South Korean soul singer, Saay, made her US debut at Elsewhere on Friday, August 9, her first show in the US after twelve years in the industry, seven of which have been as a soloist. The Korean artist recently came back with a new single, Domino, a bouncy track with digitally harmonized synth vocals, a la Imogen Heap’s hit song “Hide and Seek.” Her contract with Universal Music Korea also expired last month, but when asked about physical releases of her music during the show, she said she is planning to release a new EP next year.
Saay debuted in Korea twelve years ago as part of the group EvoL but began her solo career seven years ago with the release of her single “Circle” in July of 2017. This was a one-off show in Brooklyn, followed by another at The Moroccan Lounge in Los Angeles on August 15th. Before her Elsewhere show, she also sang “Domino” on Fox’s Good Day New York. Expect more great content from Saay this week on social media as she experiences LA and continues to share photos and videos from her show at Elsewhere.
Performance
Elsewhere Zone One provided the perfect venue for this kind of intimate, emotionally charged show full of fan interaction. As people started filtering into the venue, the room’s cumulative energy made for a shared cathartic moment. A small, low-set stage puts the artist up close with fans. The production at Elsewhere was low-key. Besides the LED panel covering the wall behind Saay, a contrasting pair of purple and blue lights lit the stage.
Korean artists are always skilled at creating meaningful interactions with their fans, but you could clearly tell how much this show meant to Saay, at times bringing her to tears. During the show, she wore a Lucky Dragon hat that a fan later recognized as one they had given Saay at a past concert. She ended her set with a song ironically titled “Encore,” which was then followed by the actual encore, her breakout hit (and a personal favorite) from 2019, “ZGZG.”
After the final song, she stayed on stage to speak candidly to the audience and to tell everyone to get home safely, stay healthy, and eat well. We look forward to seeing footage of Saay’s August 15th show at the Moroccan Lounge and wish her luck in her future endeavors. Keep an eye out for new music from Saay in the next year and, hopefully, a return to New York following her upcoming EP.
Saay – Elsewhere Zone One – August 9, 2024
Setlist: Talk 2 Me Nice, Overzone, Baad, Omega, Circle, Domino, Rocky, Sh*t Makerrrrrrrr, I’m Okay, Sweet as Hell, Encore
DIIV, a beloved band from Brooklyn, has once again captured the hearts of fans with their latest album, Frog in Boiling Water. This record showcases a band that has truly evolved while staying true to their atmospheric roots. The album and its singles—such as “Brown Paper Bag,”—have been met with widespread fan acclaim.
Frog in Boiling Water is more than just a collection of songs; it’s a testament to DIIV’s perseverance and growth. The album’s creation was a four-year odyssey that nearly pushed the band to its limits. With a desire to push their sound to new frontiers, DIIV embarked on an ambitious journey, navigating their own relationships and the pressures of the music industry. Fraying friendships, financial strains, and creative differences marked the process, but the band emerged from this chaos with an album that dives deep into new lyrical and musical territories.
The result is a record that is as gorgeous as it is haunted. Frog in Boiling Water balances powerful rhythms inspired by post-industrial sounds, creating a sound that is both mighty and ethereal. It’s a mesmeric reflection on endurance, capturing the essence of existing.
If you missed DIIV at their most recent homecoming show at Brooklyn Paramount, make sure to catch them live the next time they’re in New York. With each performance, DIIV not only solidifies their place in the indie music scene but also redefines what it means to create immersive, emotional art.
The radio landscape is diverse, with channels offering various genres from local news to contemporary, to cultural programming. Each station offers a unique input to each region’s musical landscape from Western New York to the New York Metropolitan area, keeping listeners informed and connected.
Hereâs a look at the radio stations that stand out across New York State.
New York Radio Stations graphic by Emilty Depietro
Western New York (WNY)
Home to rich musical history and various music venues, the radio stations cater to diverse musical genres. WBTA 1490 AM in Batavia and WDNY 1400 AM in Dansville provides local news and adult contemporary while WBNY 91.3 FM in Buffalo offers students at the State University of New York a student-led based station. WECK 1230 AM offers oldies, a mixture of pop, rock and roll, doo-wop, and surf music.
Known for intimate venues, Central New York offers a variety of stations from alternative rock to local news. WDLA-FM 92.1 FM in Walton offers a mix of country for country music fans. In Oswego, WRVO 89.9 FM is a go-to station for college students at State University of New York. WHWK 98.1 M in Binghamton is another country station for enjoyers. Those looking for an oldies program in Homer can tune into WXHC 101.5 FM.
With an active music scene and popularity of folk music, these Capital Region radio stations offer a large catalog of music. WPYX 106.5 FM in Albany is a great station for country folks while WGXC 90.7 FM in Acra offers community radio. In Amsterdam, WCSS 1490 AM offers classic hits which includes Top 40 on the charts from the 1960s and 2000s. WEXT 97.7 FM provides adult album alternatives for those who are looking for a blend of all genres. If you are looking for alternative music, WEQX 102.7 FM has your back. The Manchester, VT-based station offers a mix of new and classic alternative tracks.
The North Countryâs radio stations feature a mixture of genres from classic rock to contemporary hits. WNCQ-FM 102.9 FM in Canton offers country while WRCD 101.5 FM offers classic rock for listeners. In Watertown, locals can tune into WCIZ-FM 93.3 FM to enjoy classic hits or WFRY-FM 97.5 for country music.
The Hudson Valley offers a rich history of folk, jazz, and reggae music. With a background of diverse sounds, the radio stations reflect this accordingly. WGXC 90.7 FM in Acra is a community radio station providing local news to Top 40 music while in Woodstock, locals can tune into WDST 100.1 FM for adult album alternatives.
The hustling and bustling streets of the city is packed with old, new, and top charting hits. In Babylon, locals can listen to WBAB 102.3 FM for classic rock. Another popular choice is WKTU 103.5 FM in Lake Success, featuring Top 40 music of pop and rhythmic contemporary.
Spaghetti Eastern Music, the solo project of genre-leaping Hudson Valley/NYC guitarist Sal Cataldi, is returning with a new EP, Drone Girl – the Soundtrack Sessions, featuring selections from the soundtrack of Drone Girl, a new short by filmmaker/choreographer Charles Dennis. Ahead of the full EP arriving on August 15, Cataldi has also released a single titled “Drone Girl Theme (Take 2).”
With Spaghetti Eastern Music, Cataldi traverses three distinct musical styles: acid jazz-fueled electric guitar instrumentals, lush ambient soundscapes, and bare-bones acoustic vocal ballads straight out of the Nick Drake school. Spaghetti Eastern’s debut project — 2016’s Sketches of Spam — made waves with positive reviews. Followed by several acclaimed EPs and singles. Moreover, Cataldi’s work has garnered airplay on leading outlets locally and abroad, including SiriusXM, WFUV’s “Mixed Bag,” WFMU, WKCR-New York, Radio Woodstock, and many others.
For Drone Girl – the Soundtrack Sessions, his latest project, Cataldi collaborated with two notable Woodstock-based musicians: veteran bassist Jeff Keithline and percussionist Mark Peritz. Together, they crafted a multi-layered soundscape with strong melodic themes—one that perfectly complements Drone Girl’s dreamy imagery.
Additionally. the film features African-American dancer/performer Stacey Smith in a duet dance with a flying drone aircraft and follows her as she escapes her Brooklyn basement apartment, grabs a backpack with her drone, and drives upstate to an open field with a view of the Catskill Mountains. After arriving, Smith dons a chest harness with a Go-Pro camera that records her viewpoint of moving with the drone. She dances through the field as the drone tracks her and she tracks the drone while a third camera captures a wider view of their relationship. The 12-minute film represents the tender expression of the relationship between a human and a drone.
How It All Came Together
To work with the short film’s vision, Cataldi utilized a vintage Fender Stratocaster, an Ebow sustainer, a string emulator, reverb, fuzz tone, a harmonizer, phasing, and two delay pedals to conjure complex loops—which he slowed down, sped up, and reversed—to complement Dennis’ narrative. As a result Cataldi’s sounds are accented by Jeff Keithline’s creative and propulsive bass plucking and bowing and Peritz’s deep tribal beats. Moreover, the tracks were recorded live with no overdubs. “Spaghetti Eastern Music’s score for Drone Girl really drives the film and enhances its otherworldly atmosphere,” said Dennis. “Sal, Jeff, and Mark are a magical trio of improvisers who bring a flavor that is both deeply funky and transcendent to the film.”
Dennis, an interdisciplinary artist who creates dance, performance art, and filmworks, is no novice in the art world. Additionally, he worked extensively with theater director Robert Wilson in the 1970s, and in the 1980s, co-founded Performance Space 122 (P.S. 122) and regularly presented solo and group works there for over 25 years. Dennis has received fellowships from the National Endowment for the Arts, the New York Foundation for the Arts, and Franklin Furnace. In 2023, he received a fellowship from Arts Mid-Hudson for his performance work, “Recycle Me,” which also featured an original score by Spaghetti Eastern Music.
Spaghetti Eastern’s new EP, Drone Girl – the Soundtrack Sessions, will be available on August 15 via Bandcamp, Spotify, iTunes, Amazon, and other online shops and streaming services. The lead-off track, “Drone Girl Theme (Take 2),” is currently available everywhere.
Cataldi, Keithline and Peritz will be performing Drone Girl – the Soundtrack Sessions alongside other music at the Opus 40 sculpture park in Saugerties on August 18. For more information, visit here.
Four-piece alt-rock and shoegaze band, Shower Curtain, has released “wish u well,” the lead single of their upcoming debut album, words from a wishing well, set to release on October 18.
Photo credit: Nicole Miller @neptunne
Shower Curtain, a band made up of Brazilian-American vocalist Victoria Winter, Cody Hudgins (Crate) on bass, Ethan Williams (Punchlove) on guitar and Sean Terrell (Fasting) on drums, has been making waves in the NYC alt-rock and shoegaze scenes. Initially debuting in 2020 with a self-titled EP, the band has been building up to a full-length debut, out in October. In the time since their debut EP, Shower Curtain has kept busy, releasing Something Instead, a follow-up EP in 2021, and “meus passos” and “edgar,” two singles last year. Last year’s singles represented a significant milestone in the band’s journey, signaling an artistic evolution from bedroom pop to sludgy rock after a two-year hiatus. As a result, the band has now come into their own. Moreover, Shower Curtain has found a home within Brooklyn’s emerging slowcore and shoegaze scene.
words from a wishing well album cover
About The Single
Their newest offering and first taste off of the upcoming debut record, “wish u well,” offers a connecting thread into words from a wishing well, combining the pop tendencies of early Shower Curtain music with heavier production. One of the last songs written for words from a wishing well, Winter and Williams crafted “wish u well” across a pair of whirlwind sessions in the final days of tracking. “‘wish u well’ is about the feeling of having the rug swept from underneath you,” said Winter.
In a lot of ways, I think this song is a lot of what my teenage self wished the project could create. That vision has long changed, and I am definitely aware of this song not having the more shoegaze and heavier grunge elements that represent the project’s new phase and is more similar to the old phase of Shower Curtain. Yet, I still think its production is unmatched and next level between Ethan and I.
– Victoria Winter
Additionally, a music video, directed by Trevor Scholl and starring Brenna Gonzalez, has been released and features Gonzalez picking up emotional baggage to the point of exhaustion. “It’s an ode to the mentally healing aspect of going for a walk and how stepping out invites the unexplainable. I wanted to capture the sense of exploration found in fantasy films while capturing places we frequent and not relying on overtly “magical” props. ‘wish u well’ is a wistful and bittersweet song. I ultimately wanted to extend these emotions with a daydream in a video,” said Scholl about the making of the video.
Keep up with Shower Curtain on their Instagram and stream “wish u well” on all platforms. See below for some upcoming shows from the band.
For the third time in their career, Phish performed at Bethel Woods Center for the Arts, opening up a three-night run on Friday, August 9. With the remnants of Tropical Storm Debbie making its way through the Mid-Atlantic region and drenching much of New York State over Thursday and Friday, Phish fans planned for the worst and were rewarded for their efforts, with only lingering sprinkles during the show.
Nearing the end of their Summer Tour with only Bethel, their Mondegreen festival and four nights in Colorado left on their schedule, Phish has been rolling from the Northeast to the Midwest, dropping lengthy jams in unexpected spots, bringing new material to fans off Evolve, and inviting Billy Strings to the stage in Grand Rapids, MI. Now in Bethel, the band has their sites set on building towards their 11th festival, an event always ripe with surprises and leveled up improvisation.
With a pair of ASL interpreters just off stage right, Set 1 began with instrumental (and GRAMMY-nominated) “First Tube,” a rare opener normally found in a late-second set slot, but nevertheless an energetic way to start the show. A lengthy “No Man in No Man’s Land” followed, always a great sign that the band is dialed in and wants to get down to business right away.
https://www.youtube.com/watch?v=2QnFL5wdFFg
A spacey and wandering “My Friend, My Friend” was a first set highlight, clocking in at more than 18 minutes and another example of Phish taking more of their catalog down the improv route than in past years. A late first set “2001” was a treat, dipping into an always welcome “Taste” before closing the set with “Character Zero.”
Opening the second set with “The Wedge” could have launched the Rift track to new heights, but it served as a buffer song before the big jam of the night, “Tweezer.” A vehicle for jams in the second set since the 90s, “Tweezer” found a few separate jams (including “There is a Mountain” by Donovan) over the course of 24 minutes, coming full circle before dipping into the Evolve track “Pillow Jets,” which took a dark psychedelic turn mid-way through before returning to “Tweezer,” as one does mid-second set.
Finding its way into “Piper,” this brief “Tweezer” return birthed a top notch “Piper,” found itself turning back into “Tweezer” briefly before the Rolling Stones’ “Shine a Light” provided an exultant breather with the set wrapping up with a thorough “Chalk Dust Torture.” A triple encore featuring songs from across the band’s history was a delightful surprise to the evening, starting with Junta track “Big Black Furry Creature From Mars,” Farmhouse’s “Gotta Jibboo” and Big Boat’s “More.” With two more nights to go, the bar is set for Phish to exceed over this weekend and next.
https://www.youtube.com/watch?v=_ORBkMm_9lY
Phish – Bethel Woods Center for the Arts, Bethel, NY – Friday, August 9, 2024
Soundcheck: My Soul, Dinner and a Movie, Waves, Tequila x2, Jam Set 1: First Tube, No Men In No Man’s Land, Cavern, My Friend, My Friend[1], Bug, Julius, Also Sprach Zarathustra > Taste, Character Zero Set 2: The Wedge, Tweezer, Pillow Jets -> Tweezer -> Piper -> Tweezer > Shine a Light, Chalk Dust Torture Encore: Big Black Furry Creature from Mars, Gotta Jibboo > More [1] No “Myfe” ending.
Saturday, August 10, 2024
Set 1: Back on the Train, Sample in a Jar, Hey Stranger, Dinner and a Movie, Halley’s Comet > Sand, Gumbo > Maze, Weigh, Cities > Run Like an Antelope
Set 2: Wilson > Down with Disease[1] -> Waves > Twist > Kill Devil Falls > Beneath a Sea of Stars Part 1 -> Backwards Down the Number Line > Ghost > Tweezer Reprise
Encore: Wading in the Velvet Sea > Runaway Jim
[1] Unfinished.
Trey teased Call to the Post at the end of Weigh and The Line during Antelope. DWD was unfinished.
Sunday, August 11, 2024
Set 1: I Never Needed You Like This Before, 46 Days, Bathtub Gin, Fikus, Theme From the Bottom > Timber (Jerry the Mule), Human Nature, Limb By Limb, Axilla > Sigma Oasis
Set 2: Buried Alive > AC/DC Bag > Fuego > Golden Age -> Simple, Life Saving Gun, Harry Hood
Encore: A Life Beyond The Dream, Say It To Me S.A.N.T.O.S.
Fikus was performed for the first time since November 7, 1998 (801 show gap). Mike teased Fikus in AC/DC Bag.
After a thrilling performance at Madison Square Garden in New York City days before, the Rock and Roll Hall of Fame band, The Doobie Brothers traveled north to Bridgeport, Connecticut. The band, which is on their “The 2024 Tour,” packed in fans who braved the rain and played a thrilling 15-song set. Before the show began, fans had to arrive early as the show was moved up a half hour with the storms approaching.
Official music video for The Doobie Brothers – “Black Water” from ‘What Were Once Vices Are Now Habits’ (1974)
As fans were finding their seats, the legendary Steve Winwood and his spectacular band warmed up the humid audience. Winwood – who has been in famous bands like Traffic and Blind Faith – played a small, yet powerful seven-song set. Winwoods set featured music from his old bands. With the intro of “Can’t Find My Way Home,” fans roared to their feet and stood there the entire song. After each song ended the audience would repeatedly rise to their feet to pay respect to the living legend.
Winwood’s band featured five stellar musicians. The band featured Edwin Sanz on percussion, Tristan Banks on drums, Paul Booth on saxophone and piano and Nate Williams playing keyboards. Lastly, Winwood’s very own daughter, Lilly Winwood was featured on background vocals. The entire band had smiles on their faces, bringing an amazing atmosphere to the audience.
Just as quickly as Winwood jumped on stage, the stage was reset for The Doobie Brothers. The band did not have any flashy intro or spectacular entrances. Classically, the house lights dimmed and the band walked on and kicked into “Rockin’ Down the Highway” off of 1972’s Toulouse Street. Almost immediately, the rain – which stopped for Winwood – picked up again yet did not deter the band. They met the weather with great tunes and excellent showmanship.
In between songs, guitarist Patrick Simmons would whip out some of the brightest colored guitars in all of rock. One after the other, the spotlights would bounce off the shiny colored red and blue guitars. Flanking Simmons on his right was John Cowan who appeared to barely move all night. Despite the minimal movement, fans could tell that he was chugging away at his bass guitar throughout the entire set.
Some fans might have wondered what The Doobie Brothers sounded like during their “Golden Age.” Well, they didn’t need to think hard or long at all. Singer and guitarist, Tom Johnston along with keyboardist and singer, Michael McDonald, sound just like the records. Not every band can say that their singer’s voice has stood the test of time, but The Doobie Brothers can. Whether the song was “What a Fool Believes” or “Long Train Runnin’” Johnston and McDonald’s vocals were top-notch. The Hartford Healthcare Amphitheater is open to the outdoors on either side and sometimes vocals can get mushy. That didn’t happen for either vocalist. The vocals were one of the highlights of the show.
Joining Johnston, McDonald, Simmons and Cowan were four other stellar musicians. On drums were Ed Toth, John McFee on guitar, Marc Russo on saxophone and Marc Quiñones on percussion. Despite the crowded stage, each musician perfectly played their part in The Doobie Brothers’ rock and roll machine.
Throughout the show, the video screen would show moments in the band’s career and fade into the band on stage. The band’s crew did an amazing job enhancing the audience’s experience and giving them a little insight into the band in their heyday.
By the time the band reached the middle backend of the set, the smell of weed was distinct in the air, in typical Doobie Brothers fashion. By that point, the band was on another level as they were cranking out hit, after hit, after hit. Some fans took to the aisles to dance with their spouses. Others even tried to run up to the front to record their favorite songs. The amphitheater was in a Doobie Brothers frenzy.
In an attempt to save time, the band very quickly jumped back on stage for the four-song encore. The encore, highlighted by a Paul Simon cover of “Still Crazy After All These Years” was an instrumental duet between McDonald and Russo. Russo would take center stage when he belted out an amazing solo. It combined jazz, blues and classic rock into one solo reimagined by The Doobie Brothers.
As the summer winds down, The Doobie Brothers brought nothing but great vibes to the Bridgeport Audience. “The 2024 Tour” will take both bands to Saratoga Springs, New York to play at the Saratoga Performing Arts Center. This tour is not to be missed, each band compliments each other perfectly and will make for a great night to “Listen to the Music.”
Steve Winwood Setlist: Glad, Can’t Find My Way Home, Why Can’t We Live Together (Timmy Thomas cover), Roll With It, Back in the High Life Again, Higher Love, Gimme Some Lovin’ The Doobie Brothers Setlist: Rockin’ Down the Highway, Take Me in Your Arms (Rock Me a Little While), Here to Love You, Depending on You, Minute by Minute, It Keeps You Runnin’, Without You, Jesus is Just Alright (The Art Reynolds Singers cover), What a Fool Believes (Kenny Loggins cover), Long Train Runnin’, China Grove, Black Water, Still Crazy After All These Years (Paul Simon cover), Takin’ It to the Streets, Listen to the Music
On August 7th, Sharon Marley delivered a captivating performance at City Winery in New York City, paying homage to the legendary music of her parents, Bob and Rita Marley, as well as showcasing her own artistry. The intimate venue was filled with the soulful sounds of reggae as Sharon performed iconic tracks like “Is This Love,” “One Draw,” “Trench Town” and “No Woman, No Cry.” Each song resonated with the audience, blending nostalgia with the vibrant energy of live music.
In addition to the music, the evening offered a special preview of an upcoming art exhibit titled The Garden That Rita Grew: My Grandma Rita. Curated by filmmaker Donisha Prendergast, the granddaughter of Bob and Rita Marley, the exhibit is a tribute to the strength, resilience, and creativity of Rita Marley. The showcase, powered by Humanity Ova Vanity (HOV), features a collection of photographs and artwork that celebrates Rita Marley’s enduring legacy.
Sharon Marley’s performance was not just a musical journey but a celebration of her family’s influence on reggae music and culture. The preview of The Garden That Rita Grew: My Grandma Rita added a profound layer to the evening, reminding attendees of the powerful legacy of the Marley family, not only in music but in the arts as well.
City Winery proved to be the perfect setting for this heartfelt tribute, where music and art intertwined to honor the past while inspiring future generations. The event left attendees eagerly anticipating the full unveiling of the exhibit, which promises to be a poignant homage to one of reggaeâs most influential matriarchs.
When people hear the word Birdland, they often think of the world famous Manhattan Jazz Club. However, during the 60s and 70s Utica had its very own Birdland. While not as famous as its NYC counterpart, Utica’s Birdland stood at the center of the city’s African American music scene. In an era of immense racial prejudice, Birdland and its founder Dickie Frank broke barriers in Utica, paving the way for musical and social advancement in the decades to come.
Birdland’s behind-bar mural, Photo from Paula Frank Workman
The history of Utica’s Birdland starts with its founder Dickie Frank. Frank was born in Utica on August 12th, 1931. As a young man, Frank lost his mother Marion Moorehand-Frank, and went into the custody of his grandmother. These humble beginnings hardly reflect his future as Utica’s first African American celebrity.
Frank’s career began at the Utica Free Academy, where he rose to prominence as a star athlete. Alongside his brothers, Frank was a standout on the school’s basketball, football, and baseball teams. His fame only continued following his graduation from the academy. On January 5th, 1953, the Utica Police Department hired Frank as an officer. This move made history, with Frank being only the second African American officer in the city’s history.
Dickie Frank, Photo from Paula Frank Workman
Frank’s career with the UPD continued for the next nine years before his retirement in 1962. Shortly after ending his police career, Frank began his new venture: a jazz club. This club, named Birdland, soon became an important stop for touring African American musicians. On top of hosting national musicians, it helped foster Utica’s own music scene.
Birdland sat at the center of an already established African American tour route, known as the “Chitlin Circuit.” Extreme racial prejudices plagued the United States, especially the South for much of the early 20th century. Jim Crow laws segregated public facilities by race, lynchings were commonplace, and KKK membership had reached record highs. These factors made much of the US extremely dangerous for African American performers.
The earliest attempts to organize African American artists came in 1909. That year, vaudeville star Sherman Dudley founded an organization of safe venues for African American performers across the South. By 1914, it expanded to twenty theaters owned or operated by African Americans. This organization formed the basis for the Theatre Owners Booking Association (TOBA), founded in 1920. This organization had an integrated structure with ⅓ of its theaters being owned by African Americans.
For the next decade, TOBA booked Black jazz, soul, and vaudeville performers across the Eastern US – the only organization to do this. During its existence, TOBA was the only organization catering towards African American audiences in the South. This came to an abrupt halt in 1930 as TOBA, much like many other businesses, crumbled during the Great Depression.
In its place, Denver and Sea Ferguson rose to prominence. The brothers sold their printing business to open clubs in their hometown of Indianapolis. By 1940, they expanded their business, founding the Ferguson Brothers Booking Company. This company soon grew into the largest black owned entertainment company, launching cross country tours. These tours spawned the Chitlin Circuit.
Stretching from Boston to Texas, the Chitlin Circuit encompassed hundreds of venues friendly to African American performers. Among these venues were massive theaters, like Harlem’s Apollo, and small bars like Club Ebony in Indianola, Mississippi. This circuit helped fill a much needed desire for entertainment in African American communities across the US.
On top of this, the circuit launched the careers of legendary jazz, soul, and rock artists. Billie Holiday, James Brown, Fats Domino, Aretha Franklin, and Otis Redding all regularly toured the circuit. One regular was a young Jimi Hendrix who remembered, “You really had to play, ’cause those people were really hard to please.…That’s where I learned to play.” Many times, performers were compensated with only meals, spawning the Chitlin Circuit’s name – deriving from a popular soul food.
Dickie Frank’s Birdland sat at the Northeastern corner of the Chitlin Circuit. Located in Baggs Square, the club was just outside Utica’s downtown. From its start, the club grew comparisons to its New York namesake. A February 23rd, 1962 edition of the Utica College Tangerine reported, “The jazz gallery in New York City is more lavish, but Utica’s Birdland, well decorated, is less expensive.”
At its founding, Birdland was the only African American club in all of Utica, making it a clear choice for performers traveling through the city. Like many Chitlin Circuit venues, Birdland’s welcoming atmosphere drew crowds. Birdland was a place where everyone in the community could get together to enjoy music, regardless of their race, age or sexuality. As Utican Corky Logan remembers, “It was magnetic; an attraction. It was really friendly.”
“Musicians sense the friendly attitude, and consequently relax and play better. Believe me, word spreads about the conductive atmosphere”
Lawrence Jacksina, Utica College Tangerine, November 2nd, 1962
While Birdland welcomed all, it grew especially popular among the youth of Utica. Of special note were students at Utica College, who frequently featured Birdland’s programming in their school newspaper, The Tangerine. Throughout the 1960s, reviews of jazz performances were common features of the paper, frequently being front-page stories.
For years, Birdland sat at the center of Utica’s live music scene. Alongside venues like Thompson’s and Club George, Birdland attracted touring jazz performers from around the Northeast. Of the many fondly remembered acts are saxophonists Eddie Harris and Tina Brooks. While attracting crowds, these shows often highlighted boundary-pressing jazz performances. For example, the Utica College Tangerine reported on Eddie Harris’ December 13th, 1963 performance, saying, “Harris plays some things the average jazz fan would consider way out.”
On top of these national artists, Birdland was also a haven for local Utican musicians. Many artists, like keyboardist Rick Montalbano, got their start playing at the club. Montalbano fondly remembers the club’s keyboard. He noted, “The house Hammond B-3 was tweaked over the years by some killer organists and sounded like none I’ve played since.”
Photo from Paula Frank Workman
For many, going to Birdland was a special occasion. Guests would don their nicest clothes and go to the club to hear the newest in jazz. In this way, Birdland acted as a melting pot for Utica’s music scene. Hearing influences from jazz musicians across the country, local artists were inspired in their own music. As Utica music legend Lynn Mishalanie recalls, “I went for the music; if it hadn’t been for Birdland and listening to the music, the live jazz and the famous people who came through, I wouldn’t be who I am today.”
Birdland remained a staple of Utica’s live music scene for eight fruitful years. Despite its growing popularity, Frank closed the club in 1970. With the closure of the club, Frank went on to pursue a career in public service.
As the inclusive environment of Birdland showed, Dickie Frank was always dedicated to social progress. While operating Birdland, Frank remained a deeply political man. A photo of Frank from 1969 shows him leading a march in memory of Martin Luther King, Jr. Frank stands at the forefront of the march, even preceding then-mayor Louis LaPolla. For the next few decades, Frank was a mainstay of Utica politics, regularly consulting with local politicians. He even sought office in the Municipal Housing Authority and District Council. While this career change seems drastic, Frank saw a clear connection to his work at Birdland. “Of course my background will help…I ran a nightclub and still have many personal contacts,” he said in 1971.
Frank leading a commemorative march for Dr. Martin Luther King Jr., December 1969
Even after reaching his sixties, Frank continued to break barriers. In the 1990s, he was appointed Dean of Students for Utica College, becoming the schools first black administrator. As dean, he spoke at a 2008 racial justice forum, saying, “To sit back and hate, or to feel like you don’t want to sit down with somebody and talk about their lifestyle, it’s not right.” He continued in his dedication to the community until his retirement to Florida in 2007.
On November 9th, 2022, Dickie Frank died at age 91. Frank left behind an unshakable legacy as a boundary breaker and community icon. Even though it closed long ago, Dickie Frank’s Birdland is still fondly remembered by members of Utica’s music scene. It, much like Frank himself, stood at the forefront of social progress, all while fostering community ties that still hold Utican musicians together.
It was an evening of shock and awe in Saratoga Springs on Tuesday, August 6th, when extreme metal made it’s return to SPACfor the opening night of the “Kiss of Death Part 2” tour. Featuring co-headliners In This Moment and Ice Nine Kills, along with Avatar and TX2, the heaviest bill of the summer was an unrelenting assault of the senses and a spectacle unlike any other. Pummeling the audience with dark themes, blood curdling riffs, demonic costumes and otherworldly images, the show made you feel like you were at the center of a crime scene. Surrounded by thousands of witnesses, only here there was no such thing as survivors’ guilt.
Kiss of Death: Avatar performing in Saratoga Springs, NY on 8/6/2024.
Setting the tone early with a brief set was TX2. Spearheaded by Even Thomas, the emo-leaning punk screamers largely focused on songs about mental health issues and using heavy music to work through them. Genuinely appreciative of the early bird fans who came to hear them, it was the perfect appetizer for what was to come. Next up was the melodic death metal band from Sweden called Avatar. Known for their over-the-top theatrical presentation, frontman Johannes Eckerström emerged on stage by popping out of a “gift” that was unwrapped by a leather-clad gimp! Wearing a top-hat with his face painted in sinister clown makeup like The Crow-era Sting, Eckerström’s charisma and powerful screams commanded your attention from the start.
Joined by dreadlocked guitarists Jonas “Kungen” Jarlsby and Tim Öhrström, Henrik Sandelin (bass), and John Alfredsson (drums), Avatar may not have been a headliner, but they sure played like it. Working their way through songs like “Dance Devil Dance,” “The Eagle Has Landed,” “The Dirt I’m Buried In, and “Smells Like a Freakshow,” if you’ve never seen this band, think Alice Cooper meets Marilyn Manson, but with a futuristic twist. Combining death metal riffs with menacing grooves for dramatic flair, fans of classic shock rock were not disappointed. Urging the crowd to stand up and headbang along to their final song, “Hail the Apocalypse,” Eckerström told them they “came all the way from Sweden to watch you die.”
Avatar’s Johannes Eckerström performing at SPAC on 8/6/2024.
After a quick intermission that included songs by White Zombie, Deftones and Rage Against the Machine, suddenly the sound of Nick Cave and the Bad Seeds “Red Right Hand” signified the horror juggernaut known as Ice Nine Kills was lying in wait. With intro narration by none other than the Crypt Keeper (Tales from the Crypt), the curtain dropped and the metal-core band from Boston came out slashing. Despite the rainy forecast, the audience’s spirits were undampened as INK kicked into high gear with a fitting combo of “Rainy Day” and “Meat & Greet.” With their clothes covered in blood and celebrating pop-culture’s darkest edges, the stage was full of elaborate props, including skulls, chainsaws, zombies, various monster masks and the ever-present knife-wielding hooded figure looming high above all.
Kiss of Death: Ice Nine Kills performing in Saratoga Springs on 8/6/2024.
Consisting of frontman Spencer Charnas, Ricky Armellino and Dan Sugarman on guitars, Joe Occhiuti on bass and Patrick Galante on drums, each song took on themes and soundbites from different iconic horror films. One of the early highlights was “Ex-Mørtis,” which depicted elements of the Evil Dead franchise. Complete with Spencer clutching his own Necronomicon and wielding a chainsaw, Charnas had no choice but to take down a wayward zombie that ventured on stage in the middle of it.
Klaatu, Barada, Nikto: Ice Nine Kills fought off the Evil Dead in Saratoga Springs on 8/6/2024.
Later, during “Wurst Vacation,” the body count continued to pile up as Charnas mimicked Eli Roth’s Hostile by throwing on a butcher’s apron before dismembering another victim, pulling the pseudo-intestines out above his head to great applause of the blood-thirsty audience. After killer versions of the American Pycho-inspired “Walking on Sunshine” and “Hip to be Scared,” Ice Nine Kills would bust out “The Nature of the Beast” for the first time since 2019. Following “Funeral Derangements” and a reenactment of IT, INK would bust out another one for the old school fans in attendance, playing “The Greatest Story Ever Told” for the first time since 2017. After the Freddy Krueger inspired “American Nightmare” and a memorable stab at cinemas most famous “Shower Scene” via Alfred Hitchcock, by this point the band had everyone up on their feet and dying for more. With time for just one more song, INK closed their set with the title track to their breakthrough album Welcome to Horrorwood. Creative, fun, and definitely disturbing, it’s no surprise this type of band comes with a warning label. Hell, they’ve been outright banned by Disney for being too evil! Steadily killing the scene with their decadent, devious and fiercely insane live shows, Ice Nine Kills have also launched their own hugely successful horror convention known as the Silver Scream Con.
I’ve Got to Return Some Videotapes: INK frontman Spencer Chamas channeled his inner Patrick Bateman at SPAC on 8/6/2024.
During the final intermission of the show, music by metal god Maynard James Keenan permeated through the pavilion as songs by Tool and A Perfect Circle piped in over the PA system. Oddly transitioning into Journey’s “Don’t Stop Belivin” as heavy fog began billowing out from behind the stage, a giant spider covered curtain suddenly dropped to reveal In This Moment. Met with hero’s welcome and a massive applause, it was a special performance for band’s charismatic frontwoman and lead vocalist, Maria Brink. An Albany native and the scream queen of modern metal, it was the type of homecoming usually reserved for a king. Growing up about 30 minutes away and now playing the area’s biggest stage, on this night, Brink gracefully conquered all.
Kiss of Death: In This Moment headlined the tour kick off in Saratoga Springs on 8/6/2024.
Wearing an ornate headdress and taking to her throne atop the SPAC stage, In This Moment was truly a spectacle to behold. Clad in costumes that were both beautiful and frightening, much like their music, the band has a certain aura that’s intoxicating. Opening with “The Purge” and their Grammy nominated single “The In-Between,” the visually stunning theatrical presentation the band is known for was on full display right out of the gate. Under the watch of “mother” figure Maria Brink, the band is far from a one woman show. Also consisting of co-founder Chris Howorth and Randy Weitzel on guitars, Travis Johnson on bass and Kent Diimmelis, ITM sent shivers up your spine with a rendition of 2012’s “Blood” from the album of the same name. Followed up by a pairing of “Sacrifice” and “Sanctify Me,” the evening would spotlight many of the songs from the band’s 2023 Kane Churko produced album Godmode.
Hometown Throwdown: Albany native Maria Brink holding court with In This Moment at SPAC on 8/6/2024.
Flanked by a pair of masked acolytes and singing from an elaborate alter for most of the show, Brinks’ amazing voice control mesmerized fans. Reaching intense emotional depth, powerful and pretty and with plenty of edge, it’s easy to see why she’s become such a role model for ‘against the grain’ teens and goth-girls everywhere. Frequently changing outfits and telling a story within each song, even if you couldn’t get into the music, you had to appreciate the artistry, creativity and overall effort of everyone on stage. Pushing boundaries with themes of witchcraft and mysticism, it’s no surprise In This Moment’s ritualistic approach has its share of detractors, mostly parents and people over 50. Still, as the band worked their way through signature staples like “Sex Metal Barbie” and the Black Sabbath-inspired “Big Bad Wolf,” over1.3 billion cumulative streams tell you it’s clear there’s still an audience hungry for heavy music. Towering over the Broadview Stage at SPAC, In This Moment sent fans home happy with their biggest song to date, closing the epic homecoming performance with “Whore.” Cathartic and surreal, the level of pageantry and attention to detail made for an unforgettable set of music from one of today’s most influential metal attractions.
Sex Metal Barbie: Maria Brink performing with In This Moment at SPAC on 8/6/2024.
A resounding triumph for shock rock and horror metal, the Kiss of Death Part 2 tour in Saratoga Springs was some of the most fun I’ve had all summer. After playing to Buffalo’s Outer Harbor the following night, the electrifying tour heads west for the next month and promises to deliver musical carnage and visual splendor at every stop along the way. Ice Nine Kills third annual horror convention, The Silver Scream Con, is set to take place in Worcester, MA from September 13-15.
In This Moment | August 6, 2024 | SPAC | Saratoga Springs, NY
Setlist: Salvation Intro, The Purge, The In-Between, Blood, Sacrifice, Sanctify Me, Sex Metal Barbie, The Fighter, Big Bad Wolf
Encore: Whore
Ice Nine Kills | August 6, 2024 | SPAC | Saratoga Springs, NY
Setlist: Red Right Hand Intro, Rainy Day, Meat & Greet, Ex-Mortis, Thank God It’s Friday, Walking on Sunshine*, The Nature of the Beast**, Wurst Vacation, Funeral Derangements, IT Is the End, Hip to Be Scared, The Greatest Story Ever Told***, The American Nightmare, The Shower Scene, Welcome to Horrorwood. ,
Avatar | August 6, 2024 | SPAC | Saratoga Springs, NY
Setlist: Beware of the Clown Intro, Dance Devil Dance, The Eagle Has Landed, Valley of Disease, Bloody Angel, The Dirt I’m Buried In, Smells Like a Freakshow, Hail the Apocalypse.
