On Thursday, January 19, Umphrey’s McGee made a triumphant return to New York with the kickoff of a two-night run at Brooklyn Steel. As part of their 2024 tour, the versatile band took the stage amidst a buzzing crowd eager for a musical journey.
Originating from South Bend, Indiana, Umphrey’s Mcgee has built a devoted fanbase in New York. They make frequent stops all over New York State – nearly every year in January, plus festival appearances – and it’s easy to see why. Early in the set, they dedicated a song to a friend in attendance celebrating their impressive 515th show.
The audience, unassuming yet in sync with the band’s vibe, engaged with each other while maintaining palpable excitement, with all eyes fixed on the stage. Opening with the crowd pleaser, “There’s No Crying In Mexico,” the night unfolded with a diverse array of songs and sounds, showcasing Umphrey’s Mcgee’s unique interpretation of the “jam band” concept. From psychedelic to progressive to punk, they seamlessly navigate various musical styles, demonstrating an undeniable chemistry among the bandmates.
The second set started with an electrifying cover of LCD Soundsystem’s “Tribulations” and concluded with a playful nod to Tenacious D’s “Kielbasa.” After leaving the stage, the band returned for an encore, bidding the audience farewell until the following night at Brooklyn Steel, followed by another one at Brooklyn Bowl. Their journey continues nationwide until the end of April, promising more musical adventures to fans across the country.
Nestled in Manhattan’s West Side since 1968, the cathedral of rock and roll, Madison Square Garden, opened its doors at 6:00 pm Friday night (January 12), welcoming into its friendly confines loyal card-carrying members of The Tool Army.
The last time Tool visited the hallowed grounds of Madison Square Garden (MSG) – more than 20 years ago – the city, and The Garden itself, were quite different. But one thing has endured the test of time, and that is Tool remains a thinking person’s band. One that is an amalgamation of analytical, primeval, uncompromising, bellicose, and melodic forces.
Madison Square Garden and the Empire State Building | Photo Credit: Michael Dinger
Following an autumn trek of North America and a subsequent two month hiatus, Tool’s Winter Tour 2024 features the latest support from psychedelic metal warriors Elder. Formed in the mid-aughts and hailing from a small seaside town in Massachusetts, frontman and guitarist Nick DiSalvo, bassist Jack Donovan, guitarist Michael Risberg and drummer Georg Edert currently call Berlin, Germany home.
Undoubtedly a momentous occasion to open for Tool, no less while gracing The World’s Most Famous Arena’s hallowed stage, Elder performed like the seasoned veterans they are, delivering on all fronts. Appearing onstage shortly after 7:30 pm, the foursome offered a 30-minute set that showcased exceptional musical craftmanship, taking the steadily growing audience on an evocative, sonic journey.
Known for long-scale compositions, DiSalvo and company presented a trio of stoner rock, mind-altering numbers collected from three of the six studio albums in their discography, including “Sanctuary” (Reflections of a Floating World, 2017), “Merged in Dreams – Ne Plus Ultra” (Innate Passage,2022), and “Halycon” (Omens, 2020).
Elder | Photo Credit: Michael Dinger
Promptly at 8:30 pm, as the heartbeat introduction to “Third Eye” (Ænima, 1996) began to play on tape over the house PA system, the 20,000-capacity venue went dark, and the crowd erupted with a collective, loud roar. One by one, members of the beloved Los Angeles outfit took to the stage, beginning with drummer Danny Carey, who as usual, was rocking NBA hoops gear. His jersey of choice Friday night was Quentin Grimes’ #6 of the hometown Knicks.
Following close behind Carey were bassist Justin Chancellor and guitarist Adam Jones, each of whom have already left an indelible mark in the annals of rock history with their individual technique and instrumental experimentation. As the title track from 2019’s Fear Inoculum got underway, vocalist Maynard James Keenan emerged from the dark shadows and came into view stage left. Wearing a white button down dress shirt and a dapper black suit vest, he clutched the microphone with both hands, revealing black fingerless gloves. Donning a blonde mohawk, Keenan prowled from side to side, high atop two risers constructed at opposite ends of the stage, and on which he would reside for the show’s duration.
Maynard James Keenan of Tool | Photo Credit: Michael Dinger
Before “The Pot” (10,000 Days, 2006) commenced, Keenan addressed us all regarding Tool’s well-known policy regarding cell phones:
So, here’s the deal. We’re gonna go for a little ride. We’re gonna connect. Take a little journey, together. Stay present. Stay in your body. Join us. Stay connected. Put your fucking phone away. [At the] end of the show, last song, you can pull your stupid phone out. Until then, stay with us. Are you ready?
Yes, we were all ready! With Tool’s seven pointed heptagram symbol dangling high above the stage, ‘open’ to signify an invitation into the collective unconscious, Tool’s entire set design was a remarkable sight to behold. Stunning visuals projected on the massive LED backdrop, which ranged from the depiction of skeletal zombie bodies with beaming alien eyes to a man trapped inside his own body, were supplemented by a spectacular laser light show that cut through the MSG atmosphere.
Danny Carey of Tool | Photo Credit: Michael Dinger
Following a 12-minute intermission and a goliath smack of the gong with his mallet, the second portion of the show embarked with Carey seated once again behind his massive kit. Another track from Fear Inoculum ensued, the futuristic interlude known as “Chocolate Chip Trip,” an electronic drum solo that saw the wizard Carey masterfully execute his Toolbox’s modular synthesizer.
Justin Chancellor of Tool | Photo Credit: Michael Dinger
Chancellor, bathed in a white spotlight, beastly strumming during a distortion and reverb filled bass exhibition, was rejoined by Jones, and eventually Keenan, for the night’s first big surprise – a live performance of “Flood” (Undertow, 1993), unearthed after 13 years! And if that were not enough for the diehard fan, following the evening’s fifth and final offering from Fear Inoculum, “Invincible,” Tool played an extended version of “Schism” (Lateralus, 2001) for the first time as a show closer.
Adam Jones of Tool | Photo Credit: Michael Dinger
Following their two gigs in Gotham, Tool will spend the better part of the next two months bringing their Winter Tour to the masses, culminating in Las Vegas on February 18. Tool, who at present are unsigned to a record label, are reportedly flirting with the idea of releasing an EP rather than a sixth studio album, which would mark their first new material since 2019. Nonetheless, it looks promising that The Tool Army will finally get to hear new music from their art rock heroes later in 2024.
Elder Setlist: Sanctuary, Merged in Dreams – Ne Plus Ultra, Halcyon
Tool Setlist: Fear Inoculum, The Pot, Rosetta Stoned (with “Lost Keys” intro), Pneuma, Intolerance, Descending, The Grudge (intermission), Chocolate Chip Trip, Flood, Invincible, Schism
UPCOMING TOUR DATES
January 18 – Hollywood, FL @ Hard Rock Live January 19 – Hollywood, FL @ Hard Rock Live January 21 – Charlotte, NC @ Spectrum Center January 23 – Nashville, TN @ Bridgestone Arena January 24 – Atlanta, GA @ State Farm Arena January 26 – Birmingham, AL @ Legacy Arena January 27 – Biloxi, MS @ Mississippi Coast Coliseum January 31 – Austin, TX @ Moody Center February 2 – Dallas, TX @ American Airlines Center February 3 – Oklahoma City, OK @ Paycom Center February 5 – Denver, CO @ Ball Arena February 9 – Phoenix, AZ @ Footprint Center February 12 – Fresno, CA @ Save Mart Center February 14 – Los Angeles, CA @ Crypto.com Arena February 15 – Los Angeles, CA @ Crypto.com Arena February 17 – Ontario, CA @ Toyota Arena February 18 – Las Vegas, NV @ T-Mobile Arena
The Dave Matthews Tribute Band along with opening act, The Tim Britt Band, played to a large crowd of eager fans on December 29 at the Town Ballroom in Buffalo.
As that crowd filled the venue, it was quite apparent of the varying age of the fans. And not surprising since the original DMB has been around since 1991. But when the music started there were no differences, just fans of all ages enjoying one great night. And seeing new and old fans still enjoying this music shows how timeless it is.
Opening the night, The Tim Britt Band. This four-piece band fronted by Tim Britt is a modern/alternative/folk group from Buffalo. Accompanying Tim was Evan Laedke on keys, Gerry Grismondi on bass, and Damone A-Miracle Jackson on drums. The band played a night full of well received great original songs. With the only exception being the encore, “Sledgehammer” (Peter Gabriel). This band is definitely a fun and exciting band worth checking out.
Closing out the night was The Dave Matthews Tribute Band, which started in 2004 have now played over 1,500 shows in 46 states and 8 countries. This five-piece band consists of David Suruani on drums, Gary Wilkinson on vocals and acoustic guitar, Tim Sheldon on bass, Zaxh Sweetser on keys, Alex Crizni on violin, Eric Wozniak on sax, and Sam Osmond on electric guitar (guest).
With The Dave Matthews Tribute Band being no stranger to Buffalo, making its rounds many times through the area had no problem filling the venue. And not surprising being this tribute is among the best next to the original I have ever heard. You could close your eyes and swear you were listening to DMB. And this night was exactly that. From the vocals to the drums and everything in-between, this band embodies DMB. And the energy and absolute talent were in full force playing all the hits from across the catalog. Keep an eye out for this band if you are a fan.
Setlist: Tripping Billies, Dancing Nancies, Warehouse, Crash Into Me, You Never Know, Satellite, Lie in our graves*, If Only, Two Step*, #41, Space Between, Bartender, Say Goodbye*, Crush, Ants Marching
As the clock struck midnight and confetti filled the air, Billy Joel made history with his unforgettable inaugural performance at UBS Arena on New Year’s Eve 2023. Returning to Long Island for his first concert since 2018, Joel’s momentous show marked not only a thrilling start to the new year but also a significant milestone in his illustrious career.
At 74, Joel’s energy and musical prowess remained as captivating as ever. Having announced the conclusion of his decade-long residency at Madison Square Garden in July 2024, this performance became a cherished moment for fans, signaling the beginning of the end of an era. Joel’s decision to conclude the residency after his 150th show to prioritize family time underscored the significance of each live appearance, making the UBS Arena debut a cherished affair for both the legendary artist and his dedicated audience.
Billy Joel took the stage at 10:30 pm, kicking off the night with a series of enthralling performances even before the anticipated countdown to midnight. The evening commenced with the captivating Regina Spektor, setting an electrifying atmosphere and paving the way for Joel’s grand entrance. The timing was impeccable, aligning perfectly with the audience’s anticipation for the transition into the new year. As the iconic countdown from Times Square illuminated the arena, Joel seamlessly serenaded the crowd with the timeless tunes of “Auld Lang Syne,” swiftly followed by a heartfelt rendition of “All You Need Is Love.” These musical choices forged a sense of togetherness, uniting thousands in a poignant moment of celebration and unity.
Among the unforgettable moments of the evening was Joel’s surprising cover of “Start Me Up,” infusing his timeless style into the classic Rolling Stones hit. Later on, Joel shifted gears to perform “Souvenir” marking his return to the song since 2018.
At the heart of his New Year’s Eve performance at Elmont’s UBS Arena, Billy Joel paused to share a glimpse into his future plans while addressing the audience. With his trademark wit, the Piano Man reassured fans about his continued relationship with Long Island. “Just because I’m selling that house doesn’t mean I’m leaving Long Island. I still have a house on Long Island,” Joel affirmed, referring to his longtime property in the village of Centre Island. “I’m just gonna spend a little more time in Florida like old Jewish guys from Long Island do.”
Billy was accompanied by a stellar ensemble of incredibly talented musicians, each adding their unique touch to the musical extravaganza. Mark Rivera on saxophone, Tommy Byrnes on guitar, Crystal Taliefero handling percussion and lending her powerful vocals in a stunning rendition of “River Deep,” Dave Rosenthal on keyboards and serving as the musical director, Andy Cichon on bass, Chuck Burgi on drums, and Mike Delguidice on rhythm guitar and backing vocals—these individuals formed the backbone of the performance. The seamless synergy and years of collaboration between Joel and his bandmates were unmistakable, creating an electric atmosphere that ensured an unforgettable night of music and cherished memories for the audience.
The encore was a rollercoaster of emotions, featuring anthems like “We Didn’t Start the Fire,” “Uptown Girl,” “It’s Still Rock and Roll,” “Big Shot,” and “You May Be Right.” Each song carried its own resonance, sparking sing-alongs and an electric atmosphere that reverberated throughout the arena.
Joel’s decision to conclude the night with this powerhouse ensemble of hits was a testament to his commitment to delivering an unforgettable experience. The energy, passion, and sheer joy exuded by Joel on stage were infectious, leaving a lasting impression on Long Island and setting the bar high for future performances at UBS Arena.
As the clock struck 1 am, bringing an end to the performance, the arena echoed with cheers, applause, and a shared sense of gratitude for being part of a momentous occasion. Billy Joel’s New Year’s Eve debut at UBS Arena will undoubtedly be etched into the memories of all who were fortunate enough to witness this historic event, marking a new chapter in the legacy of one of music’s most enduring icons.
Billy Joel – UBS Arena – Sunday, December 31, 2023
Setlist: My Life, Pressure, Everybody Loves You Now, The Downeaster Alexa, Start Me Up, An Innocent Man, The Lion Sleeps Tonight, Barbara Ann, The Longest Time, Big Man On Mulberry Street, Movin Out, Half A Mile Away, Vienna, Don’t Ask Me Why, Allentown, New York State of Mind, The River of Dreams, Whole Lotta Love, Auld lang syne, All You Need Is Love, Only the Good Die Young, Nessun dorma, Scenes From an Italian Restaurant, Souvenir, Piano Man Encore: We Didn’t Start the Fire, Uptown Girl, It’s Still Rock and Roll to Me, Big Shot, You May Be Right
With Billy Strings tearing up stadiums, bluegrass is undeniably experiencing a renaissance. And there are few bluegrass bands in New York right now on a hotter streak than Dirty Blanket. The Canandaigua-based act sold out their fifth-straight concert on New Years Eve, ringing in 2024 with a rowdy crowd at Three Heads Brewing in Rochester.
The band’s seamless blend of traditional and contemporary bluegrass, coupled with high-energy picking, had the audience jumping and shouting. The intimate venue provided the perfect setting for their energy, creating an unforgettable night of music and celebration.
Dirty Blanket is a five-piece consisting of Joel Fedkiw on banjo, Max Flansburg on lead guitar, Richie Colf on mandolin, Kevin O’Leary on guitar and Benny Bleu Haravitch on the upright bass. The band has been selling out shows all over the state and Flansburg just finished a weekend picking with the nationally-renowned Sam Grisman Project (not for the last time).
On New Years the impeccable musicianship was on full display, with each member contributing to the rich tapestry of sound that defines Dirty Blanket’s signature style. A lot of bluegrass bands have the instrumentals down but what sets Dirty Blanket apart from the pack is their vocal harmonization. The singing just sounds great. And the instrumentation is there – the synergy between the banjo, guitar, bass, and mandolin was nothing short of magic. Whether it was the lightning-fast fingerpicking or the soulful strains of the bass, every note resonated with precision and passion, captivating the audience.
The band started off the first set with a driving rendition of the Hot Rize song “Hard-Pressed,” before turning to crowd-favorite originals like “My Getaway,” and “Hobo Jones.” The first set also saw covers of Bob Dylan’s “It’s All Over Now Baby Blue,” and “Jack-A-Roe” by the Grateful Dead before ending with the original “Better Days.”
Set Two started with “New Disease,” and featured ten songs including covers of “On and On” by Bill Monroe and “The Shape I’m in by The Band. As the clock struck midnight and the calendar turned to 2024, the venue erupted in cheers and applause. To add a festive touch to the celebration, balloons cascaded from the ceiling, creating a visually stunning moment that complemented the wild atmosphere. Dirty Blanket seamlessly transitioned into a lively rendition of “Auld Lang Syne,” inviting the crowd to sing along and embrace the camaraderie of the New Year. The band swapped instruments to showcase Benny Bleu’s old time banjo playing for the first two songs of the encore before ending the night with a version of “Burning Love” by Elvis and sending the crowd home happy.
Three Heads Brewing provided the ideal backdrop for Dirty Blanket’s New Year’s Eve celebration. The rustic charm of the brewery, coupled with the intimate setting, created an environment where the music could take center stage. The great sound handled by engineer Hakeem Dodley enhanced the crispness of the instruments, allowing the audience to fully appreciate the nuances of Dirty Blanket’s performance. Everybody had a great time celebrating the new year, and this band gave just one more example of why if they play near you, you need to get a ticket.
On Sunday, December 31, 2023, Phish took the stage at Madison Square Garden for the 83rd time, and gave fans an ultimate performance for the conclusion of their annual New Years Eve run celebration. In true Phish fashion, the event bid farewell to 2023 with a spectacular Broadway-style production, immersing the audience in the mythical realm of “Gamehendge,” performing the band’s rock opera for the first time in its entirety in nearly 30 years.
This series of shows not only added another feather to the band’s cap, but etched a historic moment in their 40+ year journey. The night kicked off with a powerful performance of “Everything’s Right”, setting the tone for an evening filled with seismic energy. The ground was shaking, sections of audiences were engaged in friendly competition to see who could be loudest. Confetti, glow sticks, and bubbles danced through the air, creating a sensory feast for the devoted crowd.
A hallmark of Phish’s New Year extravaganza is the visual surprise ushering in the new year. From scores of clones to airborne hot dogs, the band’s creativity over four decades knows no bounds. This year was no exception, as Phish embarked on a captivating odyssey into the magical world of Gamehendge, a story about the battle to save a once-thriving land. The tale unfolded through the wonderful narration by Broadway actress Annie Golden, renowned for her role in the popular Netflix hit, Orange is The New Black. As the opening notes of “Harpua” resonated, the audience exploded in euphoric bliss.
The second and third sets unfolded as a vivid retelling of Phish’s legendary folklore in Broadway fashion. Colonel Forbin stumbled upon the mythical universe, Gamehendge, a realm inhabited by The Lizards, now under the oppressive rule of the evil King Wilson. The first to discover this universe, Wilson steals away from the too-trusting species their beloved helping friendly book – a guide to eternal joy and never ending splendor. The stage transformed into a mesmerizing display, featuring a colossal rhombus rising from the ground, enchanting puppets, soaring mockingbirds, and the powerhouse band from Vermont performing each song with more meaning than ever, as die-hard fans were engulfed in waves of joy, laughter, and tears.
As the clock struck past 1AM, fans spilled onto the New York streets, clutching their commemorative cups filled with memories. Phish’s journey continues, with upcoming performances in Mexico for their annual Riviera Maya shows and an eagerly anticipated four night residency at The Sphere in Las Vegas.
Phish – Madison Square Garden, NYC – Sunday, December 31, 2023
Set 1: Everything’s Right, Tube, Ether Edge > Reba, Taste, Ruby Waves, A Life Beyond The Dream, Character Zero
Set 2: Down with Disease, Harpua > The Man Who Stepped Into Yesterday > The Lizards > Punch You in the Eye > AC/DC Bag > Tela > Llama > Wilson > The Sloth > Divided Sky
Set 3: McGrupp and the Watchful Hosemasters > Colonel Forbin’s Ascent > Fly Famous Mockingbird > Auld Lang Syne > Split Open and Melt, You Enjoy Myself > Loving Cup > Possum
Post-holiday depression was not in abundance on Friday, December 30, as Shinedown performed their last show of 2023 to a jam-packed, sold-out crowd at the Premier Theater at Foxwoods Resort in Mashantucket, Connecticut. This show differs from the rest of the band’s fall tour as they have mainly been in arenas but decided to have a one-off show in a smaller, more intimate venue to close out the 2023 calendar year.
Shinedown consists of Barry Kerch on drums, Eric Bass on the bass guitar and piano, Zach Myers on guitar, and Brent Smith on lead vocals. Kerch and Smith are the only two members left from the founding lineup which released their debut record, Leave a Whisper in 2003.
As Outkast’s “B.O.B. (Bombs Over Baghdad)” blasted through the speakers, fans settled into their red cushioned chairs as the house lights dimmed. The relaxation didn’t last long as all four members ran out on stage, greeted the audience, and blasted into “Diamond Eyes (Boom-Lay Boom-Lay Boom)” off of 2008’s The Sound of Madness as the crowd jumped out of their seats with a thunderous cheer.
From the first riff, fans were in for a treat as the show was not shaping out to be like any regular casino show. One thing that has enhanced Shinedown’s live performances is their use of pyrotechnics/explosives, and their stage setup which gives fans exactly what they want. Though on a smaller scale, Shinedown was able to wow the sold-out crowd and make their last show of the year an unforgettable one.
Shinedown played a total of 17 songs that lasted just under two hours of post-grunge hard rock that made the band so popular. Throughout the show, in between commanding the crowd with an iron fist as all eyes watched Smith run around on stage, he also announced to the crowd that during their set, they were going to play a mix of “old school and new school.” The band pulled out songs from their entire discography from the debut aforementioned Leave a Whisper album to their newest release, 2022’s Planet Zero.
Touring as a musician can be tough but Shinedown put in a lot of work on stage. For the entirety of the two hours that they played, they were constantly running around. The band’s presence on stage is inspiring. Each member of the band interacts with the crowd differently yet at the same time, they work together as one delivering and making sure the fans get their pennies worth. When all was said and done, it felt like the band ran a marathon after all the moving they did on stage. By the end of the show, the band was dripping in sweat just showing the dedication to their fans to make sure they went home happy.
At multiple points in the show, the band got into a deep groove. At the end of “45,” Myers stood on the body of his red, white, and blue guitar and played with his feet as the song came to a close. At another point in the show, the band was headbanging in unison that would even make the most hardcore headbanger smile.
At the end of their smash hit song, “Second Chance,” the band stopped the show to present a birthday cake and sing “Happy Birthday” for one of the members of their crew. The celebrations did stop there as during the show, the president of Foxwoods Casino came out announcing that from the meet and greets, they were able to raise $92,600 for the City of Hope charity. At the same time, the band was gifted plaques to commemorate all their songs to go No. 1 and reach the top five and 10 on the charts.
On top of the band performing their classic songs, they were also able to squeeze a couple of cover songs into the setlist for the show. With Myers on lead vocals, the band, minus Smith performed “The Middle” by Jimmy Eat World as well as their bone-chilling rendition of “Simple Man,” by Lynyrd Skynyrd performed by just Smith and Myers. With the help of the crowd belting out the chorus, the theater rang loud of the classic Lynyrd Skynyrd tune.
As fans left the Premier Theater back out to the casino floor, they left with eardrums ringing and faces melted from the sheer magnitude of Shinedown’s show. As 2023 creeps towards an end, fans already made their 2024 concert plans to catch Shinedown on their next tour after witnessing an arena-level show in a small yet intimate theater that made everyone in the last row feel like they were upfront.
Setlist: Diamond Eyes (Boom-Lay Boom-Lay Boom), Dead Don’t Die, I’ll Follow You, State of My Head, Devil, Unity, 45, Enemies, Sound of Madness, A Symptom of Being Human, Planet Zero, Second Chance, The Middle, Daylight/Get Up, Simple Man, Monsters, Cut the Cord
