; Pt. 2; Thirsty; Red Flags; ZOOM; The Worst in Me; Save Room for Us; Throw a Fit; Talk to Me Nice; X; Unconditional; Party Favors; All Hands on Deck; 2 On; SHY GUY; Cross That Line; Uh Huh; Gravity; No Broke Boys; Nasty (Match My Chic Remix); Nasty
In the 1980s, Iron Maiden led the charge in the New Wave of British Heavy Metal movement, guiding heavy metal music into a resurgence in popularity. A younger generation of hard rock fans embraced Iron Maiden and other NWOBHM bands that injected the intensity of punk rock into the more polished heavy metal sound of the 1970s.
As impactful as that new genre of music became in the 1980s, few bands survived beyond that era. Decades later, Iron Maiden still rules the heavy metal world. Forming in 1975 in London, England, Iron Maiden reached its widest mainstream appeal with a series of platinum albums and arena-headlining tours in the 1980s. Perhaps indicating another possible resurgence, the band’s 17th and most recent album, Senjutsu, recorded in 2019 and released in 2021, proved to be Iron Maiden’s highest-charting album in the United States.
Senjutsu (Japanese: 戦術, “Tactics”) was the band’s first album of new songs in six years. Despite fluctuating record sales, Iron Maiden’s tours have maintained high drawing power. Part of the success of the band’s tours in the 2000s was the return of vocalist Bruce Dickinson and guitarist Adrian Smith to the fold in 1999. Since their return, Iron Maiden stabilized as a sextet, with founder and bassist Steve Harris, guitarists Dave Murray and Janick Gers, and drummer Nicko McBrain, who is touring despite suffering a stroke in January 2023.
The latter part of Iron Maiden’s The Legacy of the Beast World Tour in 2022 introduced audiences to three songs from Senjutsu, but the overall setlist was largely a retrospective repertoire. The current The Future Past World Tour, which began in Europe in 2023 and will end this December in South America, includes five songs from Senjutsu, five songs from 1986’s Somewhere in Time, and five other songs, mostly from the 1980s. Fan favorites like “Run for the Hills” were omitted on this tour.
At Barclay Center, as at other tour stops, the house music blasted at 8:50 p.m. with UFO’s “Doctor Doctor,” followed by Vangelis’ instrumental “End Titles” from the 1982 science fiction film BladeRunner. Indeed, the graphics of the stage setting soon referenced the futuristic cyberpunk style associated with that film. The center back of the stage showed two animated videos of Iron Maiden’s mascot, Eddie the Head, the cyborg version on the left and the samurai on the right. Within seconds, a center panel revealed an artistic rendition of a barren, dystopian-looking city street in Japan in the dark of night.
The musicians began the synthesized bass and guitar introduction of “Caught Somewhere in Time,” the opening track from the 1986 album, Somewhere in Time. The front line of Harris, Smith, Murray and Gers immediately made use of the entire stage, pacing everywhere as they played their instruments. Wearing dark goggles and an open calf-length coat, Dickinson ran onto the stage, spun his microphone stand high above him, and added to the high energy. The now-standing audience sang loudly to the repetitive one-line chorus.
Dickinson was remarkable on stage. The 66-year-old’s soaring, operatic-style vocals were remarkably strong and brilliantly clear, especially considering that he has survived bouts of cancer on his tongue, neck and throat. He also moved amazingly well, continuously leaping across the stage, thanks to a recent hip replacement and five and a half inches of titanium hammered into his femur. Iron Maiden’s three-guitar structure extended nearly every song to showcase the talents in the band. Flighty solos, harmonious twin and triple guitar leads, and even a few brief duels superbly filled out the songs. Several times, Dickinson took advantage of these interludes to walk offstage and change his wardrobe.
In addition to all the futuristic visuals that accompanied Iron Maiden’s music, a 10-foot-tall Eddie made three appearances. The creature’s first cameo was during the second song, “Stranger in a Strange Land.” Appearing as a cyborg, parts of his internal musculature were exposed and his eyes glowed bright under his cowboy hat. Eddie returned to the stage during “Heaven Can Wait” and engaged with Dickinson in a gun battle, illuminated by pyrotechnics. Eddie’s final cameo was during the song “Iron Maiden,” in which he appeared as a samurai, threatening Gers with a giant katana sword.
Iron Maiden concluded the main set with the song “Iron Maiden,” which was recorded when Paul Di’Anno was the lead singer. Di’Anno died this past October 21 at age 66. The cause of death has not been disclosed, but he suffered health issues in recent years that restricted him to performing in a wheelchair. The band returned on stage for a three-song encore. The musicians and their fans maintained the same high level of energy for two hours. As the musicians took their final bows, a recording of the Monty Python song, “Always Look on the Bright Side of Life,” played through the arena’s speakers, finally reducing the temperature of the event.
Iron Maiden is far from finished. Although the band has no plans for recording new music between now and then, Iron Maiden this past September announced its next tour. The Run for Your Lives world tour will begin in May 2025 in Budapest, Hungary. The tour will celebrate Iron Maiden’s 50th anniversary with an elaborate stage show and a setlist comprised of selected songs exclusively from the band’s first nine albums, from 1980’s Iron Maiden to 1992’s Fear of the Dark. American dates have not yet been announced.
Iron Maiden – Barclays Center, Brooklyn – Saturday, November 2, 2024
Setlist: Caught Somewhere in Time, Stranger in a Strange Land, The Writing on the Wall, Days of Future Past, The Time Machine, The Prisoner, Death of the Celts, Can I Play with Madness, Heaven Can Wait, Alexander the Great, Fear of the Dark, Iron Maiden, Hell on Earth, The Trooper, Wasted Years
There are cover bands and tribute bands, and then there are bands who take the tribute to another level. One of those bands is Dark Star Orchestra, who recreate classic Grateful Dead shows in their entirety, as they were once performed. Enter Reprise, a band that does for Phish what DSO does for the Dead – but with the added bonus of not only playing a classic Phish show from the town/area they’re playing in, they also make it a point to have the show be as accurate as possible to the original performance, in terms of song length, antics, commentary, and even interplay between band members and crew.
Photo by Chris Bobillo
On Saturday, November 2 at Lark Hall in Albany, Reprise – Cal Kehoe (Pink Talking Fish – guitar), Scott Chasolen (The Machine, Ulu – keys), Chris DeAngelis (Kung Fu, The Breakfast, RAQ, The Machine – bass) and Adrian Tramontano (Twiddle, Kung Fu, The Breakfast, RAQ, Marble Eyes, Mihali – drums) – brought to life one of Albany’s classic Phish shows, calling back to December 13, 1997, the Fall 1997 tour closer.
Photo by Chris Bobillo
For me, this was not only my first Reprise show, but they were recreating the first Phish show I ever saw live. While my memories from that show are limited to “Sample in a Jar,” “Good Times Bad Times,” the lights going out during “Hood” and the cacophony of ‘bringing the Dude’ during “Mike’s Song,” I have relistened to that show more times than I can count. The tour closer stands out in one of Phish’s greatest tours, and begged for regular relistening to see what I missed that night when I was still a noob.
The show is chock full of jams, some rarities and new songs (for 1997) and some silliness that you only find at a Phish show when the band is dialed in and wrapping up a tour. I know this show by ear, and without looking at the setlist, let the show play out as it originally did just under 27 years ago, seeing what surprises were in store, but more importantly, how well Reprise did their homework on the recreation of the improvisation within the show.
To that end, as students of this particular show, they nailed the assignment with flying colors. The “Ya Mar” was played to nearly the same length as the original 18+ minute jumping off point for the show, including the end of the jam that never really ended the song proper. A good chunk of the first set beyond that may appear on paper to be pedestrian, but the tempo of the “Theme From the Bottom” ending, the 11-minute “Vultures,” and the thrilling “Tube” that gave way to a set closing ball of energy in “Good Times Bad Times” gave an ebb and flow to the show that lines up with the original show, no complaints registered.
Photo by Chris Bobillo
The second set opening with “NICU” kept that free-flowing vibe going out of setbreak (were these the same length of time as well? A good question for manager Tom Marshall.) and into “Punch You in the Eye,” which never lets down but especially never in the second set. With dancing in “The Landlady” from Kehoe and DeAngelis, the full recreation is there, all the way down to the sudden intro of a ’97 “Ghost,” which is the jam of the night in both cases, overlooked for the “Mike’s” that follows, but still worthy of inspection.
Then again, that “Mike’s Song” is one of the odder things to catch at your first show, especially having no idea who this ‘Dude’ was they were suggesting to bring to the stage. The weirdness that Phish, and now Reprise, feed to fans amid an improv-vehicle is the launching point for the most furious part of this jam. By the time the weird returned in “Catapult,” wrapped up in a “Weekapaug Groove,” the set had flowed with the same ‘final show of the tour, all jams must go!’ intensity, wrapping up with a “Harry Hood” that saw the lights turned off, only a disco ball illuminating patrons and the stage.
photo by Pete Mason
The encore of “My Soul” paired with the sentimental “Squirming Coil” closed the night as Kehoe, DeAngelis and Tramontano walked off stage to cheers while Chasolen closed the song on piano, before departing the stage to cheers from a dedicated audience who hung on for every note of the show.
The only way this could have been more accurate (beyond the setbreak timing) is if an oddball opening act – ala J. Willis Pratt and Bionic, who opened for Phish this evening in 1997 – were to have performed ahead of Reprise.
Even though you can never go back and see your first show a second time, no matter how many times you relisten, Reprise offers the next best thing – four top notch musicians who do their homework, nail the songs and jams and master the interplay of Phish with self-assured panache.
Reprise plays Northampton, MA on December 19, 2024, recreating a classic show from the area. Tickets and more info here.
Setlist via Phish.net
Reprise – Lark Hall, Albany – Saturday, November 2, 2024 – recreating Saturday, December 13, 1997
Set 1: Ya Mar[1] > Axilla[2] > Theme From the Bottom, Ginseng Sullivan, Strange Design, Sample in a Jar, Vultures, Tube, Good Times Bad Times Set 2: NICU > Punch You in the Eye > Ghost > Mike’s Song[3] -> Llama, When the Circus Comes, Weekapaug Groove -> Catapult -> Weekapaug Groove, Harry Hood Encore: My Soul, The Squirming Coil [1] Unfinished. [2] Contained Axilla II ending. [3] Chants to “Bring in the Dude.”
Ya Mar was unfinished. Mikeâs Song included Foxy Lady quotes from Fish and some memorable vocal interplay from the band that included a chant to âBring in the Dude.â During Hood, Trey asked Chris Kuroda to turn off the lights for a Blackout Jam and the audience responded with a shower of green glowsticks. The opening act was J. Willis Pratt & We’re Bionic.
On Thursday, October 24th, The Magic Beans and Squeaky Feet graced the stage at Lark Hall in Albany, unofficially kicking off an exciting “Phish weekend” with a vibrant and inspired set that encapsulated their unique blend of funk, rock, and psychedelic sounds.
Performing to a rowdy crowd of enthusiastic music lovers, the show was a testament to the Beans’ growth as a band and their deep connection to the jam band community as a whole. Serving up a thrilling journey through their ever-expanding discography, the evening played out like a fairytale for those looking to dance the night away.
The Magic Beans kicked off a storybook weekend in Albany on 10/24/2024.
Kicking off the story proper with a lively opening performance was Squeaky Feet. Planting the seeds for the memorable night with their energetic, prog-rock inspired grooves and dynamic on-stage presence, the Denver, CO based band also brought along some local pride in the form of guitarist Colin Shore, who formerly played in Albany underground favorite Mister F. Joined on guitar by Greg King, bassist Jimmy Finnegan, drummer Kevin D’Angelo and keyboard player Brian Keller, Squeaky Feet commanded your attention from the very first note of “Hyrule Temple.”
Local Pride: Guitarist Colin Shore performing with Squeaky Feet in Albany 10/24/24.
Locked in and firing on all cylinders, the band really opened things up for exploration on a 16-minute version of “Never Break.” Displaying all kinds of technical skills and chops for days, the near 20 minute “Pantomime,” the opening track from the bands 2023 debut album Cause For Alarm, would reveal itself as the centerpiece of the set. Seamlessly shifting from patient, multilayered improvisation to segments of infectious trance fusion, to triumphant, soaring peak solos that made it all but impossible to stand still, Squeaky Feet played like a well-oiled machine that really listens to what each other is doing.
Paying homage to their biggest musical influence, one of the most memorable highlights was the bands lengthy tease of Umphrey’s McGee’s “Booth Love” sandwiched inside a sprawling, 20 minute set closing “Premonition.” Drawing in the listener, then peppering them with an explosion of sound and skill, Squeaky Feet showed exactly why they are an emerging force to be reckoned with.
Squeaky Feet opening for The Magic Beans at Lark Hall 10/24/24.
After a brief intermission, it was finally time for the Capital Region return of The Magic Beans. Steadily making a name for themselves on the national circuit since their formation in 2010, the Beans have long shown an appreciation for the Albany area, likely due to the fact bassist Chis Duffy grew up in nearby Guilderland. Along with Duffy, The Magic Beans are comprised of charismatic lead guitarist/vocalist Scott Hachey, keyboard wizard Casey Russell, and drummer Cody Wales.
Blasting off with a 16 minute “Kid Rocket” opening jam, The Magic Beans quickly established their intentions to take Lark Hall to the stratosphere. The laid back, synth-heavy flow of RevHall would seamlessly transition into a lengthy “Handshake or Hug” jam, showcasing the bands’ ability to weave together diverse influences into an engaging musical journey.
The Magic Beans performing at Lark Hall Albany on 10/24/2024.
From here, Scott Hachey would switch out his electric guitar for an acoustic one on the foot-stomping, country tinged “Footprints in the Rain,” before taking the audience on a jazz odyssey through “Do Your Thing.” With the energy in the room growing and the dance floor widening out, perhaps the most impressive sequences of music would come next as a funky 13-minute rendition of “Night Games” would beautifully segue into a standout version of “Dr. Bubbleman,” before returning to the last verse of “Night Games” to complete one hell of an epic jam-sandwich. The crowd was particularly energized during this part of the show, losing their minds to the pulsating rhythms and infectious grooves The Magic Beans have become known for.
Circle of Life: Magic Beans bassist Chris Duffy grew up in Guilderland, NY..
One of the most unexpected highlights of the night was a surprise cover of “Circle of Life” from The Lion King soundtrack. Channeling his inner Elton John, this song was particularly potent for bassist Chris Duffy who sang it. Growing up just one town away, the storybook night felt like a homecoming of sorts for the man with the mohawk, coming full circle after more than a decade of touring with the Beans. Infused with their signature flair, the beloved Disney classic was transformed into a danceable anthem that had the audience singing along to every word, bridging the gap between nostalgia and modern psychedelia.
Scott Hachey and Casey Russell performing with the Magic Beans in Albany, NY 10/24/24.
Keeping the positive, life affirming vibes alive, the Magic Beans would offer up the title track of their 2019 album “Off Leash” next, taking the crowd on a spirited, 16-minute funk-fueled ride and ultimately confirming that “This is the part where you feel good.” Saving up perhaps the grooviest tune of the night for last, a stellar version of “Handcuffs” achieved a massive climax that left fans with their jaws on the floor and fully appreciative of the Beans’ undeniable talents.
While it seemed like the show was just about over based on the venue’s weeknight curfew, the adoration for the band was real and sustained and could not be denied. Answering the call for more, The Magic Beans would return to the stage for one last flight to the cosmos with an otherworldly “Space Cadet” to complete the mission and send fans into Phish wondering how any band could top this fantastically fun and inspired performance. The perfect start to an unforgettable weekend in Albany.
Magic Beans | October 24, 2025 | Lark Hall | Albany, NY
Setlist: Kid Rocket, Rev Hall > Handshake, Footprints, Do Your Thing, Night Games > Dr. Bubbleman > Night Games, Circle of Life, Off Leash, Handcuffs
Encore: Space Cadet
Squeaky Feet | October 24, 2025 | Lark Hall | Albany, NY
Setlist: Hyrule Temple, Never Break, Pantomime, Premonition
On a crisp fall day full of anticipation for Phish’s return to Albany, a mist hung over the pre-show festivities with the news of the passing of Grateful Dead bassist Phil Lesh. The chatter of whether this would be noted or honored by Phish – when, and how – was debated by fans gathered around South Pearl from Beaver St. to Hudson Ave.
photo by Conor McMahon
Those conversations were quickly put to rest with the opening notes of “Box of Rain,” Phish’s first ever performance of the Lesh and Robert Hunter penned tune, and the first time for the four members to cover the Grateful Dead in more than 26 years (not including Bob Weir’s 2016 Nashville sit-in)
And with that, the show was off and running. Following the emotional “Box of Rain,” Phish dropped “The Moma Dance” into a traditional second slot, followed by a boisterous “Free.” The flow was set early with this trio of tunes as the first three-night Phish run in Albany was underway.
photo by Conor McMahon
A mellowing “Dirt” gave way to “Wolfman’s Brother,” which Lesh notably performed a stellar version with Phish in April 1999 at the Warfield Theatre in San Francisco. “No Man in No Man’s Land” and a deep “Theme From the Bottom” filled in next, with “Steam” and “Sand” closing the first set.
Setlist art by Coventry Phish
The second set began just before 10pm with a nearly 10 minute “Blaze On” (9:59 to be exact), giving way to the one of the biggest jams of the night in “Piper,” with a “Carol of the Bells” tease in “Piper” bringing Christmas a little early to the Capital Region.
photo by Conor McMahon
Segueing from a steady “Piper” jam into “Light,” the second set vehicle of “Tweezer” kept the improv-heavy set flowing, dipping into “The Wedge,” and a pair of songs perfect for Halloween, “The Howling” and “Monsters.” And while “Backwards Down the Numberline” could have closed the set, a fan on the rail very likely influenced the closing rocker found in “Carini.”
photo by Conor McMahon
An encore that kept the show rolling close to midnight began with “Sleeping Monkey,” the first in more than two years. Just when you think they’d wrap things up with “Tweezer Reprise,” the opening riffs of “Ghost” appeared, pushing the expected encore into the realm of the unexpected, finally seguing into “Tweeprise,” just as Freddie Freeman ended Game 1 of the World Series with a grand slam. Not the ending Yankees fans wanted, but a celebration nonetheless for Phish fans in Albany or home on the couch.
photo by Conor McMahon
Phish continues their run on Saturday night. Get the scoop on what to do before and after the shows here.
Box of Rain made its Phish debut after the passing of Phil Lesh earlier in the day. Carol of the Bells was teased in Piper. Mike teased the bass line from Shakedown Street in The Howling. This show was a benefit for Divided Sky Foundation.
Phish – MVP Arena, Albany, NY – Saturday, October 26, 2024
Set 1: Possum, Sigma Oasis > Back on the Train, Nothing, Stash, Bouncing Around the Room, Tube > Bathtub Gin, More
Set 2: Prince Caspian > Down with Disease[1] > Ruby Waves > Fuego > What’s the Use? > Golden Age > Lonely Trip, Harry Hood
Encore: Golgi Apparatus > Slave to the Traffic Light
[1] Unfinished.
Trey teased Rainy Day Women #12 & 35 during Back on the Train and In Memory of Elizabeth Reed during Stash. Nothing was played for the first time since June 1, 2022 (118 shows). Down With Disease was unfinished. Page teased The Little Drummer Boy at the end of Harry Hood. This show was a benefit for Divided Sky Foundation.
Phish – MVP Arena, Albany, NY – Sunday, October 27, 2024
Set 1: Heavy Things, What’s Going Through Your Mind, Access Me, My Friend, My Friend, My Sweet One, Limb By Limb, Mountains in the Mist, Kill Devil Falls, Walls of the Cave
Set 2: Everything’s Right > Chalk Dust Torture, Mercury, Wading in the Velvet Sea, Most Events Aren’t Planned
Encore: Gotta Jibboo, Waste > Bug > Character Zero
Access Me was played for the first time since August 31, 2019 (185 show gap). Trey teased We’re Off to See the Wizard during Limb By Limb. Stash was teased during Chalk Dust Torture. This show was a benefit for Divided Sky Foundation.
As the red velvet curtain parted at TV Eye on Friday, October 18, McKenzie Iazetta of Trophy Wife stepped up to her microphone to cheers from the audience. The band’s lead singer wore a red and white polka dot dress with a skirt showing the tattoos down her legs, ending in frilly white socks and black velvet Mary Janes. She exerted complete control over the audience, standing like a pouty doll come to life with her hair glowing and eyes glinting in the stage lights as she strummed their opening song, “I Will Be Here.” Alongside her were bandmates Christian Pace on bass, Michael Martelli on drums, and Rowan Martin on guitar.
A month ago, a song called “Keep It” came across my Spotify Discover Weekly playlist. I had never heard of Trophy Wife, but the single’s cover caught my attention and I gave it a listen. I was instantly captured by the song’s vocals, which hover on the edge of breaking while constantly building in intensity. The drums have a raw, heavy sound like they’re pounding against the aluminum door of someone’s garage. The song builds and builds and builds from a cry to a wail as it asks the listener, “Do you want someone else to make it better?”
Trophy Wife followed this incredible single with two others leading up to the release of their first album, Get Ugly. The final single, “Swamp Song,” is another heavy hitter. Opening with the screeching frustration of amp feedback and pumping drums, giving way to sweeter vocals. It’s a bittersweetness that turns quickly to frustration and anger, with the song’s chorus introducing off-kilter guitar chords before cutting out everything in favor of croaking vocals.
“The Shame” is Trophy Wife’s most shoegaze-y offering on the album. It opens with a wistful guitar twang that conjures summer days. Then, as the drums grow more frenetic, we enter the first chorus, a breakdown that feels like heaving sobs with its all-encompassing distorted tone.
Behind it all is fantastic production across the entire album. The mix doesn’t leave any element behind, knowing exactly when to shift focus between instrumentation and vocals, allowing the totality of its emotional impact to reach the listener. This is a band punching way above their weight.
Trophy Wife’s drama and tone make them a unique act to witness. McKenzie Iazzetta’s vocal control is the key to that drama, riding the line between breaking and keeping it all together. They combine incredible technical skill with a captivating stage presence, ensuring their strong fanbase will only continue to grow.
Setlist: I Will Be Here, Magnet, Spit, Pedestal, The Shame, Beer n TV, Swamp Song, Keep It, Kicked, Again
Kicking off an exciting three-show residency at Ophelia’sin Albany, it was a big night for Bridgeport, CT’s Big Shrimp on Thursday, October 17.
Rising from the ashes of the beloved buzz band Baked Shrimp following their surprise breakup earlier this year, the reimagined and reinvigorated group returned to the stage bigger, hungrier, and as it turns out, funkier than ever. Joining Big Shrimp on the bill and also making their Ophelia’s debut was NYC’s space rock juggernaut Escaper.
Big Shrimp played the first of a 3-show residency at Ophelia’s on 10/17/24.
Taking place on the same storied stage Goose headlined 5 years to the day prior, Guthrie Bell Productions has long made it a priority to bring the freshest and most exciting stars of tomorrow to the Capital Region today. With a legendary track record of spotting talent and creativity early, simply put, when Greg Bell books a band for a three-show residency, you know they must have something special going for them. A testament to the burgeoning music scene around Albany and with a community of dedicated fans and venues supporting local and independent acts, the atmosphere at 388 Broadway prior to the show felt ripe for discovery and growth.
Kicking off the evening with an exceptional set of exploratory and soaring jams was New York City’s Escaper. Comprised of Will Hanza (Guitar/Vocals), Phil Kadet (Keyboard/Vocals), Sam Crespo (Drums), and on this night, Josh Carter sitting in on bass for Luke Bemand (Lespecial), Escaper wasted no time setting the controls for the sun, opening things up with a sprawling and richly textured rendition of “Open Sky.” As the Albany faithful quickly took notice of the bands larger-than-life sound, the floorspace slowly began filling in with dancing fans eager to surrender to the music and immerse themselves in a night of soulful, sonic soundscapes and spontaneous expression. Rewarded for their curiosity with a pair of unreleased new songs, Escaper would keep the positive momentum going with “Fantasy” and “Chance.”
Escaper kicked the evening off proper with with an explosive set of jams in Albany on 10/17/24.
As the band pushed themselves through the technicality of their compositions, you could tell from the expressions on their faces they were enjoying this ride and creating this unique blend of music together. Captivating the audience with a hybrid of atmospheric soundscapes, intricate guitar work, tight rhythms and pulsating basslines, perhaps no song encapsulated Escaper’s vibe more beautifully than “Spaceship.” With its distinct hook and stunning keyboard work by the fully stretched out Phil Kadet, the song provided the biggest improvisational vehicle of the set. Brandishing a scarf and his beautiful red Gibson guitar, Will Hanza looked like a bonafide rockstar here and played like one too, uncorking his biggest and most impressive solo of the night during the song’s peak. Hyping the crowd for what was still to come, Escaper would close out with “No Strings” before joining the fans on the floor and dancing along to the high-octane grooves about to be served up by the arrival of Big Shrimp.
Escaper’s Will Hanza took Ophelia’s to the stratosphere on 10/17/24.
No stranger to Albany, the former members of Baked Shrimp have been playing at venues around the area for years now. This time though, it would be a whole different creature. Joining up with founding crustaceans Jared Sage Cowen (Guitar/Vocals) and Jager Soss (Drums/Vocals) are new additions Max Perrotti (Bass/Vocals) and Matt Takesh (Keyboard/Vocals), completing a dynamic transformation from a power trio to an edgier and more versatile, progressive-rock juggernaut. Playing only their 5th show together under the Big Shrimp moniker, the night proved to be a launching pad for both the band and the long-time fans who still weren’t quite sure what to expect out of the band’s newfound identity.
Big Shrimp played the first of a 3-show residency at Ophelia’s on 10/17/24.
Immediately putting any worries at ease with some “Words of Wisdom” to get things cooking, you could instantly hear the impact of Matt Takesh’s keyboard playing. Adding a whole new level of filth to the bands already funky sound, the excitement continued to build as the band worked their way through “Tired Eyes,” before turning vocal duties over to charismatic drummer Jager Soss for a throwback nod to the Baked Shrimp original tune, “Smoke ‘Em If You Got Em.”
While a few in attendance seemed to take the song literally, things on the floor continued to heat up with the appropriately titled “Tango” providing enough cause for some to dance as if their life depended on it. The freedom of the venue allowed for this kind of uninhibited behavior, as fans moved to the grooves, embodying the spirit of the jam band ethos: a celebration of community and creativity, creating an immersive experience that felt both intimate, expansive and genuine.
Jager Soss performing with Big Shrimp during their Ophelia’s debut on 10/17/24.
One of the most notable moments from night 1 of Big Shrimp’s residency would come next with the debut of a new original called “Nuclear Fruit.” Successfully taking the song out for its maiden voyage, it is now forever etched in musical history that it was first played at Ophelia’s. Changing up the pace a bit, the bluesy ballad “Painting Pictures” by Matt Takesh gave everyone a chance to catch their breath a bit before virtuoso guitarist Jared Sage Cowen stole it away again with one of the most stunning and emotive solos of the evening. The seamless transitions between songs and the hypnotic interplay between musicians kept the audience enraptured, highlighting Big Shrimps’ ability to blend different musical influences into a cohesive sound.
Big Shrimp’s Jared Sage Cowen dug deep into his bag of tricks on Night 1 in Albany 10/17/24.
Proving he’s not here to be your ordinary guy, Cowen would dig even deeper into his bag of tricks for an extraordinary rendition of “Ordinary Guy,” yielding some of the funkiest, most cathartic and most primal energy of the set. With catchy melodies, impressive solos, complex arrangements and shifting tempos and moods, the band kept you on your toes and bobbing your head the entire show. Throwing in one last surprise before bringing the evening to a close, Big Shrimp would revisit their roots once again by playing fan favorite “Chop Suey” from their previous entities final self-titled studio album.
Watch fan shot footage of Big Shrimp performing “Chop Suey” during Night 1 of their Albany Residency 10/17/24.
As the night drew to a close, the crowd’s enthusiasm was palpable, with chants for an encore echoing through the bar. The sense of connection among fans and performers alike was a reminder of the magic that live music can create. After receiving the subtle nod of approval from promoter Greg Bell, Big Shrimp would send fans home happy with a nostalgic cover of the “Peter Gunn Theme,” complete with Taylor Swift “You Belong with Me” teases, bringing night 1 of their Ophelia’s residency to an official end.
If you missed this incredible night, mark your calendars for their next show in two weeks when Big Shrimp return for their highly anticipated Halloween Extravaganza on October 31st. Featuring a surprise theme along with two sets of music and a costume contest with prizes, whether you’re a seasoned jam band lover or just looking for a ghoulishly good night of music and dancing, Big Shrimp is sure to deliver an unforgettable treat that will not disappoint. If their previous Halloween performances are any indication, NYS Music can tell you now, this will be a special show you don’t want to miss.
Big Shrimp | 10-17-2024 | Ophelia’s | Albany, NY
One Set: Words of Wisdom, Tired Eyes, Smoke ’em If You Got ’em, Tango, Nuclear Fruit (1), Painting Pictures, Ordinary Guy, Chop Suey.
Encore: Peter Gunn Theme (2).
(1) Debut; Original
(2) Big Shrimp Debut; Formerly performed as Baked Shrimp.
Notes: This was night one of Big Shrimp’s three-night residency at Ophelia’s in Albany, NY in Fall of 2024. “Peter Gunn Theme” contained “You Belong with Me” (Taylor Swift) teases.
Escaper | 10-17-2024 | Ophelia’s | Albany, NY
Setlist: Open Sky, Fantasy, Chance, Spaceship, No Strings.
On October 10, Madison Square Garden hosted an unforgettable evening with the legendary Stevie Wonder, as part of his “Sing Your Song! As We Fix Our Nation’s Broken Heart” tour. The concert not only celebrated Wonder’s timeless music but also delivered a powerful message of hope and unity, ahead of the upcoming presidential election.
The tour takes its name from Wonder’s latest single, “Can We Fix Our Nation’s Broken Heart,” released shortly after his performance at the Democratic National Convention in August. Speaking to the audience, Wonder explained the inspiration behind the song. “I wrote the song because in the air I could feel the hearts being broken by negativity, by hatred, by racism, by bulls—t,” he said. Before diving into the music, he reminded the audience of the importance of leadership, saying, “To have been given the gift of being a leader means that the Most High has given you the responsibility of living in the light of truth.”
After this heartfelt message, Wonder quickly added with a smile, “But I’m not here to preach,” before sitting at his piano to perform “Can We Fix Our Nation’s Broken Heart,” captivating the audience with both his message and his music.
From there, Stevie Wonder took fans on a journey through his five-decade-long career, filled with a dazzling mix of hits and deep cuts. Accompanied by a string section, brass section, background vocalists, dancers, and various other musicians, he performed songs that ranged from the smooth grooves of “As If You Read My Mind” and “Master Blaster (Jammin’)” from his Hotter Than July album, to the urgent funk of “Higher Ground,” a track that feels as relevant today as it did 51 years ago.
Throughout the evening, Wonder kept the crowd energized with a mix of his most beloved classics. Highlights included “My Cherie Amour,” “Signed, Sealed, Delivered (I’m Yours),” “For Once in My Life,” and the soulful ballad “Overjoyed.”
Halfway through the show, Stevie Wonder introduced rising star Sheléa, who took center stage for a breathtaking performance of Aretha Franklin’s “Until You Come Back to Me” and “Something’s Coming.” The collaboration continued when Wonder returned to the stage, and together they performed feel-good hits like “It’s All Right” and “Don’t You Worry ’Bout a Thing,” their voices blending seamlessly.
Wonder then treated the audience to more timeless hits, including “Living for the City,” the upbeat and joyous “Sir Duke,” and the celebratory “Isn’t She Lovely.”
Fittingly, he ended the night with the final two tracks from his iconic Songs in the Key of Life album: “As” and “Another Star.” The entire arena sang along, closing the show on a high note of unity and optimism.
Setlist: Can We Fix Our Nation’s Broken Heart, As If You Read My Mind, Master Blaster (Jammin’), Higher Ground, You Are the Sunshine of My Life, For Once in My Life, Signed, Sealed, Delivered I’m Yours, My Cherie Amour, Chapel of Love, Overjoyed, Until You Come Back to Me, Somethings Coming, Contusion, It’s All Right, Don’t You Worry ’bout a Thing, All I Do, Village Ghetto Land, Living for the City, Sir Duke, I Wish, Isn’t She Lovely, Just the Way You Are, Send One Your Love, Do I Do, I Just Called to Say I Love You, Superstition, As, Another Star
On Sunday, October 13, Marcus King took the stage at Brooklyn Paramount, delivering a solid performance that highlighted his powerful vocals and guitar work.
With his new album Blood Orange recently released, the show was a blend of older fan favorites and fresh material, showcasing King’s mix of blues, rock, and Southern soul.
Backed by a talented band, King was joined by Jack Ryan on drums, Drew Smithers on guitar, Mike Runyon on keys, and Eric Vogel on bass, all of whom contributed to the full, rich sound of the night. Kicking off with “The Well,” King set a steady pace. His voice carried depth, particularly on tracks like “Hero” and “Beautiful Stranger,” while “Goodbye Carolina” brought a bluesy vibe that resonated with the crowd. Songs from Blood Orange reflected a more refined sound, thanks in part to Rick Rubin’s stripped-back production, which allowed King’s musicianship and storytelling to come through clearly.
One of the highlights of the evening was a cover of “Me and Bobby McGee,” where King invited opener Brittany Spencer and 18-year-old guitarist Grace Bowers to join him on stage. Their performance of the classic song was a nice change of pace, and the blend of voices and guitar added a fresh layer to the song.
Brittany Spencer opened the night with a strong set of her own, performing tracks like “Night In,” “If You Say So,” “Bigger Than The Song,” and “My First Rodeo.” Spencer’s voice was clear and powerful, and she kept the audience engaged with her mix of country and soul influences. Over the years, she’s shared stages with artists like Willie Nelson and Jason Isbell, and her reputation as an up-and-coming artist continues to grow.
For the encore, King returned with a soulful rendition of “When a Man Loves a Woman,” followed by a cover of Black Sabbath’s “War Pigs.” Grace Bowers joined him again for the latter, adding a punch to the performance with her impressive guitar skills.
Overall, Marcus King’s show at Brooklyn Paramount was a solid mix of blues, rock, and heartfelt performances. The new material from Blood Orange stood out, marking a step forward in King’s evolving sound, while the mix of covers, collaborations, and a talented backing band made the night memorable for fans.
Setlist: The Well, Hero, Inglewood Hotel, Beautiful Stranger, Honky Tonk Hell, Die Alone, Bipolar Love, Goodbye Carolina, F*** Up My Life Again, Lie, Lie Lie, Me and Bobby McGee, Delilah, Wildflowers & Wine
