Mimicking Mars is a four-piece psychedelic indie-rock band formed in 2020 and currently playing out of Syracuse. The band originated in Monroe, NY and first came to notability in 2021.
Mimicking Mars is known for their unique sound which blends indie rock with elements of psychedelic and alternative rock. The group started in 2020, with original members Jeremy Lanuti, James Dawson, Josh LeVisuer, and Bobby Malone, as a creative outlet, and quickly became something much more important to each of them. The group is now based in Syracuse NY, as they conquer a new phase for their career.
The band started writing and performing, and since starting has released 7 singles and is constantly performing live. Their shows are a must-see, as the band’s energy is infectious, and their music comes to life on stage. Mimicking Mars is not just a band, they are a collective of artists who strive to create an experience that is both authentic and meaningful. They’ve just released their debut studio album Janky Jones & the Blackjack Blues, which is currently available on all streaming platforms.
Their debut studio album Janky Jones & the Blackjack Blues showcases the dedication, passion, and good vibes that this group has developed over the past three years. The band sees three upcoming shows for the remainder of the year. On October 31, they play at Al’s Wine and Whiskey in Syracuse. November 29 the group sees the stage at Barrel 28 in Florida, NY and then in Milford, PA on November 30.
For more information on Mimicking Mars’ upcoming shows and to give their tunes a listen, click here.
Kingston, New York is steeped in history. Once the ancestral lands of the Munsee people, it became a permanent settlement for Dutch colonists in 1652 and designating as New York State’s first capital in 1777.
Keegan Ales, O+ Festival 2024
Fast forwarding to today, this thriving HudsonValley community now serves as the base for O+ (pronounced O Positive), a non-profit organization creating its own history with a unique paradigm: artists exchanging their art for medical care.
Eat the Cake Band, Keegan Ales
From October 11-13th 2024, Kingston hosted O+’s annual festival, now in its fourteenth year. The three-day event raised awareness and funds for the organization, offering an immersive gathering of musicians, writers, dancers, spoken-word performers, and visual artists. In exchange for their contributions, participating artists received healthcare services.
Kate Pierson, Old Dutch Church
The festivities kicked off Friday night with a parade starting at Keegan Ales. With their three stages, Keegan Ales served as a musical hub, offering a wide range of musical experiences—from metal and rock to hip hop, house, and techno.
When artists and musicians thrive, so do culture and our communities.
O+ vision
The Old Dutch Church, a historical landmark dating back to 1659, anchored the festival in Uptown Kingston. Featured performers Neko Case, Rhett Miller & The All Stars, and Kate Pierson graced the church’s stage. Festivalgoers could purchase wristbands for full access to multiple stages, performance spaces, and presentations, all within walking distance of the church.
Sug Daniels, Utility Bicycle Works
One of the festival’s hidden gems was the Utility Bicycle Works stage, tucked away in the back of a local bicycle shop. Though the room was small, it offered an intimate atmosphere that amplified the performances. Philadelphia-based singer-songwriter Sug Daniels bared her soul to a captivated audience. The six-piece band King in Yellow defied the space’s physical limitations with their commanding presence.
TR33S, Keegan Ales Back Room
On Sunday night at the Old Dutch Church, O+ concluded with a special screening and panel discussion of The Blair Witch Project which coincided with the film’s 25th anniversary. Moderated by actress and musician Amanda Seyfried, the panel featured director Ed Sanchez and actors Joshua Leonard and Michael C. Williams.
Rhett Miller and The All Stars
O+’s vision remains clear: “When artists and musicians thrive, so do culture and our communities.” With fourteen years of Arts for Healing under its belt, O+ is not only adding to Kingston’s legacy but is actively shaping its future.
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
Brooklyn-born country artist and songwriter Jessica Lynn has released the sixth and final pre-release single from her upcoming album All I Own, “Something ‘Bout You.”
Jessica Lynn’s connection to country and passion for combining music with philanthropy runs deep. With talents in piano, harmonica, drums, guitar, and vocals, she’s a musical force to be reckoned with. Brooklyn-born and community focused, Lynn regularly brought her musical performance to local children’s hospitals and nursing homes.
Eventually, her skills landed her at PBS where she performed concert specials for the network alongside an intense touring schedule where she shared the stage with the likes of Brad Paisley, Keith Urban, Loretta Lynn, ZZ Top, Richard Marx, and the list goes on.
In 2020, Lynn’s giving spirit was recognized through her employment by the U.S. Department of State’s Bureau of Educational and Cultural Affairs as a consultant to their American Voices program and a member of American Music Abroad, a project that has brought her across the globe as a musical ambassador for the country. In addition to performing, Lynn teaches a course titled “Tips & Tricks for The Independent Musician” that helps to ensure young musicians have equal opportunity in the music industry regardless of their roots.
Following her 2022 album Lone Rider, Lynn found herself struggling with a bout of postoperative complications from a routine sinus surgery that would develop into muscle tension dysphonia, or MTD. For many musicians and vocalists, MTD can spell the beginning of the end for their careers and voices as a whole – and yet Lynn persevered.
Her latest project and upcoming album All I Own is a testament to Jessica’s determination and refusal to lose something as precious to her as music. Recorded in 10-minute bursts of vocal effort, she channeled the weight of her recovery journey into every second of the tracks. Exploring double meanings and invitations for reflection in the listeners while fighting through her vocal injury determinedly, each of the ten tracks contains an overflow of emotion and a resolve to be heard.
“I started singing as soon as I could talk and I started my first band when I was 13. Music is all I’ve ever known and the thought of potentially never being able to sing normally again was a feeling I couldn’t quite put into words.”
– Jessica Lynn
All I Own has been officially announced for release on January 17, 2025, along with the publishing of the album’s final pre-release single “Something ‘Bout You.” Inspired by her experiences with her husband, Lynn’s newest single encapsulates the feeling of falling in love and experiencing incredible adventures alongside another person in the hopes of bringing listeners back to a special time of their own.
Complete with an insightful and personal tour diary style music video, the song’s warm and uplifting energy shines even brighter through on-stage shenanigans and adventures through Europe. While the kind of love Lynn writes about in “Something ‘Bout You” may have been romantic, the affection felt from fans around the world and the obvious adoration she holds for bringing her music to life on stage elevates the video even further.
The full ten tracks of All I Own are set to be released in January with “Something ‘Bout You” being the final single prior to the complete project- listen here.
Prior to the album’s release and coinciding with her annual A Very Merry Classic Christmas tour, Lynn will be releasing a four-song live EP of tracks from the show with all proceeds from the project going to support Toys for Tots, the same organization she partners with to spread her philosophy of equal opportunity for all young musicians and artists every year during the Christmas themed tour.
Complete with the talents of local musicians and dancers of each and every stop, tickets to Lynn’s A Very Merry Classic Christmas tour are on sale now. The full list of tour dates is below, including a total of four dates throughout New York State. For more information, ticket purchasing and keeping up on the latest on Jessica Lynn, visit her website here.
TOUR DATES
Weds, November 27: The Marilyn Performing Arts Center – Foxborough, MA
Fri, November 29: The Marilyn Performing Arts Center – Foxborough, MA
Sat, November 30: The Warner Theatre – Torrington, CT
Sun, December 1: The Newton Theatre – Newton, NJ
Weds, December 4: The Jefferson Center – Roanoke, VA
Fri, December 6: The Colonial Theatre – Phoenixville, PA
Sat, December 7: The Sherman Theater – Stroudsburg, PA
Sun, December 8: The State Theatre – Ithaca, NY
Tues, December 10: The Palace Theater – Syracuse, NY
Sat, December 14: The Paramount Theater Hudson Valley – Peekskill, NY
Sun, December 15: The Paramount Theater Hudson Valley – Peekskill, NY
Fri, December 20: The Acorn Center – Littleton, NC
Sat, December 21: The Acorn Center – Littleton, NC
Sun, December 22: The Acorn Center – Littleton, NC
Justin Timberlake and The Tennessee Kids rolled into Buffalo on October 21st and performed at the KeyBank Center for a night filled with dancing and singing.
NEW YORK, NEW YORK – OCTOBER 07: Justin Timberlake performs on stage during the ‘Forget Tomorrow’ World Tour at Barclays Center on October 07, 2024 in New York City. (Photo by Kevin Mazur/Getty Images for Live Nation)
DJ Andrew Hypes kicked off the evening, energizing the crowd with a mix of songs that had everyone singing and dancing. He played hits like “Don’t Stop Believing,” “This Is How We Do It,” and classic *NSYNC tracks to get everyone excited for Justin.
As soon as Justin Timberlake took the stage at the sold-out KeyBank Center, the arena erupted with excitement. The intro for “Memphis” began playing, accompanied by a video montage of Justin and soundbites playing in the background of Justin’s career. The montage culminated in Justin singing a portion of “Memphis.” When he reached the line, “I’m everything you thought I was, it was everything I thought I was,” he rose to the center stage alongside The Tennessee Kids. He quickly transitioned into “No Angels.” From the get-go, Justin showcased his impressive dance moves and maintained constant engagement with the audience throughout the show, utilizing the entire stage.
About 30 minutes into the performance, after singing “Cry Me A River,” Justin took a moment to read some signs held by fans and interact with the crowd. He even took a selfie with a fan’s phone while wearing a Bills hat. The energy in the arena was electric, thanks to Justin, The Tennessee Kids, and the enthusiastic audience.
NEW YORK, NEW YORK – OCTOBER 07: Justin Timberlake performs on stage during the ‘Forget Tomorrow’ World Tour at Barclays Center on October 07, 2024 in New York City. (Photo by Kevin Mazur/Getty Images for Live Nation)
At the halfway point of the show, Justin and The Tennessee Kids moved to the B stage to connect with fans at the back of the arena. They performed several songs, including “Suit and Tie,” “Until The End of Time,” an acoustic version of “Selfish,” and “What Goes Around…Comes Around.” Justin then made his way back to the main stage, performing “Can’t Stop The Feeling” on his way and ending the set with “Rock Your Body” and “Sexy Back.”
NEW YORK, NEW YORK – OCTOBER 07: Justin Timberlake performs on stage during the ‘Forget Tomorrow’ World Tour at Barclays Center on October 07, 2024 in New York City. (Photo by Kevin Mazur/Getty Images for Live Nation)
One notable absence from this Buffalo show was the floating platform/wall that Justin had at previous performances, which displayed graphics throughout the concert. During the encore song “Mirrors,” he typically would be strapped into some wires and appear atop this floating platform. However, the lack of this feature did not hinder his performance in Buffalo at all; you would never have known if you weren’t aware of its presence at other shows.
NEW YORK, NEW YORK – OCTOBER 07: Justin Timberlake performs on stage during the ‘Forget Tomorrow’ World Tour at Barclays Center on October 07, 2024 in New York City. (Photo by Kevin Mazur/Getty Images for Live Nation)
Neil Young, Joni Mitchell, The Band, The Guess Who, Leonard Cohen, and Alanis Morissette. Rush, Justin Bieber, Drake, and The Weeknd. Where would the world of rock and pop be without the contributions of these great artists?
Many music lovers don’t realize that the stars above have Canadian roots. And even fewer realize that one of New York City’s most popular and longest-running music venues, Webster Hall, was also the brainchild of folks from up North, the Ballinger Brothers. The story of how they rose from a hardscrabble youth on a remote farm in Ontario to reign supreme in the NYC nightlife scene for a quarter of a century is the subject of Party Boys, a rollercoaster ride of a memoir by Lon Ballinger.
Lon Ballinger and his brothers Steve, Peter, and Buster created not only Webster Hall but a legion of Canadian venues where over 40 million people danced, laughed, listened to great music, and, in many cases, connected with the loves of their lives.
The Ballinger Brothers grew up poor on a family farm with a beloved but overbearing mother and an alcoholic father, a psychologically damaged war veteran who would (figuratively) head out for a packet of cigarettes and never return. Their nightclub empire, which first revolutionized the industry in Canada and then NYC, would spring from Lon’s impulse buy of a pizza oven and open his town’s first pizza parlor in October 1973. As with many of their ventures, they would turn it into a success, cash out, and move on to another enterprise. After the pizzeria came a laundromat, which financed their first foray into nightlife.
Lon and his brother’s inspiration to get into the disco biz came from two unlikely sources. The first was the classic television show, I Love Lucy, and its portrayal of the nightclub run by Lucy’s bandleader husband, Ricky Ricardo. The second is when they detoured from a planned road trip to Mexico to New Orleans (to drop off a hitchhiker they picked up who was carting 400 hits of purple microdot acid to Mardi Gras) and then San Padre Island, where they saw their first big-time disco.
With monies from the sale of their laundromat and Lon’s earnings from his sideline in real estate, the brothers opened their first club, Ballinger’s Danceteria, a cavernous two-level musical funhouse in Cambridge, Ontario on Halloween 1979. Here they would learn the hard lessons about what made a club prosper: booking great acts like James Brown, The Band and homegrown stars-to-be like Brian Adams and Loverboy; the value of having professional security and the golden rule of nightlife — treat the ladies right and the men will follow.
Ballinger’s would be one of the first clubs to feature giant video screens, leading to the creation of their own weekly TV series, Canamerica Dance. Ultimately, they would depart Ontario for the big city, Toronto, creating the country’s largest club, the 200,000 square foot Big Bop in 1986, followed by smaller satellites, The Boom Boom Room and Rockit. They also had an outlandish idea that never got off the ground due to the recession of the late ‘80s, The Judicial Museum of Canada. The latter was slated to be housed in a circa-1850 courthouse, Canada’s oldest, serving as a combination dance and music venue with a museum dedicated to the history of the country’s legal system and crimes.
Lon, what the hell were you and your brothers smoking?
The big-dreaming Ballinger Brothers were seriously over-leveraged when the financial crisis hit, with $5 million in renovation and real estate loans. When they realized there was no way to rescue their Canadian club empire, they turned their sites on New York, taking over the site of The Ritz, which, at that time, was a shell of its former self, much like the city itself.
The brothers’ experiences operating Webster Hall are the heart of the memoir. It would take three years of negotiations with the community board, liquor commission, and their landlord before they had approval to open the four-level nightspot in October 1992. Ballinger’s book includes plenty of juicy tales of navigating a plethora of dicey issues with the Mob, the Hell’s Angels, crooked politicos, and, of course, troublesome VIP guests (I’m talkin’ to you Bill Murray, Mark Wahlberg, Hillary Clinton, Bobby Flay and Rudy Giuliani!). Lon also proudly proclaims Webster Hall’s role as an early promoter of hip-hop and EDM culture by giving gigs to aspiring stars and via their venture, Webster Hall Records, which notched 30 chart-topping dance releases. There are also rosy memories of artists like Lady Gaga, Moby, and Ed Sheeran, who honed their craft in early career performances on the venue’s multiple stages. Lon also discusses their early embrace of the digital realm. Webster Hall pioneered online ticket sales and what may have had the first website ever created for a nightclub. He also humorously relates how the site’s domain was hijacked and later reclaimed after a legal battle with a porn purveyor.
Some of the book’s best parts are Lon’s memories of fantastic events during the brothers’ 25-year run at Webster Hall. Prince is called “the greatest talent ever to grace our stage” thanks to a 2005 performance with a 35-piece orchestra, a milestone witnessed by an invite-only audience of 350. Also fondly remembered are Madonna’s Pajama Party for the release of Bedtime Stories in 1995, Bill Clinton’s Presidential Announcement Party in 1996 (where the Commander-in-Chief “made eyes” at one of his brother’s wives), and Paul Simon’s live recording in 2011, where another genius joined him, David Byrne. From 1992 – 2017, Webster Hall hosted nearly 30 million people and showcased 10,000 musical acts.
Ballinger’s book also includes many tales of the cut-throat side of the Big Apple’s nightclub business, namely their longtime battles with another promoter and sometimes partner, Bowery Presents. In 2016, the Ballinger Brothers agreed to sell the venue to a Russian oligarch and entertainment mogul, Mikhail Prokhorov, owner of the Brooklyn Nets and Barclays Center, for $45 million. Like many stories and experiences here, that would be an event full of surprises and drama. The Ballingers would hand over the keys to their kingdom in the wee hours of August 17, 2017, after a final wild night featuring a performance by Skrillex, an EDM artist whose fame they helped foster.
Lon’s book concludes with a valuable bonus section: “Lon’s Practical Advice for Running the Best Business in Your World.” Here, he provides 30 pages of his hard-earned wisdom on what it takes to succeed in any business – from building good relationships with your community, customers, and partners to advice on branding, marketing, insurance, taxes, and lawyers (be wary of the latter).
After selling Webster Hall, Lon Ballinger and his wife moved to the Hudson Valley, where they bought and refurbished The Stewart House in Athens, a breathtaking boutique hotel on the Hudson River. They now operate this hospitality gem, hosting their friends and guests at the beautiful and historical 1883 Stewart House Hotel.
Bio: Sal Cataldi is a musician, writer and former entertainment publicist living in the Hudson Valley and NYC. He is leader of the band Spaghetti Eastern Music and member of the ensembles Guitars A Go Go, Vapor Vespers and spaceheater. He is also the host of “Reading In Funktamental” on WGXC 90.7 FM/Wave Farm, a monthly/Apple Podcast show where he speaks to the authors of the books on music he reviews here at NYSMusic.com
Sometimes an intimate theater experience can deliver just as big of an impact on a live music fan as a massive arena setting can. Murray’s Law, acoustic duo Brian Murray and Jimmy Law from well-loved jam band Dogs in a Pile, delivered just that, a larger than life sound and overall experience inside the small and cozy Swyer Theatre of The Egg on Sunday evening in Albany, New York.
Superstition strikes as to never miss a sunday show, especially when you can catch such great talent steps away from your apartment. The October 20, 7pm show started just minutes after, with a very gracious and thankful Murray and Law to those in attendance. The small theatre held a tiny but extremely devoted crowd, already releasing cheers and woos of support, eager to hear what the artistic duo had in store. Incredible sound, for one, was obvious almost at an instant and rang true through the two-set night.
Playing as a stripped down acoustic duo made a truly pleasant listening experience, as fans were able to better focus and dial in on the intricacies of their individual sounds as musicians, and further amplified by the quality of sound in the room. They traded on and off between impressively fast and fun fingerpicking to hard and steady jamming in front of a simple setup of a few tall candles, beautiful, colorful mosaic lamps and endless guitar pedals that eventually lent the audience some fun reverb bouncing off the walls of the Egg.
The night’s setlist was a carefully, and well crafted arrangement of DIAP tunes, covers from american folk and country greats and favored jam bands. John Hartford’s “Joseph’s Dream” opened up the show with easy listening before dropping into the intricate fingerpicking, or “travis picking” stylings of Merle Travis’ “Cannonball Rag”. The already amped up audience got to sample a new Dogs tune titled “Look Johnny II”, sandwiched right in between an expected and wanted Grateful Dead cover, “Jack-A-Roe,” where Law’s raw vocals shined, and an impressive rendition of Jim Croce’s “Walkin’ Back to Georgia.” A collective appreciation swept over the room and while most stayed seated, groups towards the back just couldn’t contain the groove, surrendering, dancing and loudly applauding through the night.
With a nod to the venue being titled the Egg, Murray joked the nut of his guitar fell off and had to be assembled back together like humpty dumpty just seconds before walking on stage. Lighthearted fans joked in response that we got a two-for-one concert/comedy special deal. After a quick break, the guitarists continued to excite the crowd in set two with their own ‘Go Set”, the Dead’s “Cosmic Charlie” and “Lazy Susan,” a new track Murray penned in Nashville, during a time he just so happened to meet Lucas Nelson. A personal highlight of the show was the heartfelt cover of recently deceased Kris Kristofferson’s “Sunday Morning Coming Down,” and Murray’s emotional vocals that accompanied it. Encore came to wrap up the special evening with a double header of Trey Anastasio Band’s “Ether Sunday” and the Allman Brothers’ “Soulshine.”
With Dogs in a Pile riding high popularity waves in the current scene and a ever-growing Dog Pound of fans, it was a true treat to be able to experience such a remote setting bursting at the seams with talent in musicianship and appreciation by both the duo and fans alike. Be sure to catch the full Dogs in a Pile group at Putnam Place in Saratoga for their New Year’s Run!
10/20/24 Murray’s Law at the Egg , Albany NY Setlist
Set 1: Joseph’s Dream, Cannonball Rag, You Didn’t Hear It From Me, Today, A Thing Called Love, Wildflower, Jack-A-Roe, Look Johnny II, Walkin’ Back To Georgia, Mr. Banker, Shenanigans
Set 2: Go Set> Cosmic Charlie>Go Set Ending, Lazy Day, Lazy Susan, Sunday Morning Coming Down, Burning Daylight > No Excuses > New Shoes> Power Trip
This is part 3 of a series looking back at the history of Phish in Albany. Here are Part 1 and Part 2 as we eagerly anticipate the next round of shows at the Times Union Center this week.
December 1, 2003
2003 was a special year for Phish as it marked the band’s 20th anniversary of their first show ever. December 2, 1983 is generally recognized as the first public gig – a low key affair at a University of Vermont cafeteria where they may have even been known as Blackwood Convention. After ditching that moniker, and trading out guitarist Jeff Holdsworth for keyboardist Page McConnell, the Phish brand grew quite successfully over the next twenty years. To commemorate the occasion, Phish scheduled a “short but sweet” 4-show tour of the Northeast that culminated in a 20th anniversary show on December 2 in Boston.
12/2/83 Harris-Millis Cafeteria – University of Vermont
No proper fall tour in the Northeast, no matter how short, would skip over Albany, which was the penultimate stop. Remember, this was before Phish laid permanent claim to Madison Square Garden for indoor NY shows. The first two shows of the tour did not disappoint at all with special guests like the Dude of Life popping out for the encore in Long Island and Tom Marshall joining 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 this guest selection.
In a move that seemed to be well kept under wraps, Phish brought out founding member and guitarist Jeff Holdsworth for a string of songs in the the latter part of the second set,.from the old school choice of “Camel Walk” to the “Run Like an Antelope” closer. In between these, Phish kept the nostalgia vibe strong with throw backs like a cover of “Long Cool Woman in a Black Dress,” the first song at the first gig 20 years ago, and the Holdsworth-penned “Possum” that’s a regular at live shows to this day. While nothing was quite astounding from a musical perspective in this portion of the show (Holdsworth seemed to be very low in the mix), the band still afforded him some solos to take as everyone got a fun glimpse of the band’s origins.
Set 1: Chalkdust Torture, Stash, Guyute, Thunderhead -> Sparkle, Wolfman’s Brotther -> 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 Antelope with Jeff Holdsworth on guitar
November 27 & 28, 2009
Fast forward 6 years later and it was a whole different state of Phish in Albany. After the band’s disastrous “farewell” festival that was Coventry in 2004, a second hiatus followed that lasted almost five years and was finally ended with a trio of triumphant return shows at Hampton Coliseum in March of 2009. After those shows and a successful two-legged summer tour and Halloween shows in Indio, CA, the band was truly on the way back and picking up steam as they forged a new chapter in their career. While some jaded fans may have complained the consistency of quality live shows wasn’t the same yet or that the band’s “new sound” wasn’t quite the same, it’s generally agreed that Phish made an impact statement with this set of Phish Albany shows, courtesy of one of the most acclaimed stretches of music to this day.
Poster by AJ Masthay
Each of these shows has a flavor all their own in terms of what makes them special. Friday the 27th was highlighted by some unique song selections and a couple of memorable debuts. With an energy only upstate New York can deliver, Friday started off with a rip roaring “AC/DC Bag” > “Maze” one-two punch and things only took off from there. The first set also featured an electric “Gumbo” that gave MacConnell more than enough room to show off his chops and the very rare “Two Versions of Me,” from the band’s 2004 release Undermind. So rare, in fact, the song hasn’t been played live since.
Friday night’s second set was marked by two Phish debuts, one of which is still a live show staple. After a dark and moody “My Friend, My Friend” opener, the band played “Golden Age” for the first time ever, a TV on the Radio cover that few saw coming.
The rest of the second set continued to build with another cover, Little Feat’s “On Your Way Down,” before a truly epic sequence of “Fluffhead” > “Piper” > “Tomorrow’s Song,” another true rarity plucked from Undermind and, to this day, the only time the song has been played live.
Set 1: AC/DC Bag > Maze, Driver, My Mind’s Got a Mind of its Own, Gumbo, Bouncing Around the Room > It’s Ice, Two Versions of Me, Timber (Jerry) > Limb by Limb, Cavern > Light
Set 2: My Friend, My Friend > Golden Age, On Your Way Down, Fluffhead > Piper > Tomorrow’s Song, Prince Caspian > Harry Hood > Suzy Greenberg > The Squirming Coil, I Been Around
Encore: Fire
Poster by Steve Rogers
Saturday night’s Phish Albany show picked up where things left off the night before and turned the intensity up a notch, if that were at all possible. Starting with an ebullient “Party Time” opener, the atmosphere inside The Knick was electric as fans rejoiced in another show that helped further cement the band’s status as “back.” The first set also had its share of fun song selections like “Sanity” and “Foam” as well as the triumphant return of “Vultures” for the first time since the band’s reunion. But this show will go down in lore for the incredible piece of improv that began the second set.
“Seven Below” began things with a tightly wound composed section played with precision, that soon turned into a driving, soaring jam thanks to the efforts of bassist Mike Gordon and drummer Jon Fishman. The improvisation then touched on elements of prog rock, ambience and then some all while being fueled by majestic guitar play from a seemingly happy and healthy Trey Anastasio on guitar. As the jam slowly petered out some 20 plus minutes later, the distinctive opening guitar riffs of “Story of the Ghost” came into play and Phish was off and running again. A spirited and quick run through the song’s composition, fueled by plenty of singing along from the crowd, soon yielded to bouncy, near blissful jam that eventually turned into a dark, sinister, almost heavy metal-ish type throwdown, serving as the surest sign yet that Phish was back in a big way.
They could have ended the show right then and there and few would have complaints. A more than appropriately named cover in The Velvet Underground’s “Cool It Down” followed and was fairly short lived before a direct segue into “Gotta Jibboo” that picked things back up. However, it would be near impossible to top the masterpiece that was the close to 48 minutes of music that the first two songs produced. A monstrous “You Enjoy Myself” serves as only a footnote on this Albany classic.
Set 1: Party Time, Stealing Time from the Faulty Plan, Uncle Pen, Sanity, Foam, Walk Away > NICU, Alaska, Split Open and Melt, Joy, Vultures, Backwards Down the Number Line
Set 2: Seven Below > Ghost, Cool It Down > Gotta Jibboo, Let Me Lie, Wolfman’s Brother > Julius
Encore: You Enjoy Myself
Take a look at our 2018 review of Phish at the then-Times Union Center and stay tuned for coverage of this weekend’s three-night run in support of the Divided Sky Foundation!
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.
This is Part 2 of a series looking at the history of Phish in Albany. Read Part 1 and Part 3 ahead of Phish’s return to the Capital District and MVP Arena.
The anticipation that builds on South Pearl Street outside the Knick/Pepsi/Times Union Center/MVP Arena is one that you don’t find many places where Phish plays in the Northeast. Streets are closed to all but pedestrian traffic, parking garages are popping off, local businesses are packed with customers and fans mill about from Shakedown to the bars and all points in between.
With five shows in the books in Albany so far in their career, Phish returned for seven more shows before the end of the decade and firmly made their mark for playing some of their best Fall shows here. While it was not called The Knickerbocker Arena after the 1995 show, the new branding of The Pepsi Arena was a moniker that did not stick – we just called it The Knick (and some of us still do) – even still that it’s now the Times Union Center. Whatever we call it, we know it’s home to some delicious Phish going back more than two decades. All setlists via Phish.net.
Art by Drew Suto
December 12 and 13, 1997
Back in 1997 when Phish was on the road destroying America, they wrapped up their legendary tour in Albany, as close to home as the boys from Burlington could get. And for two nights, they continued to raise the bar for performances in the Capital District, wrapping up the tour with two shows that featured stand out jams and memorable band antics.
Starting the first night off with a “Funky Bitch” that stretched out a bit and was followed with a “2001” that lasted nearly 11 minutes was par for the course back then – nevermind waiting until mid-Set 2 for that funky disco dance party – two songs in and you were getting down. Keeping the cow funk going with “Camel Walk” and an extended “Taste” were the appetizers ahead of a 16 minute “Tweezer,” where Trey and Mike built the anticipation right out of the intro. That first five and a half minutes of this “Tweezer” is furious, and the rest a big bowl of funk-icing. The ambiance on the outro led into “Train Song,” which begat “Character Zero,” the new yet familiar rocker that was locking in its place as a set closer.
“Saw it Again,” a new song for 1997 cracked the second set and drives in with pure rock and roll and a Zeppelin-esque jam that emerged as it grew closer to the monstrous 20 minute “Piper” that followed, complete with slow build (remember the days?). This furious “Piper” bursts out and like an energizer bunny it just doesn’t stop. Finally when the jam does subside softly, it works into a serene “Swept Away” -> “Steep” combo. “Prince Caspian” picked up speed again and headed toward more Zeppelin acid-rock right up to the last 90 seconds, where it starts to drift off into space before Trey returns with a penultimate “Izabella,” one of the few times it has been played, but somehow one of the nine played in 1997. Can you imagine? Nine “Izabella’s” in a single year? “Tweezer Reprise” would drain the final drop of energy out of the crowd, and for an encore, the early years of “Guyute” shone bright with a huge cheer from the crowd at the opening notes, and a furious “Antelope” with a “Buried Alive” tease thrown in for good measure.
Set 1: Funky Bitch -> Also Sprach Zarathustra > Camel Walk, Taste > Bouncing Around the Room, Tweezer > Train Song > Character Zero Set 2: Saw It Again[1] -> Piper > Swept Away > Steep > Prince Caspian > Jam -> Izabella > Tweezer Reprise Encore: Guyute, Run Like an Antelope
[1] Extended jam.
The second night was my first Phish show, and I definitely wish I appreciated the opening 18-minute “Ya Mar,” but I came here for “Sample” and stayed for the lights-out “Hood.” Much like the night before, the beginning of the show would set the tone for the night, with a crowd pleasing “Axilla” and “Theme From the Bottom” to follow. The first set, to a newcomer, was non threatening and a nice way to ease into a Phish show. On relisten, this set is full of fan favorites, tunes that in 1997 were chased, and had a wonderfully funky ending with “Tube” and a rockin’ “Good Times Bad Times.”
Set two though was where Phish left it all on the table and left no stone unturned, starting with “NICU” and “Punch You in the Eye,” and a long dark “Ghost” just to get things started. And just as a “Ghost” jam is finding its end, Trey rips a “Mike’s Song” out of the ashes and lays a little extra mustard on to get it going. Just as the lyrics are wrapped up, this “Mike’s” becomes the thing of legend, deep bass lines and dark tones from the band precede the call to ‘Bring the Dude,’ which brought the crowd along for a wild ride while the band continued to ‘Bring the Dude’ in their pocket of this jam. I remember looking around, wondering where this ‘dude’ was going to emerge from, only to have the jam pick up speed and eventually work into “Llama.” The “Weekapaug Groove” has a tight “Catapult” inside, and Trey asking Kuroda to dim the lights for “Harry Hood” made the final moments of this final set of Fall 1997 as memorable as possible. The “My Soul” and “Squirming Coil” encore were on point, tying the show, and tour, together nicely. A hometown show is a great way to start a life of Phish and I’m glad my friend Mike gave me a ticket for this show. A few hundred shows later and I’m always looking back on this show with a smile.
Set 1: Ya Mar[1] > Axilla > 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[2] -> Llama, When the Circus Comes, Weekapaug Groove ->Catapult -> Weekapaug Groove, Harry Hood Encore: My Soul, The Squirming Coil
[1] Unfinished.
[2] Chants to “Bring in the Dude.”
November 25, 1998
In many ways, 1998 was an extension of the groundbreaking 1997 tours that Phish played, starting with The Island Tour in April and finding their way through the summer and a fall that already had produced a full show of Velvet Underground’s “Loaded” and Pink Floyd’s “Dark Side of the Moon.” This show from the Pepsi Arena the night before Thanksgiving is a diamond in the rough and overlooked for the three night run in Worcester that followed the holiday.
Taken on face value, you might see “Roggae,” “Lifeboy,” and acoustic versions of “Sleep” and “Driver” in the first set and think this was a snoozer, but you’d be wrong. The show opens with a one-two “Punch You in the Eye”/”My Soul” combo before getting nestled into that first set groove with “Roggae” before “AC/DC Bag” picks things back up again. The rare “Lifeboy” can’t be argued with here – you might only have had six chances to hear it since 1998 – and the 20 minute “David Bowie” that follows hits all the marks. A couple of acoustic numbers to right the ship before “Good Times Bad Times” shows up for the second show in a row at The Knick
For the second run in a row, the crowd was treated to a huge “2001” and randomly, a “Golgi Apparatus” to follow, to open the second set. “Drowned,” “Caspian” and “Piper” flowed together seamlessly, a mid-set trio that set the stage for “You Enjoy Myself,” and why not keep the tramps out there for an out of left field “Been Caught Stealing?” A fiery “Llama” was once again found in Albany, and for an encore we were treated to the fourth, and final (so far) version of The Beatles’ “Something,” fan favorite “Guyute” and surprisingly, an acapella version of “Free Bird” which is still etched in my mind for the perfect cap to this high caliber show.
Set 1: Punch You in the Eye > My Soul, Roggae, AC/DC Bag > Lifeboy, David Bowie, Sleep[1], Driver[1], Good Times Bad Times Set 2: Also Sprach Zarathustra > Golgi Apparatus, Drowned -> Prince Caspian > Piper, You Enjoy Myself, Been Caught Stealing > Llama Encore: Something > Guyute, Free Bird
[1] Trey on acoustic guitar.
October 9 and 10, 1999
The saying is, ‘If it’s not broke, don’t fix it, right?’ Well Phish opened up their next stop in Albany with “Punch You in the Eye” and after a quick “Wilson,” jumped into “Guyute,” which they apparently love to play here. The 20 minute “Ghost” keeps up the tradition of those long first jams that Albany shows are a known for.
It is in Set 2 where “Limb by Limb” got spacey and again, a “2001” emerges, and here is where we find the theme to Phish in Albany – long jams and repeated fan favorites. In the second set, the first three songs along combine for 45 minutes, followed by “Waiting in the Velvet Sea,” then a young song in the mix to mellow things out after a hot opening combo like that. “Simple” and “Loving Cup” close the set with “Slave” filling into the encore slot nicely. It’s a good thing they brought out fan favorites tonight, because the next night was a different story.
Set 1: Punch You in the Eye > Wilson, Guyute, Ghost -> Free, Sparkle > Possum Set 2: Limb By Limb > Also Sprach Zarathustra[1] > Down with Disease > Wading in the Velvet Sea, Simple, Loving Cup Encore: Slave to the Traffic Light
[1] Trey on keys.
Poster by Jim Pollock
For the end of their Fall 1999 tour, an album listening party for the soon to be released Farmhouse broke out in the first set. I won’t sit here and shame this set – it’s great, but that night it was a handful of new songs couples with some jams and a “Stash” at the end that was like the lot burrito I had that night – it didn’t sit very well. But for set 2, things went a little deeper, opening with a Jam that found its way into “You Enjoy Myself” without a vocal jam, “Prince Caspian” and “Train Song.” By the time the band got to “Bathtub Gin” they were in full rock star mode, and the “Character Zero” to close things out made for a well rounded if not slightly awkward setlist. “Contact” in the encore was fitting, and paired with “Misty Mountain Hop,” these four Vermonters were itching to get in their cars and head to the Green Mountains for six weeks of recording, rest and relaxation before heading out on tour in December with their eyes set on a millenium bash in Florida.
Set 1: Farmhouse, Gotta Jibboo, Heavy Things, First Tube, Dirt, Vultures, Stash Set 2: Jam > You Enjoy Myself[1] > Prince Caspian > Train Song, Bathtub Gin, Character Zero Encore: Contact > Misty Mountain Hop
[1] No vocal jam.
September 8 and 9, 2000
There is something to be said about tour openers in Albany – they are rare, but they are very, very good. The variety found in the show that kicked off their final tour before hiatus is remarkable, and on relisten, it gives a sampling of Albany shows past, and what we can look forward to when Phish opens up their Fall 2018 tour. A debut of Bob Marley’s “Mellow Mood” should be enough to get the juices flowing, and its the “Limb by Limb” and “Ghost” that follow that pick the pace up and give you an idea of the potential in store this night, and this tour. The next seven songs all blow by with relative ease before another big “Taste” emerges and “Golgi” closes the set out. Kicking off Set 2 with a tough “Birds of a Feather” precedes the Tony Markellis penned “Windora Bug” debut and an 18 minute “David Bowie,” and the blues tune “Back at the Chicken Shack.” A 16 minute “Bathtub Gin” paired with its own ambient jam with Fishman on vacuum and Trey on drums is that taste of 1.0 that you don’t find these days. Another show closing “Character Zero” wrapped up the show, with “Fire” in the encore slot.
Set 1: Mellow Mood[1], Limb By Limb, Ghost, Bouncing Around the Room, The Horse > Silent in the Morning, Saw It Again, NICU, Glide, Axilla, Taste, Golgi Apparatus Set 2: Birds of a Feather, Windora Bug[1], David Bowie, Back at the Chicken Shack, Bathtub Gin > Jam[2] > Character Zero Encore: Fire
[1] Phish debut.
[2] Fish on vacuum and Trey on drums.
When you know it’s the last time you’ll see a band for a while, you make the most out of it, and that was the C.W. for fans that I rolled to this show with. I would see them once more this fall in Darien Lake, but for many, this was the end of the line for the foreseeable future – no one knew how long this break would be for, so rather than chance it, Albany packed the Pepsi Arena for the second night in a row. Opening with a “Possum” built off the anticipation from outside was the start to the night we needed, and deserved. A jam out of “My Friend” found its way into “Gumbo,” and then into “Maze,” so after four songs, this set was already following in the footsteps of past shows. “Boogie On,” “Roggae,” “Guyute” and “Antelope” as the second half of the set just kept raising the bar for what was possible this tour.
Opening with the new fan favorite “Gotta Jibboo” for a lengthy jam to start the set was a nice pairing to the “Possum” that opened the night. After a brief and rare “The Curtain,” a 20 minute “Sand” stood out as the jam of the night, partially because little that followed would compare. Michael Ray, of Sun Ra and Cosmic Krewe fame, would join the band on trumpet for “Makisupa Policeman,” “Cars Trucks and Buses,” and “Funky Bitch,” and while this was by no means Kid Rock sitting for the second half of a set later that tour, it did take the energy from earlier in the set and cast it aside. I never understood why Ray didn’t stick around for “Cavern,” which has a perfect fit for horns. And so for an encore that somehow had no discernable “You can feel good” ending lyrics, “Harry Hood” still clocks in at 17 minutes, with some lucky fans on the stage to enjoy it up close while Ray and Trey laughed it up as the jam came to a close.
Set 1: Possum, My Friend, My Friend[1] -> Jam > Gumbo -> Maze, Boogie On Reggae Woman, Roggae, Guyute, Run Like an Antelope[2] Set 2: Gotta Jibboo > The Curtain > Sand[3], Makisupa Policeman[3] > Cars Trucks Buses[3] > Funky Bitch[3] > Cavern Encore: Harry Hood[3]
[1] No “Myfe” lyric.
[2] Tom Marshall spoke the lyrics to Antelope.
[3] Michael Ray on trumpet.
And there you have it – seven performances by Phish from 1997-2000 that featured a few 20 minute jams, some bust outs and debuts, and a whole lot of rock n roll. Phish has a wonderful tradition of playing hot shows in Albany and with this being one of only 5 stops this Fall, you know they’ll be bringing the heat to the fans next week.
December 1, 2003
