Australian band King Gizzard & The Lizard Wizard formed in 2010, mashing up a combination of prospective band names into their now iconic name. The name tells you almost everything you need to know about this band of Australian goofs and their ability to turn any concept and sound into a piece of complex and intriguing art. In the past 14 years, they have released 26 studio albums covering many genres, from psychedelic rock to metal to indie and everything in-between. That’s almost one full album every six months for over a decade. King Gizzard gave us a taste of all of it Friday, August 16th at Forest Hills Stadium.
Opening for King Gizzard was Geese, coming off of their well-received second studio album, 3D Country and 4D Country EP. Geese’s sound fits well within Gizzard’s world, with more of an american blues lean meets Pearl Jam feeling to their sound. With these shows, Gizzard took a page out of the Grateful Dead’s book, playing three-hour sets with a changing setlist. Comparing the setlists from their Friday and Saturday shows at Forest Hills Stadium, they didn’t repeat a single song across the two shows. Their discography is so deep that they could repeat that feat across almost a dozen of these three-hour marathon sets without ever repeating a song.
If you are a fan of a more niche Gizzard song, now may be your opportunity to see it live as they trawl through their discography over the coming months. The setlist for this first Forest Hills show was a perfect welcome to fans who may not have had a chance to see the band before. The band played a majority of their most popular tracks, with an overall metal lean and a healthy serving of Gizzard’s home base psychadelic funk/rock to round out the 25 song setlist.
With the lack of breaks and varied repertoire, Gizzard amazingly suffered very few hiccups during their set, playing an almost seamless blend of tracks with some especially unique transitions between songs that made the audience’s ears perk up. All of the band’s members are multi-instrumentalists, adding to the complexity and giving King Gizzard their unique layered sound. They invited a fan named Gabby who was holding a sign in the audience on stage to sing the intro to “Nuclear Fusion.” The intro is probably best described as throat singing with some heavy effects layered ontop and Gabby killed it.
Another notable aspect of King Gizzard’s live performances is the audience, a unique combination of deadheads, metal heads, and monster heads, people dressed in a smattering of medieval clothing and monster costumes harkening to King Gizzard’s ever growing lore. Many of these costumes touch on themes inherent to Gizzard’s visual media and lyricism such as the eponymous awareness around the earths climate and the eponymous King Gizzard and Lizard Wizard. King Gizzard’s media presence is heavily based in fantasy and sci fi and has given way to fans concocting a unique world out of an amalgamation of lyrics and imagery. The looseness of this world is what makes their crowds so unique, as fans craft outfits that fit into a world created of their own creation, serving as a true reflection of the wearer in a way that typical fan regalia can’t.
The show stopped exactly at 10pm due to a hard curfew implemented by Forest Hills Stadium last year in an effort to cut down on noise complaints. Following their shows in Queens, King Gizzard & The Lizard Wizard continue on with their North America tour, which is a marathon itself, with 36 more shows through November of this year. Then in May of 2025 they make their way to Lisbon, Portugal for the European leg, which extends through June.
Setlist: Field of Vision, Daily Blues, Cut Throat Boogie, Gamma Knife, People-Vultures, Mr. Beat, Boogieman Sam, Work This Time, Iâm In Your Mind, Iâm Not In Your Mind, Cellophane, Iâm In Your Mind Fuzz, This Thing, Self-Immolate, Organ Farmer, Venusian 2, Gila Monster, Flamethrower, Straws In The Wind, Pleura, All Is Known, Doom City, Rattlesnake, K.G.L.W. (Outro)
King Gizzard & The Lizard Wizard – Forest Hills Stadium – August 16, 2024
It was a night of sonic exploration and psychedelic virtuosity on Monday, August 12, when Les Claypool and the mighty Primus made their return to the Saratoga Performing Arts Center. In a concert experience that definitely did not suck, the music was as eclectic as it was electrifying. Along with the ageless and genre-defying Primus, the stacked bill also included the progressive rock grandeur of Coheed and Cambria, and the surreal cabaret experience of Puddles Pity Party. This unlikely combination of acts came together to create a night that was both surreal and unforgettable.
Here Come The Bastards: Primus frontman Les Claypool performing in Saratoga Springs on 8/12/24.
Primus has always been a band that defies categorization. Fronted by the inimitable Les Claypool, Primus burst onto the scene in the late 1980s, blending elements of funk, metal, punk, and experimental rock into a sound that is uniquely their own. Their music is characterized by complex rhythms, bizarre lyrical narratives, and, most notably, Claypool’s virtuoso bass playing. Over the years, Primus has cultivated a devoted following, attracting fans of both hard rock and improvised jams, their live shows are known for their deeply hypnotic grooves and intense, energetic peaks. At SPAC, Primus delivered a set that was both nostalgic and forward-looking. After taking the stage to their customary Danny Elfman / Pee Wee’s Big Adventure walkup theme known as “Clown Dream,” the band would immediately surprise fans with an unexpected sit-in from Puddles Pity Party, the 6’8” sad clown with the golden voice. Delighting fans with a powerful cover of the Dio classic “Holy Diver,” Primus and friends made it clear they weren’t clowning around in Saratoga, and to strap in for a rollercoaster ride of the unexpected.
Holy Diver: Primus opened the show with a little help from from Puddles Pity Party on 8/12/2024.
Following things up with the heavy-hitting 1993 Pork Soda favorite, “Nature Boy,” Claypool’s basslines were as thunderous as ever, and his off-kilter vocals added an extra layer of strangeness to the proceedings. “Golden Boy” would be lone song played from The Brown Album before “My Friend Fats” took the honors as first extended jam of night, giving guitarist Larry “Ler” LaLonde ample time to showcase his dizzying effects pallet and technical chops, while Claypool’s frantic finger work on the high notes echoed through the pavilion in the most surreal and satisfying way.
C’mon kiddies, gather round: Primus performing at Space on 8/12/2024.
As the lights dimmed between songs and the fog machine continued working overtime, a hooded figure emerged from the side of the stage. Clutching a glowing skull and presenting it to the crowd as if it processed mystical powers, the identity of the druid was soon revealed as Claudio Sanchez of Coheed and Cambria! Teaming up with Primus for the second surprise sit-in of the night, Sanchez’ distinct voice was perfectly suited for the cover of Rush’s “Cygnus X-1.” Bouncing back with the standout song of the night, a deep dive into “Professor Nutbutter’s House of Treats” had all the old school Primates savoring every second. The crowd, a mix of dedicated followers and curious newcomers, were fully engaged, swaying and headbanging to the complex grooves. The visual experience was equally impressive, with trippy, surrealist animations projected behind the band, adding to the sense of being on a musical journey through the weird and wonderful.
Claypool for President: Bassist Les Claypool performing at SPAC on 8/12/24. Would you vote for this man?
Taking a moment to acknowledge the audience, Claypool would remark that it’s been quite a long time since they last played this historic venue. Nostalgic fans were quick to remember the bands appearance at SPAC during the H.O.R.D.E. days in the late 90’s and their many appearances at the Palace Theatre in Albany in the years since, but indeed, it had been awhile since they’ve played a venue of this capacity. Interrupted by a fan requesting “Tommy the Cat,” Claypool would immediately shoot them down by saying, “Did you just say Tommy the Cat? That’s funny because that’s exactly what we’re not going to play.” Instead going with the crunchy punch of “Hamburger Train” anchored by the powerful hands of drummer Tim “Herb” Alexander. Leaving the stage and returning in a horse mask, Claypool would take to his electric standup bass for the particularly poignant cautionary tale of “Jilly’s on Smack.” Ending the tune on a repeating loop, the band created a dark ambience that felt like it could take you in any direction. Choosing once again to return to the Pork Soda era, “The Ol’ Diamondback Sturgeon (Fisherman’s Chronicles, Pt 3)” seamlessly picked up where Jilly left off. Sensing a bit of a shift in momentum, Primus would strike back next with one of their most iconic songs, “Jerry Was a Racecar Driver,” which was famously featured over and over on the original Tony Hawk’s Pro Skateboarder game. Sending fans into a frenzy every time he shouted “go!” the bolted down seats in the amphitheater where the only thing stopping a full-scale mosh pit from breaking out. Jerry would bring the main portin of the show to close and leave fans screaming for more.
House of Treats: Primus pleased the SPAC crowd with a tasty Professor Nutbutter on 8/12/24.
Returning for an encore and with lots of fan favorites still left on the table, Primus would select the title track of their latest EP, 2022’s “Conspiranoia,” which they also played their last time in town at the Palace Theatre. Going all in on the near twelve-minute jam, Claypool would march circles around the stage, stomping his feet to the songs monstrous bass lick while humorous soundbite samples of random conspiracy theories pipped over the PA. Segueing directly into the relentless rhythm of “Here Come the Bastards,” Primus would ultimately send fans home happy with one of their biggest hits, “Wynona’s Big Brown Beaver.” A well-curated mix of classic tracks and deeper cuts, satisfying both long-time fans and newer listeners, Primus never disappoints.
Watch fan shot footage of Primus performing “Wynona’s Big Brown Beaver” in Saratoga Springs 8/12/24.
If Primus represents the quirky and experimental side of rock, Coheed and Cambria bring a sense of epic grandeur to the table. Formed in 1995, Coheed and Cambria are known for their sprawling, concept-driven albums that weave together elements of progressive rock, metal, and emo. Their music often tells the story of *The Amory Wars*, a science fiction narrative that spans multiple albums and has even been adapted into comic books.
Claudio Sanchez of Coheed and Cambria performing in Saratoga Springs on 8/12/24.
At SPAC, Coheed and Cambria delivered a performance that was nothing short of cinematic. Frontman Claudio Sanchez’s soaring vocals and intricate guitar work were the perfect match for the band’s complex compositions. The set was a rollercoaster of emotions, with moments of quiet introspection giving way to explosive, arena-sized choruses. Tracks like “Welcome Home” and “The Suffering” were particular highlights, with the audience singing along passionately.
Coheed and Cambria opening for Primus on 8/12/24.
At one point, the band would pause to reflect on their history in the area, with multiple mentions of their early gigs at the since burned down Saratoga Winners venue, even dedicating one of their new songs to the man who booked them way back then. With a sound that still resonates all these years later, there was a noticeable contingent in the audience decked out in sci-fi and comic book-inspired attire, clearly long-time fans of the band and their intricate storylines. Coheed’s set was full of high energy, hair whips and bombastic solos, that at one point even saw Sanchez playing his double-neck guitar behind his head for added showmanship. For the beers drinkers in attendance, the band also brought along their limited edition IPA collaboration with Six Point Brewery called The Liars Club, inspired by the bands album Vaxis II: Window Of The Waking Mind.
Watch fan shot footage of Coheed and Cambria peforming “Welcome Home” at SPAC on 8/12/24.
Puddles Pity Party, the opening act of the evening, was perhaps the most surprising element of the night. For the uninitiated, Puddles Pity Party is the alter ego of Mike Geier, a 6’8” tall clown with a melancholy demeanor and a voice that can only be described as stunning. Puddles rose to fame through viral videos and appearances on America’s Got Talent, where his deep, emotive voice and unique takes on popular songs won him a legion of fans.
Puddles Pity Party performing in Saratoga Springs on 8/12/24.
At SPAC, Puddles Pity Party delivered a set that was both hilarious and deeply moving. Dressed in his trademark white clown costume, Puddles performed a mix of covers and original songs, each delivered with a combination of deadpan humor and genuine emotion. Highlights included his renditions of “Ring of Fire,” The Who’s “Pinball Wizard” and a version of Ozzy’s Osbourne’s “Crazy Train” mashed up with Adele’s “Let It Go.” After a transformative “Space Oddity” homage to David Bowie was met with resounding approval, things would get downright whacky as Puddles then professed his love for actor Kevin Costner in bizarre hybrid of “Stairway to Heaven” meets Celine Dion’s “My Heart Will Go On,” while images of the Costner 1995 Hollywood flop Waterworld projected onto the big screens. Suddenly, the music would bust into Metallica’s “One” for the high-intensity outro to a very fun set. The audience, initially unsure of what to expect, quickly warmed to the sad clown’s unique brand of entertainment. By the end of his set, there wasn’t a frown to be found.
Puddles Pity Party performing in Saratoga Springs on 8/12/24.
From die-hard Primus fans wearing vintage tour shirts to Coheed and Cambria followers letting their sci-fi geek flags fly, the audience was a melting pot of music lovers. The diversity in the crowd reflected the broad appeal of the evening’s acts, with each band bringing their own unique following to the venue. Despite the differences in musical taste and style, the atmosphere was one of mutual respect and shared enjoyment, with everyone there to appreciate the artistry on display. Whether you were there to witness Les Claypool’s bass wizardry, Claudio Sanchez’s epic storytelling, or Puddles’ deranged humor, there was something for everyone. Complete with surprise collaborations and stunning visuals, it was another spectacular night a SPAC and one that is sure to leave a lasting impression on anyone who attended.
Primus | August 12, 2024 | SPAC | Saratoga Springs, NY
Setlist: Clown Dream Intro, Holy Diver *, Nature Boy, Golden Boy, My Friend Fats, Cygnus X-1**, Professor Nutbutter’s House of Treats, Hamburger Train, Jilly’s on Smack, The Ol’ Diamondback Sturgeon (Fisherman’s Chronicles, Pt 3), Jerry Was a Racecar Driver.
Encore: Conspiranoia, Here Come the Bastards, Wynona’s Big Brown Beaver.
*Dio cover featuring Puddles Pity Party
**Rush cover featuring Claudio Sanchez of Coheed and Cambria.
Coheed and Cambria | August 12, 2024 | SPAC | Saratoga Springs, NY
Setlist: In Keeping Secrets of Silent Easrth:3. Ten Speed (Of God’s Blood and Burial), The Willing Well I: Fuel for the Feeding End, Key Entity Extraction V: Sentry the Defiant, A Favor House Atlantic, Blindside Sunny, The Crowing, The Liars Club, Shoulders, Welcome Home.
Puddles Pity Party | August 12, 2024 | SPAC | Saratoga Springs, NY
Setlist: Ring of Fire, Pinball Wizard, Crazy Train > Let It Go, Space Oddity, Stairway to Heaven> My Heart Will Go On, One Outro.
On a picture-perfect summer evening in Schenectady, the vibrant atmosphere of Frog Alley Brewing was electrified by a magnificent performance from Andrew Bird. An artist whose unique blend of folk, indie rock, and classical music has earned him a devoted following over the years, this stop marked his first time playing in the Electric City. Packing the place from the ground on up to the balcony, it was a testament to Bird’s enduring artistry and widespread appeal. Playing a diverse setlist that spanned his rich discography and showcased his eclectic musical talents, his dynamic and colorful debut was nothing short of delightful.
Andrew Bird performing in Schenectady, NY on 8/13/2024.
Opening for Andrew Bird was the legendary Malian duo Amadou & Mariam. The Grammy nominated couple, both of whom are legally blind, have been making music together since the 1970s, blending traditional Malian sounds with rock, blues, and pop influences. Their music is joyful and rhythmic, often addressing social and political themes with a fun touch. Amadou & Mariam’s performance was a perfect complement to Bird’s, offering a lively, soulful, and fun introduction to the evening. Despite obvious cultural barriers, the Frog Alley crowd was fully engaged from the start, and by the end of the hour long set, the entire audience was up on their feet and dancing like they were having the time of their lives, further proof that music truly is a universal language. After a brief intermission, it was finally time to take flight with Andrew Bird.
Amadou & Mariam, known as “the blind couple from Mali,” opened for Andrew Bird at Frog Alley Brewing on 8/13/24.
Andrew Bird’s musical journey has been nothing short of fascinating. A classically trained violinist, Bird has released 16 studio albums, with his music evolving from swing jazz and traditional folk to more intricate and experimental sounds. What sets Bird apart is not just his prolific output but also his innovative approach to music-making. His violin often serves as a multifaceted instrument—strummed like a guitar, plucked like a mandolin, and bowed in traditional and unorthodox ways. Bird’s performances are also characterized by his whistling, which is as nuanced and expressive as any instrument. Fans are also quick to notice his specially-designed spinning speaker known as the Janus Horn that sits center stage during every show. Featuring a two-mouthed horn that spins at various speeds during operation, it gives music played through it a whirling Doppler effect that is truly original and unquestionably psychedelic.
Andrew Bird performing in Schenectady, NY on 8/13/2024.
Opening the show with a pair of songs from his brand new album Sunday Morning Put-On, the easy lounge swing of “Softly, as in a Morning Sunrise” set the mood, while Bird’s buttery smooth voice had the crowd hanging on every delicate word in “I Fall in Love Too Easily.” Performing one of his oldest Bowl of Fire-era numbers next, Bird’s spoken word delivery and theatrical gestures during “Why?” simultaneously had the crowd amused and impressed, just as it has since being released in 2001.
It’s not a spell or a curse you put on me Or the way you make me smile so tenderly But how I wish it was your temper you were throwing Damn you for being so easygoing
Lyrics from “Why?”
A longtime fan of Andrew Bird’s music, I’ve seen him perform many times over the years. A unique thing about him though, is every single time has been with a different cast of supporting players. Opting to play this summer tour as a trio, Bird aligned himself with a pair of ultra-talented and distinguished musicians in New York-born drummer Ted Pool, and playing both standup bass, electric bass and acoustic guitars, was Alan Hampton. Each member bringing their unique flair, creating a dynamic interplay that amplified Bird’s intricate compositions, the chemistry between them was magnetic and hearing all three voices sing harmonies together was simply beautiful.
Andrew Bird, Alan Hampton and Ted Pool performing together in Schenectady on 8/13/24.
Bird’s lyrics have always been one of the most compelling aspects of his music. They are poetic, often cryptic, and rich with metaphor, exploring themes of existential dread, love, and the complexities of modern life. “Bloodless,” a personal favorite from 2019’s My Finest Work Yet always stands out for its layered momentum, deep groove and even deeper lyrical content that critiques the current political climate with a subtlety that leaves space for the listener to interpret the meaning. This song becomes more and more relevant every time I hear it.
“I’m keeping mine with the altruists I’m putting my weight behind the dancer I know it’s hard to be an optimist When you trust least the ones who claim to have the answers
It’s an uncivil war, bloodless for now”
-Lyrics from “Bloodless”
Another new song, “You’d be So Nice to Come Home To” felt perfect, as if were written for this exact kind of night, with Bird crooning out “Under an August moon burning above, you’d be so nice, you’d be paradise to come home to and love.” Following his hit single “Sisyphus,” we would enter the Inside Problems portion of the show. Written and recorded during the pandemic, “Atomized,” and “Underlands” further transported the Electric City to a surreal state, before Bird would pause to banter with the crowd for a bit. Switching over from violin to his vintage Gibson electric guitar, he would claim the next song was written for a friend that happens to have a birthday tomorrow. Then launching into one of loudest and most rocking songs of the evening, the vibe during “The Night Before Your Birthday” felt more like a celebration than a concert.
“You’d be So Nice to Come Home To” had all the feels on 8/13/24.
Bird’s use of language is masterful; his lyrics often juxtapose archaic phrases with contemporary issues, creating a timeless quality. This linguistic dexterity is part of what draws a diverse crowd to his shows—fans who appreciate music that challenges as much as it entertains. Setlist staple, “A Nervous Tic Motion of the Head to the Left” was a perfect example of this, while the lush and layered textures of “3 White Horses” delves into themes of mortality, using vivid imagery to create an atmosphere of eerie calm. “Give It Away” and “Orpheo Looks Back,” a pair of songs from 2012’s Break It Yourself, would feature Alan Hampton switching from bass to acoustic guitar and sharing vocal duties on the main microphone with Bird. The two of them clearly having a blast together, singing with smiles and passion. Bird would then tell the crowd he’s been working on some old classical jazz tunes with these fellas, and they’d like to try one for us called “Caravan,” by the legendary Duke Ellington. Finally, bringing the main portion of the show to a close was another personal favorite, “Tables and Chairs.” Offering a glimpse into a post-apocalyptic world, the song still manages to find hope in the idea of human connection, and if you’re asking, yes, there will be snacks!
Andrew Bird and Alan Hampton performing together on 8/13/2024.
Returning to the stage to a prolonged standing ovation, Andrew Bird would humbly thank the crowd at Frog Alley Brewing. Saying it was his first time playing in Schenectady and he didn’t really know what to expect, he seemed genuinely appreciative that people showed up and packed out the place. Rewarding them with perhaps his biggest song to date, Bird would paint a picture of “Pulaski at Night,” before the punchy, bittersweet Are You Serious anthem “Capsized” would send them home feeling inspired, fulfilled and maybe a little froggy, too.
Andrew Bird, Alan Hampton and Ted Pool performing together in Schenectady on 8/13/24.
Andrew Bird’s concert at Schenectady’s Frog Alley Brewing Summer Stage was a showcase of his exceptional talents as a musician and lyricist. A journey through his extensive catalog, the setlist was carefully curated, blending newer tracks with fan favorites. Supported by a stellar band and with an unforgettable opening act in Amadou & Mariam, the evening was a celebration of diverse musical traditions and innovative artistry. Bird’s ability to captivate an audience with his intricate melodies and thought-provoking lyrics is a rare gift, making this concert a highlight of the summer music season and further cements Bird’s growing reputation as one of the most important songwriters of our time.
Andrew Bird | August 13, 2024 | Frog Alley Brewing | Schenectady, NY
Setlist: Softly as in a Morning Sunrise, I Fall in Love Too Easily, Why?, Bloodless, You’d Be So Nice to Come Home To, Atomized, Sisyphus, Underlands, The Night Before Your Birthday, A Nervous Tic Motion of the Head to the Left,3 White Horses, Give It Away, Orpheo, Manifest, Caravan*, Tables and Chairs.
Encore: Pulaski at Night, Capsized.
*Duke Ellington and His Orchestra cover
Amadou & Mariam | August 13, 2024 | Frog Alley Brewing | Schenectady, NY
On August 16, Albany-based singer-songwriter, Josh Breden released his long-awaited quintessential passion project, Unfinished Business. The new body of work represents what Breden’s career has led up to, as well as who he is as a musician.
About Josh Breden
Josh Breden has been making music since he was a child. After experimenting with different methods of bringing his music to life, Breden took it to the next step with bands, collaborations, becoming a recording artist, and performing anywhere at any time. As a live musician since 2005, he took every opportunity to strengthen his craft and expand his knowledge and abilities, thus learning more about himself in the process.
Through the journey of completely indulging in the art of making music, Breden learned that he never wants to be confined to a genre, as his artistry flourishes with creative freedom. Because of this, he faced the grapple of being an authentic musician in an industry of patterns, labels, streaming, and money.
Unfinished Business came about when Breden entered the streaming service sphere with a few old tracks. Effectively, it put into perspective the necessary new-age demands of being a living artist. It confirmed two things for Breden. Firstly, if he was going to put an album out into the world he wanted each song to be its own unique entity. Secondly, he knew if he was going to successfully be a streaming artist, he needed a method to the madness which came in the form of producer Dan Gerken.
The two clicked and the vision pursued into what is now a 10-track album and possibly Breden’s most genuine piece of music. Every song has its own character with elements of rock, folk, country, tropical, and whatever Breden was feeling at the moment. Appropriately, Breden created a rock album that is never just rock.
The name unfinished business has a lot of significance here; It’s a little bit of closing the book on parts of life, a little bit of going back to my old self to see if it’s still me, its a little revenge, and a little understanding that theres more to do.
Josh Breden
Standout Tracks
Though it’s hard to single out specific tracks as they’re all unique and contribute to the final product in their own right, certain songs are more different from the others. In particular “Islands of Calleja” stands out as a tropical escape through its instrumentation and lyrics. Another track, “No Bueno” has that cosmic jam band sound with elements across a multiple-genre spectrum. Lastly, “Just Wasn’t Made for These Times” provides a commentary about adjusting to the evolving world. A true musician through and through, Breden lets the messages guide the music without conforming to anybody’s control but his.
A new venue in Westport, NY known as The Mill provides a place for live music, visual arts and all-around creative endeavors for the Adirondack community.
The Mill, as suggested by the name, was originally built in 1952 as a grain mill for the Champlain Valley Seed Cooperative. In 2021, the abandoned building was repurchased and in a collaborative effort between creative director Taylor Haskins and local contractors, they rebuilt the building up as a new cultural hub.
The listening gallery is described as a cathedral-like room. With its high ceilings and wood paneled walls, the space has great acoustic sounds, but has an intimate feel. Haskins conducts the music programming for The Mill’s listening gallery. He is an accomplished musician himself and has released 11 albums under his name. In 2005, he won a Grammy award for playing lead trumpet on Dave Holland’s jazz album Overtime.
The Mill also has a place for visual artists to showcase their work at one of the seven galleries that make up Process Art Space curated by Catherine Ross Haskins.
For visitors looking for a drink and a bite to eat, The Knock is a speakeasy inside the venue that has a sultry 1920’s prohibition aesthetic. The menu of small plates made in house are all created from locally sourced ingredients.
The Mill has a diverse lineup of musicians for the rest of the summer and into their fall season.
Coming up on Aug. 16, singer and songwriter Camila Meza will perform her lyrical, latin jazz fusion repertoire. On Aug 23. Haskins will play alongside another accomplished jazz artist, Ben Monder.
To purchase tickets or to find out more about all The Mill has to offer, you can visit the website here.
Horn-rock New Paltz band What? has been part of the DIY scene for more than five years and they continue to rock the Hudson Valley today.
Who are What?
With new bands forming every year in New Paltz, What? is a fan favorite in the small college town. Its band members are Dan Steen on guitar, Ryan Perrone on vocals and trombone, Jeremiah Mahoney on bass Alex Endres on drums, Owen Moore on tenor & baritone saxophone, and Jared Nelson on guitar and percussion, They all met at the local university SUNY-New Paltz through the music program. Previously, most members were part of musical groups in their high schools but What? is the first band they’ve been a member of.
The band has been operating under the name, What?, since 2016. They released their first album Lavender Lounge in 2020 including some fan favorite songs like “Napkin Party” and “The Cloud.” They confirmed that a sophomore album is in the making which will likely come out early this upcoming year.
The entire band contributes to their original music, but Perrone does most of the writing. “When I write a song, I really have this band in mind. It’s structured, but it’s always loose because I want everyone to kind of give their voice into the piece,” he told NYS Music.
Tours
Although they frequently travel outside of the state, they stay true to their New Paltz beginnings. They got their start playing at bars in New Paltz like Snug Harbor and Bacchus. Whenever they return to these venues, they always pull a packed audience with them. On Aug 23 they will be back in their hometown at a newer bar and restaurant, The Lemon Squeeze.
Touring to Portland, Maine and Burlington, Vermont, the band spends a lot of time on the road but sharing their music beyond the bars of New Paltz is something they aspire to continue. Last year What? performed at the iconic Mercury Lounge in NYC and this past March they played at another historic venue, Colony in Woodstock. “That fulfills something in my heart and soul just to be able to go to some random spot in upstate New York with five other fellas,” Steen said.
Next month, they will be back for more shows in the Hudson Valley like Kingston, NY on Aug 8 as well as Wakefield, RI on Aug 11. You can watch all of their performances on their YouTube channel and keep up with What? through their Instagram here.
Country and folk rock band Cowboy Junkies has announced a new tour for the fall of 2024 that will begin with two stops in New York, one in Buffalo and the other in Geneva. The tour is in support of their most recent album, Such Ferocious Beauty, which is the band’s first release of new material in five years.
Formed just over the border in Toronto, Cowboy Junkies have been actively making and performing music for almost 40 years. Comprised of bassist Alan Anton, songwriter/guitarist Michael Timmins, drummer Peter Timmins and vocalist Margo Timmins, the quartet has recorded a total of 16 live albums and five live albums. Moreover, with Michael, Peter and Margo all being siblings, the band’s many years of unwavering togetherness only makes sense.
Cowboy Junkies’ first album, Whites Off Earth Now!!, in 1986, kicked off their careers and was then followed up in 1988 by the now-Platinum The Trinity Season. In a world where many bands chase whatever sounds are trending, the Junkies have stayed their course, maintaining the low-impact excavation of melody and evocative language that gave them so many fans in the first place.
About Cowboy Junkies
The band’s newest outing, Such Ferocious Beauty, is vintage Cowboy Junkies and another dimension from the lo-fi Canadian band comprised of, well, family. As a result the album is a tangle of sonic textures, ruminating on aging, losing parents, facing mortality and creating space for one’s life in the midst of the ruin that comes from merely living. “Mike has never shied away from the darker, harder and sometimes uglier realities of our human condition,” Margo Timmins explained of the band’s singular focus, “nor has he shied from its beauty. Thankfully, with one comes the other.”
Michael Timmins, the oldest, is the chief architect, songwriter and guitarist, who works with Margo on sculpting the emotional planes and vocal performances before bringing in younger brother Peter on drums and lifelong friend Alan Anton on bass to create the soundscapes that have made Cowboy Junkies a band that defies categories. Alternative? Rock? Americana? Roots? Perhaps the answer is a simple “yes.” Hence, the churning beauty builds on all those things, evoking the best of a group that’s evolved over three and a half decades. Michael adds, “This record is connected to All That Reckoning. I see our recent work in a cycle: Reckoning, Ghosts and Such Ferocious Beauty. They were all done in very violent and tumultuous times. The violent side is so much a part of our society now—not just the physical, but the way we relate to each other. It’s hard to escape.”
Photo Credit: Heather Pollock
Inside The Band
Whether drawing on a pop culture reference like a quote culled from Mike Tyson or mining Greek mythology, there’s an ease and fluidity to how Michael draws songs together. For the sinewy “Mike Tyson (Here It Comes),” he employs a high-plains spaghetti Western tension that marries a nervy acoustic strum and tympani rolls to a creeping bassline, while “Circe & Penelope” deploys a wheezy fiddle and an acoustic guitar with its strings more flicked than strummed.
“I love the blunt reality of this song,” Margo offers. “I love the two women’s strength and realistic view of the situation. They have a great love for their men, but also this discontent. The image of these two women waiting for their men to return but getting on with the work that needs to be done and living their lives as strong women is truly empowering and reflects upon many of the women I know today.”
“The expectations and responsibilities of what we all do—it’s a big part of this. We’re still amazed that we’re doing this, but the longer [we have], the more fun it’s become. We don’t take it for granted,” said Michael. “We do what we do,” Margo agrees, “and it feels right for all of us. After 30-plus years of playing together, the band and its music are more important to us than ever. The music we make brings each of us a great sense of contentment, a knowing of place and a sense of doing what we were meant to do.”
To catch Cowboy Junkies on tour and watch them perform Such Ferocious Beauty, visit their website for tickets and information. Additionally, see below for a written list of the tour dates and locations.
Jam band extraordinaires, Tyler Adams Organ Trio, released their new jazz-funk E.P. The Color Red Sessions on August 9. Comprised of Tyler Adams and Caton Sollenberger of The Jauntee and Will Trask of The High Hawks, the trio effectively brings different experiences to this new collection of music.
The ensemble is a part of Color Red Music, out of Denver, CO. Tyler Adams is the keyboardist for the Boston-based band The Jauntee, along with trio member, guitarist, Caton Sollenberger. After years of experience in the east coast jam-band scene, they’re entering a different musical sphere out west. Similarly, drummer, Will Trask, also has extensive band experience with multiple collectives, notably The High Hawks.
This E.P. marks the debut of the Tyler Adams Organ Trio. Made up of individually established musicians, the trio’s first product showcases musical depth and well-versed collaboration. Produced by Tyler Adams, the collection was evidently created with much care and attention to detail throughout an extremely hands-on experience.
The Color Red Sessions, which features the prominent Hammond B3 organ, exemplifies the sound of many other musicians under Color Red Music. The refreshing layers of organ, guitar, and percussion instrumentation create a syncopated dynamic. The energy presented across all five tracks emulates that of a relaxed jam session. Hence the record’s title, it subsequently brings the recording atmosphere to life through the songs.
Though lyricless, each song presents it’s own character. The musicians simultaneously convey the song’s individual messages through their respective roles. The drums and guitar create melodic accents as they follow the organ’s lead producing, positive, high-energy songs, that also hold a relaxing beat. Overall, Adams, Sollenberger, and Trask produced a body of groovy, experimental music that creatively tells a story.
Key Tracks: Monday Morning, The Bend, Sunday Evening
Listen to The Color Red Sessions by Tyler Adams Trio on your preferred streaming service, here.
Vicki Peterson, known for her role as the lead guitarist and vocalist of the iconic all-female rock band The Bangles, joined her husband, John Cowsill, drummer and vocalist for The Beach Boys, for a memorable performance at the Long Island Music and Entertainment Hall of Fame. Additionally, the duo’s show marked a poignant tribute to John’s late brothers, Bill and Barry Cowsill, with a selection of songs from their upcoming album, Long After the Fire. The project, which features songs written by Bill and Barry Cowsill, is set for release in early 2025.
Vicki Peterson: From Bangles to New Beginnings
Vicki Peterson’s journey in the music industry began with The Bangles in the early 1980s. Formed in Los Angeles, the band became one of the most successful female-led rock groups of the decade. Moreover, with hits like “Manic Monday,” “Walk Like an Egyptian,” and “Eternal Flame,” The Bangles carved out a significant place in the annals of pop and rock music. Peterson’s intricate guitar work and harmonious vocals were key elements in the band’s distinctive sound, which blended 1960s garage rock with the melodic sensibilities of the 1980s.
Following the band’s initial disbandment in 1989, Peterson pursued various musical projects, including working with the Continental Drifters and releasing solo material. However, the Bangles reunited in 1999, continuing to perform and record, allowing Peterson to revisit and expand upon the band’s musical legacy. Her collaboration with John Cowsill on Long After the Fire represents a new chapter in her career, blending her musical past with new inspirations and partnerships.
John Cowsill: Carrying the Legacy of The Beach Boys and The Cowsills
John Cowsill’s musical roots run deep. As a member of The Cowsills, a family band that rose to fame in the late 1960s, John was part of hits like “The Rain, The Park & Other Things” and “Hair.” Similarly. the Cowsills’ music was characterized by rich vocal harmonies and a pop sensibility that mirrored the era’s optimistic sound. In 2000, John joined The Beach Boys as their drummer and vocalist, a role he has embraced for the past 23 years. In addition, his dynamic performances have helped sustain the band’s legendary status in the music world.
A Heartfelt Tribute and Personal Insights
After their performance, I had the opportunity to speak with both Vicki Peterson and John Cowsill. Peterson shared insights into the couple’s evolving musical chemistry, noting that each night of their collaboration feels fresh and enjoyable. Her favorite track from their new project is a soulful song she sings, along with a timeless piece written by Barry Cowsill. She also highlighted the significant contributions of Paul Allen, a multi-instrumentalist from Nashville, who played various instruments and produced the album.
In my conversation with John Cowsill, he introduced their new project, Long After the Fire, a labor of love that has been in the works for the past few years. The project faced delays due to John’s commitments with The Beach Boys and Vicki’s touring schedule. Much of the recording took place at their home studio allowing the couple to work closely and intimately on the music.
John discussed the challenges they faced in navigating the modern music industry, such as understanding ISWC codes, ISNI numbers, and metadata management. He expressed concern that without these codes, they risk losing revenue from their music. The complexities of securing consistent publishing were also a hurdle, as companies can be bought or absorbed, changing the original agreements.
Looking Forward
As Vicki Peterson and John Cowsill prepare to release Long After the Fire in early 2025, their performance at the Long Island Music and Entertainment Hall of Fame offered a glimpse into a project that honors the legacy of John’s late brothers while showcasing the couple’s unique musical bond. Furthermore, their dedication to preserving the music of Bill and Barry Cowsill, combined with their passion for creating new sounds, promises to make this album a standout addition to their respective careers.
Hailing from Amsterdam, New York, three-piece genre-bending instrumental band, TV Doctors, is a group on the rise. Hot off the heels of their most recent live album earlier this year, TV Doctors continue to make their mark with their unique and intoxicating sound. The upstate trio’s passion for their craft has led them on a mission to play some of the most unpredictable and entertaining live shows in the region.
Photo Credit: Ed Conway
Who Are TV Doctors?
Comprised of Evan Conway, Bob Morris, and Josh Witmer, TV Doctors was informally created just before the COVID-19 pandemic hit. After Witmer reached out to Morris, whom he had previously been in a band with to ask about the possibility of forming a new band, Morris agreed and also recommended his bass-playing friend, Conway, as another addition. With that, the trio of TV Doctors was formed. The three only initially jammed for fun, but that all changed once the pandemic went into full swing. With all of them having nothing else to do, Conway cleaned out his garage, and the three played together in opposite corners at every opportunity they got. The name of TV Doctors came about from Morris, who kept on seeing celebrities like Doctor Phil and Doctor Oz whenever he would turn on the TV and thought it would be an entertaining theme to roll with.
Once Conway, Morris and Witmer learned to play as a unit, everything else for fell into place for TV Doctors. “It was like zero effort. Playing together was just a fun thing to do every week, and then it kind of took off,” Witmer said. In fact, one of the only dilemmas any of them had about the band was how to describe the music they make. On their website, they categorize themselves as a mix of psychedelic rock, funk, soul, dub, beats, and noise, but the walls between genres often blur, making a truly one-of-a-kind sound. With the trio’s list of musical inspirations including Frank Zappa, King Crimson, Brian Eno, James Brown, J Dilla and the Wu-Tang Clan, TV Doctors’ refusal to conform to one genre only makes sense.
Music and Performance Styles
Although TV Doctors have a laundry list of styles they dabble in, the most unique aspect of their performances is completely unrelated. All TV Doctors shows are a mixture of pre-planned and improvised songs, making no two shows alikeâone of the many reasons that seeing them live once is not enough. During live shows, the band will play something that they have practiced before, but if one of them gets a fun idea of where to take the track, they will do so, and the rest will go along.
“It’s like a launch pad for ADHD,” Conway noted. While playing for keen-eared crowds improvisationally may sound like a stressful situation, the doctors take the challenge in stride. “I have absolutely no nerves going into a show with this band,” said Conway. “It’s kind of like a Ouija board, actually. We’re one brain now. Eventually, we’re going to get the message out.”
As the pandemic slowly subsided in 2022 and 2023, TV Doctors began playing more and more live shows. In March of 2022, the trio released their first live project: recordings from a set they had at Rare Form Brewery in Troy. Since then, the band has put out three more live albums, with the most recent being Live at Wolf Hollow Brewing Co., which was released this past February.
An Improved TV Doctors
As a result of the experience TV Doctors have racked up through practices and public shows, they have gotten more and more comfortable handling their on-the-fly live decision-making skills. “I think that we’re getting to a spot where we can play back and forth. Those moments where things explode and get crazy are super fun, but they’re a little bit more strategic than they used to be,” Witmer said. Conway then added, “We’re also spending more time actually writing the songs. Sometimes we’ll play through something [in practice] and be like, ‘No, that kind of sucks. Let’s drop that. Let’s try this other thing the next time around.’”
TV Doctors are almost always working on something new, and now is no different. Conway and Witmer noted that one of their goals for the near future is to make a short video package that coincides with an album release. Knowing the band’s creativity and consistency, whatever their next project turns out to be is guaranteed to be equally fun and mind-bending.
For anyone looking to experience the doctors live, multiple shows in Gloversville, Schenectady and Albany are coming up in the next couple of months. Keep up with TV Doctors through their Facebook, Instagram and X accounts, and stream their music here.
See below for more information on their upcoming live shows.
Upcoming Shows
9/13 – Glove Theater – 42 N Main St – Gloversville, NY
10/25 – Wolf Hollow Brewing – 6882 Amsterdam Rd – Schenectady, NY
