Western New York’s summer got a little brighter as Norah Jones’ latest tour with Mavis Staples blew through CMAC in Canandaigua and ArtPark in Lewiston on July 5th and 6th, despite the rains pouring down Friday night in Canandaigua.
Gospel legend, civil rights icon and sole surviving and torch-bearing Staples Singer, Mavis Staples and her band of bass, drums, guitar and backup singers, took the stage first. She needed assistance walking to the front of the stage, and took some breaks with a seat and some sips of tea in between songs, but when the mic was in front of her, she was a ball of fire. The stage, and the entire venue, was in her control.
Her voice, gravelly and soulful, belted out affirmations of love, for oneself, others, and of course God. Like a preacher from the pulpit, in case you missed the message, she repeated it a couple more times in her banter.
The set mixed Staples classics like “I’m Just a Soldier,” and “Heavy Makes Too Happy,” with Gospel standards like “I Belong to the Band, Hallelujah!” and more contemporary rock hits like Funkadelic’s “Can You Get to That” and the Talking Heads’ “Slippery People.” Mavis molded these latter tunes to her will, secular messages becoming spiritual. “What’s the matter with him? He’s alright. How do you know? The Lord won’t mind.” hits a little different coming from mouth of Mavis Staples than it does from David Byrne.
As Mavis was helped back off stage after her 45 minutes, she and her band received a rare and well-deserved opening-set standing ovation. One performance from a legendary lady in the books, one more to come.
After a short break, Norah Jones took the stage with Brian Blade behind the drums and Josh Lattanzi on bass, opening their set with “What Am I To You” off Jones’ second album Feels Like Home. Then just minutes in, Mavis Staples came back out to perform “I’ll Be Gone” which she recorded with Jones in 2019. Certainly an early-set show highlight to be blessed with both iconic voices playing off each other. Pete Remm, who wrote the song, was also on board on organ for that and off and on for the remainder of the show.
With that out of the way, Jones’ invited the rest of her band out, Sasha Dobson on guitar and vocals and Sami Stevens on keys and vocals. They kicked into some material from her stellar new release, Visions, with “Paradise” and “Running” before dropping back to early hit “Sunrise.”
The set continued to span her entire catalog, each song it’s own gift. Perfect little moments of musical joy popped out here and there, each tied off in a colorful bow, like from the streamers hanging as a backdrop. A singular smile-inducing note to close “Running,” beautifully bowed bass in “Sunrise,” Blade’s infectious groove in “Staring at the Wall,” the three-part vocal round on “I’m Awake.” Attentive ears were rewarded with these plentiful gifts throughout the night.
As Staples could bend a songs meaning to her will, Jones could likewise bend entire genres to her will. On the hushed and haunting “Little Broken Hearts,” she took on an indie-rock persona, strapping on a guitar. Then on “Queen of the Sea” she was belting out a country ballad. Her classic “Come Away With Me” was stripped back to the trio, with spare upright bass notes and subtle drums, it was Jones at her jazziest, taking control with her piano and voice. But she isn’t a rocker, singer/songwriter, country crooner, jazz musician or pop star. She’s Norah Jones and there’s no one else sounding quite like her.
She waited until the encore for the lone cover of the night, Tom Waits’ “Long Way Home,” before closing out the night properly with her classic hit “Don’t Know Why,”
Note: Review from CMAC, all photos from ArtPark by Patrick Sone Lin Htoo.
CMAC Setlist: What I Am To You, I’ll Be Gone (with Mavis Staples), Running, Sunrise, Begin Again, Tragedy, I’m Awake, I Just Wanna Dance, Out on the Road, Little Broken Hearts, Queen of the Sea, Staring at the Wall, Come Away With Me, All This Time, Happy Pills, Carry On E:ncore Long Way Home (Tom Waits), Don’t Know Why
Sun Ra Arkestra band leader and saxophonist Marshall Allen has lived on Earth for a century, but on Saturday night at Opus 40, he pointed to the sky and asked the sold-out crowd “why can’t we go somewhere there?” suggesting he’s still not done with his exploratory, interplanetary jazz mission.
On the Arkestra’s second of two nights headlining Opus 40, part of an eclectic series from Hudson Valley promoters Chosen Family Presents, the 17 piece big band played an energetic 100 minute set, and the 100-year-old Allen never let up for a minute. His ostinato, high-register alto sax and NASA-approved EVI synth sax playing excited the crowd who were in reverent awe of the living legend.
And while recent pieces about Allen’s 100th birthday have populated the pages of The New Yorker and The New York Times, and have certainly enhanced his celebrity, Marshall Allen is pretty much the same musician he’s always been – an acolyte and torch bearer for the life’s work of his old boss Sun Ra. Perhaps that’s why Allen closed the night with this message: “Going to outer space as fast as I can. Ain’t got time to shake your hand.”
It’s hard to shake hands when you’re busy wailing on the sax and tapping your feet. And, let’s face it, the Arkestra isn’t really about one player: it’s an ensemble of the first order, and perhaps the most colorful one going. Adorned in the brightest of future-Egyptians-from-space garb, each member of the Arkestra added his or her individual hue to a melting pot of American, world, and extraterrestrial music. Only the Arkestra can vacillate genres so easily, from free jazz to New Orleans second line to Afro-Futurism to deep blues, to the sound of pure, carefree joy encapsulated in the divine vocals of Tara Middleton.
While it was a hot and muggy day, the evening shade was pleasant and the setlist included a number of shout outs to the cooperation of Mother Nature. While night one was punctuated by some rain, Saturday’s weather got cooler as the band got hotter. Lyrical references to sunsets, sunshine, and the open sky only seemed to help things. And while the band is largely composed of older men, the audience was diverse in age. Children danced alongside parents and hipsters sat on blankets next to aging Deadheads – it was a reminder that Sun Ra music is wonderfully uniting. You can parse it for its academic significance to avant-garde music and the Black experience, or you can let your mind go entirely and just shake your ass to the polyrhythms as the band encouraged in “Carefree”.
Aside from Middleton’s exceptional performance, it’s important to note another member of the Arkestra who stole my attention for long periods of the set. Knoel Scott’s fiery performance on alto sax, baritone sax, conga drum, and vocals stood out. For a number of years now, Scott (who actually played with Sun Ra back in the 80s) has been the de-facto music director and it was fun to watch him signal for the trombones to punctuate a repeating-phrase, or when he called the band back to the head. The guy was intense in the best way possible, with his eyes often rolling back in his head and he attacked his conga drum. At one point, he was noticeably perturbed that the band (who might have been having a little issue with their monitors early in the set) didn’t end a tune together. But, this was just the galactic forces having some fun because one of the lyrical themes of the night was “What do you do when you know that you’re wrong? You’ve got to face the music. You’ve got to listen to the cosmic song” and “You made a mistake. Make another mistake and do something right”.
There were far more “right moments” than mistakes during Saturday’s set. Pretty much every time the group went into “big band mode” for the head of a tune, it was striking just how loud and dynamic the horns were. Trumpeter Cecil Brooks took a number of fine solos and bassist Tyler Mitchell had several shining moments where his soulful walking bass lines ignited the rest of the group. Younger band members Anthony Nelson (baritone sax) and Robert Stringer (trombone) also impressed. Nelson enhanced the low end all night, doubling basslines. Stringer’s solo with a mute late in the set was a particular crowd pleaser. Farid Mitchell also did more than a yeoman’s job as the Sun Ra stand-in on keyboards, especially when he played some rad organ sounds in the set-closer while wearing an incredible mask (my vote for the best Arkestra stage costume).
As for the compositions, the Sun Ra-written hard bop composition “Dancing Shadows” was an exceptional blend of Arkestra poly-rhythm percussion, a tightly played head, and trumpet and alto solos that dipped their toes into the avant-garde stratosphere. The current incarnation of the Arkestra plays jazz a lot more “in” than “out” with Allen adding the “free” elements as more of a garnish than a main dish. Certainly adventurous Ra adherents know that exploring Arkestra albums is sonic adventuring of th first order. Some albums are pretty straight and others send your ears to Jupiter. Those seeking to hear a well-recorded version of “Dancing Shadows” might take a look at the Sun Ra release on ESP-Disk “Nothing Is…”. The album (a personal favorite) features an excellent live performance from a 1966 tour of New York State colleges.
“Boma”, a Marshall Allen composition inspired by a river in Congo, was also a noteworthy moment for a couple of reasons. The piece only exists in the repertoire of the Arkestra in the “under the direction of Marshall Allen” era and it’s a reminder that this particular group of musicians have released a few stellar records in their own right that not only carry on a tradition but have mined new asteroid belts and continue to write. “Boma” is African-influenced and it sounds timeless like much of this music. It could be ancient or from the year 2250, it’s hard to say. What it shares with the Sun Ra music of the past is percussion that extends beyond the jazz cannon and into the African continent in particular (it’s kind of like the music the Arkestra was playing in the early 80s with Salah Ragab and the Cairo Jazz Band and not all that far removed from the reverie of artists like Fela Kuti who just relentlessly groove).
During the show, I saw a fair amount of people rocking t-shirts with stealies, skulls, and roses on them and I was struck by just how much the live music of The Grateful Dead shares with the Arkestra. Even though the bands operate in different genres, their most analogous characteristics are their emphasis on collective improvisation, which makes it so fun to watch various members of the group to see just exactly how they are coloring the mix. Both groups also have an incredible ability to hold an audience in the palm of their hand. At times the music may fall short of expectations, but when it’s firing, like it was during “Carefree” towards the end of Sun Ra Arkestra’s set, the divide between performers and audience crumble and EVERYONE knows that the music is right. You can see it on the faces of the musicians and you can turn around and see that just about everyone is out of their lawn chairs and dancing. It’s a special kind of magic, especially when you’re on top of a mountain in a gorgeous sculpture park like Opus 40.
And like bearded Bobby Weir, Marshall Allen is a mainline back to the origin of Sun Ra, an American original just like Jerry. Just as Jerry took his roots in bluegrass and folk music and mined new territory in psychedelic rock music, Sun Ra left a world of big band jazz standards and oddball lounge music in search of something bigger, more spiritual, and decidedly weirder (and consequently more original).
Let’s be glad that Marshall Allen continues to play and preserve this music so that new ears can fall down the wormhole of endless recordings that the Arkestra left behind. And what’s more, let’s celebrate that this music can still be shared in person, where the experience is transcendent, immediate, and always unexpected.
Marshall Allen is here on Earth, but only to remind us that space is the place. His final frontier feels distant yet, and I’m ecstatic that because of his recent birthday, his star is burning brighter than ever.
Setlist: Face the Music, Sunology, Dancing Shadows, Dorothy’s Dance, Love in Outer Space, Boma, Make Another Mistake, Space is the Place/If We Came From Nowhere Here, Blues Jam, Care Free, Watch the Sunshine
Poughkeepsie-based jazz artist Cory Wong released his newest single, “Quotidian Fields,” on June 28. The second single off of his forthcoming album, Starship Syncopation, “Quotidian Fields” saw Wong collaborate with Metropole Orkest and piano icon Bruce Hornsby. Moreover, this newest single brings a bright, fresh sound to the world of jazz, and creates excitement for Wong’s newest album.
Known for his solo work with artists including the Dave Matthews Band, Vulfpeck, and many more, Cory Wong has been refreshing jazz since the late 2000s. In like manner, his newest single with Bruce Hornsby and Metropole Orkest, a jazz orchestra based in the Netherlands, is just the latest addition to his laundry list of fantastic collaborations.
After all, Cory Wong’s “Quotidian Fields” gives us a glimpse into his mind. In the early stages of the single, Wong and Hornsby used samples and previously discarded tunes to brainstorm their ideas. When Hornsby sent Wong the piano riff heard at the beginning of the single, he knew that it was the perfect symbol of what he envisioned in his mind: a grandfather clock in the middle of the desert with mountains in the background. Hornsby’s piano tunes represent the clock, as something classic, elegant, and easily recognizable. The additional guitars and bass represent the mountain ranges in the background: something strong, powerful, and grounding that doesn’t take away from the grandfather clock standing before it. As a result the orchestra parts, mainly brass and drums, are meant to represent the desert, where the whole landscape is.
Additionally, the arrangement and orchestration are inspired by a lot of classic American classical music. Inspiration from American classical composers like Aaron Copeland, George Gershwin, and Leonard Bernstein is obvious, as the single moves forward to a rising crescendo, then transitions into a full orchestra that still manages to uphold the elegance of Hornsby’s original piano riff.
Cory Wong officially begins his tour in October. In addition to his Fall Tour, Wong will be performing two shows at the 2024 Caroga Lake Music Festival from July 30-31. He will also be part of the Caroga Arts Collective on Wednesday, July 31, where a raffle for a limited edition Fender guitar will be held. Moreover only 100 raffle tickets will be sold at $100 each and can be purchased HERE.
Below are Cory Wong’s official Fall Tour dates. For more information and tickets, visit his official website.
On June 21, NYC-based punk rock band WYLDLIFE released their newest single, “Fast Dreams.” The new single is the band’s first release since their 2020 album, “Year of the Snake.” Complete with fast-paced guitar riffs, a moving bassline, and exciting, gritty vocals, “Fast Dreams,” WYLDLIFE makes headbanging-worthy rock and roll music fun again.
For over the last decade, WYLDLIFE has brought the 70s rock and roll style back to New York City’s music scene. Their fun-filled single and music video are the latest thing to come out of their label, Wicked Cool Records. WYLDLIFE has four members: Dave Feldman (vocals), Sam Allen (guitar), Spencer Alexander (bass), and Russ Barrnett (drums), each committed to bringing back the classic sounds of the 70s like Blondie and Ramones. Since 2009, WYLDLIFE has released 4 full studio albums and were nominated for an Independent Music Award for Best Rock/Hard Rock Song.
Their newest single, however, is a captivating mix of sounds from different eras. The 70s inspiration is absolutely prevalent, but upon first listen, it feels like a 2000s power anthem. The fast-moving bassline, combined with Feldman’s vocals, is reminiscent of alt-rock outfits like Palaye Royale, Arcade Fire, and The White Stripes. Amidst the current ever-popular trap and indie-pop scene, WYLDLIFE’s newest single is a fantastic juxtaposition that has all the right elements of nostalgia, yet still manages to sound fresh, original, and new.
The lyrics of “Fast Dreams” tell an incredibly relatable story about someone excited for their dreams to come true while having to wrestle with the mundane parts of life. “Fast Dreams” brings us a familiar narrative about someone trying to make their dreams come true as fast as possible because they are simply too excited for success. “Fast Dreams” feels like a song that would belong on the soundtrack of a coming-of-age movie, with the narrator’s contradictory feelings of angst and excitement.
Along with their newest single, the music video for “Fast Dreams” is also out for consumption. Animated in the style of a 2-bit arcade game, the music video features WYLDLIFE as video game characters, racing against reality and time to achieve their goal. The message of the single is executed perfectly, and it is obvious that the group had a blast when creating the video together. “Fast Dreams” was the best thing to come out of their four-year-long hiatus.
“Fast Dreams” is available on all streaming platforms. To watch their music video or check out any of WYLDLIFE’s other powerhouse anthems, check them out on Bandcamp. For any touring information, follow their Facebook page.
In Buffalo, from July 5-7, the Savannah Bananas‘ made their latest stop as part of their 2024 world tour. Moreover fans eagerly anticipated the arrival of Banana Ball’s newest team, the Firefighters. This series marked three games out of 19 on the Bananas’ tour schedule.
The previous series saw the Bananas and the Party Animals clash in Savannah and Las Vegas, with the Bananas also having faced off against the Firefighters in Nashville and Savannah.
The Firefighters made their much-anticipated debut on May 30, shaking up the tour dynamics. Traditionally, the Bananas exclusively faced the Party Animals in each World Tour game until now. With the introduction of the Firefighters, both the Bananas and the Party Animals will compete against this new team. Notably, the Party Animals are set for their own 12-game headline leg of the Tour.
Over the course of this three-game series at Sahlen Field, more than 49,000 fans were entertained. The Bananas currently lead the 2024 Tour with a record of 31-22, having recently clinched a series victory in Indianapolis. The Bananas have now won all three of their games played in Buffalo.
Who are the Savannah Bananas?
For local interest, pitcher Ryan Kellogg of the Bananas hails from Whitby, Ontario, Canada. The Bananas’ journey began in 2015 in Savannah, where they revitalized baseball with a focus on fun and fan engagement. Despite early challenges, including financial strain that led owners Jesse and Emily Cole to sell their home, the team gained national attention upon adopting the name Savannah Bananas in 2016. Initially controversial, the name brought significant media coverage and packed stadiums, setting a precedent for their success.
After seven seasons in the Coastal Plain League, during which they won three Petitt Cup Championships and saw over 35 players drafted, the Bananas transitioned to year-round Banana Ball, a faster-paced and more entertaining version of baseball. Now fielding three independent professional teamsâthe Savannah Bananas, the Party Animals, and the Firefightersâthe organization continues to innovate and expand its impact on the sport.
Banana Ball is defined by its unique set of 11 rules aimed at keeping the game exciting and competitive. This year, a new rule called the GOLDEN BATTER has been introduced, allowing each team one opportunity per game to send any hitter to the plate, regardless of their position in the lineup or the game situation. This rule is designed to intensify close games and offer a strategic advantage to either team.
On July 6, funk keyboardist Neal Francis brought a mixture of blues and rock-laced syncopation to Ridgefield Playhouse. The Saturday show brought folks together from across the tri-state area, treating concert-goers to a thrilling show in the small town of Ridgefield, CT.
With shaggy hair and striped pants, Neal Francis graced the stage. Accompanied by bassist Mike Starr, drummer Collin OâBrien, and guitarist Kellen Boersma, the band approached the audience. The show in Ridgefield marked their third day of back-to-back shows. Nevertheless, it was hard to tell based on their electrifying performance.
Francis and his band are currently in the middle of a U.S. tour, with a mix of headline shows and opening sets. Most recently he opened for Trombone Shorty & Orleans Avenue as well as KALEO and My Morning Jacket. The Connecticut show, however, was one of a select few without an opener, making the show extremely personal and to the point. Next, they’re off to Winnipeg, Canada on June 13th, after which they take a short break until their return to the east coast in August.
Neal Francis
The show immediately started with dynamically composed arrangements, however staying true to the nature of live music, Francis had to fix some technical issues from his pedals. Despite any malfunctions, he commanded the band to give a beat, making sure the music never stopped while he got to work on his rig. The dedication that the band displayed to keep the audience grooving exhibited true showmanship.
Being that Ridgefield Playhouse is a smaller room in the middle of a small town, the energy was more like that of a party, rather than a concert. Francis was able to communicate with the audience giving the environment such strong personableness. Everyone was excited to be there, whether they traveled for it or were just checking out a cool show nearby. Regardless, the crowd was brought together by their excitement and love for the music.
The versatility of the show also made for an outstanding experience. Francis of course gracefully tackled his hits, but not without playing some unfamiliar tunes. Everyone in the auditorium got to witness songs that only those with the honor of seeing Francis live receive. This emphasized the importance of live music and the role it plays in bringing fans and artists together. The songs all included rhythmic breakdowns. The expansion of the music continued to produce unique renditions special to the live show.
Greenwich Entertainment has released the documentary Revival69: The Concert That Rocked the World in select theaters across the US and on streaming platforms. The film tells the story of the 1969 Toronto Rock and Roll Revival festival, and how two friends inadvertently changed the course of music history forever. This festival single-handedly cemented the legendary status of classic acts, highlighted up-and-comers, and ended the greatest act in music history. With a mix of archival footage, slick animation, and artist interviews, Revival69 captures the energy of its titular festival without sacrificing any details.
Award-winning filmmaker Ron Chapman directs bringing his concert film expertise. Chapman has previously collaborated with Madonna, U2, Sting, and Lady Gaga on his documentary Who the F**K Is Arthur Fogel, bringing him much acclaim. This acclaim has continued with the release of Revival69, winning Best International Feature at the Florida Film Festival. Additionally it was officially selected at the SXSW Festival.
Revival 69 Synopsis
For much of the 1960s, Toronto was not on the map musically. Despite this, two friends were dead set on bringing touring acts to their city. 22 year old John Brower and 23 year old Ken Walker decided to take matters into their own hands when it came to booking acts. The duo started an independent promotion business to bring their favorite artists to Toronto. By 1969, their dreams had become a reality with the duo organizing the Toronto Pop Festival. Legends like the Velvet Underground and Chuck Berry all performed at the first major pop festival in Canadian History.
Building off the success of this festival, the duo immediately began to plan a new event for the fall. While the pop festival was a rapturous success, this new festival’s planning was anything but. The spark for Rock and Roll Revival was purely coincidental, with Brower realizing that some of the biggest names of 1950s rock were all available on the same day – September 13th. The plan from there was simple: book these legendary acts and wait for audiences to flock to Toronto for a historic concert. With Chuck Berry, Jerry Lee Lewis, Bo Diddley and more, who wouldn’t want to see the concert? This however was not the outcome, with the festival planning proving the maxim “anything that can go wrong will go wrong.”
As it turns out, not as many people wanted to see these acts as expected. Brewer and Walker had only sold 2,000 tickets – 7,000 fewer than needed to break even. Needing a headliner, Brower contacted the Doors, who were riding high off the success of their no. 1 hit “Hello I Love You.” This, however, only added to Brower’s issues. The Doors requested $25,000, which Brower did not have, forcing him to borrow money from a local motorcycle gang. On top of this, the Doors soon had to deal with legal issues, as Jim Morrison faced felony indecent exposure charges, leading to a cancellation of all shows.
Enter John Lennon
In a hail mary, Brower and Walker called John Lennon‘s office in London. This point marks a shift in tone for the rest of the documentary. While anxiety still exists in the background, pieces slowly begin to fall into place, with the Rock and Roll Revival seeming more and more likely to succeed. Through the assurances of mutual friends, Lennon eventually agrees to perform in Toronto. This sequence of the film is brought to life by office recordings of John Lennon, humanizing such a legendary figure, and bringing a needed authenticity to these interactions.
Art of the Plastic Ono band from Revival69
Lennon – who had not performed live in years – needed a new band. Much like the haphazard planning of the Revival festival, the formation of the Plastic Ono Band was equally chaotic. Viewers see Lennon alongside Yoko Ono, bassist Klaus Voorman, Drummer Alan White of Yes, and Eric Clapton band together for the first edition of the group. Despite having a large festival scheduled, the group never rehearsed together until they were on the plane heading to Toronto. This sequence feels straight out of a superhero movie, with these legendary artists banding together to form a true supergroup . Additionally, it features small artistic flourishes for keen viewers. Whether it is Voorman’s Revolver-esque drawings of the group, or the instrumental for “Roundabout” playing during White’s introduction, music fans will take joy in these little details.
Revival Comes to Life
Cutting to the day of the festival, the documentary truly comes to life. The driving force for the rest of the film is archival footage from documentarian D.A. Pennebaker and camerawoman Molly Davis. During Bo Diddley’s set, the footage shows audiences smiling, smoking, and dancing without a care in the world. With the anxiety and fear that marks the first half of the film, this footage is a cathartic release. Audiences can see that all of the gambles and hard-work going into the festival actually paid off.
The high-point of these classic performances comes from Chuck Berry. Berry was known for assembling rag-tag backing bands in each city he traveled to. The footage shows Berry enter alongside the teenage members of the local band Nucleus. Berry calls out to the audience “Ole” and “Peace,” ramping up the energy more and more. Then without saying what song will be played or what key it is in, Berry bursts into song. The footage of this set does a spectacular job at visual storytelling. At the beginning of the set, you can see drummer Danny Taylor with fear in his eyes trying to keep up with Berry. After a few songs, however, things begin to click, and following a single chef’s kiss motion from Berry, you can see the band begin to mesh like they had been playing together for years.
Chuck Berry’s performance from D.A. Pennebaker’s footage
The festival was not just classic acts, also acting as a springboard for one of the greatest names in rock. Brower needed to find a backing band for rockabilly so Gene Vincent enlisted the help of Arizona’s Alice Cooper. Chapman’s direction alongside Pennebaker’s film does an amazing job illustrating the energy and sheer horror of Alice Cooper’s set. As Cooper recalled, they were the underdogs of the show, so had to make their time on stage count. On top of playing scorching proto-metal, Cooper turned the stage into a battleground. He fought with his bandmates, hammered the stage, and sprayed a feather pillow out into the crowd. Interview with singer and audience-member Claudia Barry illustrates the atmosphere of the moment, recalling feeling like “Somebody’s gonna die.”
Alice Cooper’s set illustrates another strength of the film: making the legendary feel human. Throughout the segment, there is a comical back and forth between Cooper and agent Shep Gordon. Their interaction – strangely enough – revolved around a chicken in a pillowcase. Gordon thought it would be funny to release it on stage during Cooper’s set. Cooper, seeing the chicken, decided to throw it assuming that chickens could fly away. It did not fly, and rather plummeted into the crowd, spawning rumors of Cooper’s chicken killing spectacles at concerts. In an interview, Cooper still fights back, saying Gordon refuses to admit he released the chicken. Little flourishes like this help bring a sense of levity and humanity to such a big event.
Alice Cooper’s infamous chicken throw
Lennon Finds Peace
The highlight of the festival – and the film – is John Lennon’s much-anticipated performance. Lennon, despite being the biggest star of the era, is mortified to go out on stage. The archival footage shows him throwing up before the performance, really humanizing Lennon. Despite his anxieties, he alongside the Plastic Ono Band emerged to deafening applause and a sea of candles throughout the crowd. The applause however, died out quickly, as Yoko Ono began to sing. As bassist Klaus Voorman recalled, someone “must have stepped on a nail or something.” Despite the cold reception, John stuck by Yoko throughout the set, hugging her and yelling at the audience to “Wake up” and realize the artistic merit of her performance. These small acts of devotion and love really help to humanize a couple as legendary as John and Yoko.
Voorman provides a thought-provoking monologue through this portion of the film, set alongside a montage of the Vietnam war. This marks a stark contrast with the rest of the film, being much more somber and even bone-chilling at points. Voorman recalls the performance clicking, realizing the duality of Lennon and Ono. He realized that as Lennon sang “Give Peace a Chance,” offering hope for the future, Ono howled with her classically-trained voice, reflecting the current death and destruction of the Vietnam war, with both of these halves coming together to form a truly moving reflection on the war.
Leaving the stage, Lennon immediately announced to his bandmates that he was leaving the Beatles. He had found a new band, a new identity, and a new lease on life, and wanted to move into a new era of his career. Ending on such a big piece of music history like this really works to wrap up the film well. At its heart, the Toronto Rock and Roll Revival was a pet project between two friends that was not assured to succeed. Despite countless monetary, legal, and booking issues that threatened to derail the show, it somehow persevered. Through this perseverance, Brower and Walker inadvertently ended the Beatles, bringing about a symbolic end to the 1960s, and moving rock into a new era.
“When we played at the Rock n’ Roll Revival show in Toronto…it was exciting for John because he felt he didn’t need to live up to the Beatles mystique…we had total freedom”
– Yoko Ono, 2020
Review
In conclusion, Revival69: The Concert That Rocked the World brings one of the most momentous nights in rock history to life. Pennebaker’s superb archival footage displays the utter joy of both the performers and audience. This combined with interviews from organizers, performers, and audience members weaves a complex tapestry. These interviews are the emotional backbone of the film’s compelling narrative. Overall, Revival69 is a perfect film for lovers of 1950s and 60s rock, history, or live performances more generally.
The film is now playing at Manhattan’s New Plaza Cinema for a limited time. Additionally, the film is available to rent or buy on Amazon Prime Video.
Rochester band, The Chesterfield Kings just released two new singles, “Fly The Astral Plane ” and a cover of one “So Sad About Us” from one of their inspirations, The Who.
The Rochester based band has released 11 albums.
The band’s frontman, Andy Babiuk says he wrote the song “with a more psychedelic approach.” Despite their east coast beginnings, “Fly The Astral Plane” sounds like the soundtrack to a 60’s San Francisco summer. “The lyrics can have a double meaning depending on what you’re into. But if you close your eyes and listen, you’ll get there,” Babiuk said.
“So Sad About us” is more uplifting with its production than The Who’s version but still stays true to the band’s sound. The 7-inch cover is reminiscent of the hey-day of psychedelic rock.
The band formed in the late 70’s, are bringing back the classic rock sounds. Together the five piece band have released 11 albums and made appearances on Jimmy Kimmel Live, as well as Late Night with Conan O’Brien. In 2009, they hiatus but recently came back to record and perform together.
Thus, next year, the band will join a lineup of other bands and artists from May 9-13 as part of Little Stevens Underground Garage Cruise. Rock fans will have the opportunity to sail from Miami to Nassau, Bahamas while listening to punk and classic rock bands. You can stream The Chesterfield King’s singles on any streaming service and find more information on their website.
The fourth edition of the Summer Gods Tour 2024 with Arizona, Yellowcard and the headliner Third Eye Blind took action at the Darien Lake Amphitheater on July 3.
The evening at Darien Lake opened up with pop rock and electropop band Arizona carrying out a sensational performance, warming up the crowd and they handed over to the 90’s rock band Yellowcard.
“Lights and Sounds” was the opening song from Yellowcard, greeted by fans. Punk rock music stirred up the crowd as they played “Cut Me, Mick”, “Southern Air”, “One Bedroom”, “Keeper”, “The Hurt Is Gone”, “Lift a Sail”. They ended the show with “Ocean Avenue”, set the audience to enjoy the head liner Third Eye Blind.
Third Eye Blind, fronted by Stephan Jenkins, showcasing their musical talent and fascinating stage performance. Opening with iconic song “Motorcycle Drive By”, the band instantly had the crowd singing along the lyrics. After they performed “Shipboard Cook”, the band took a short break to start an acoustic session.
Jenkins played an acoustic solo after the song “Slow motion”, and Brad, the drummer, played awesome drum solo at the end of the song “Jumper”. As they ended the show with “How’s It Going To Be”, the crowd erupted into cheers, marking the end of a memorable evening.
Summer Gods Tour with Third Eye Blind, Yellowcard and Arizona will keep taking these amazing bands across the country. More info can be found here.
Third Eye Blind Setlist: Motorcycle Drive By, Dust Storm, Never Let You Go, Narcolepsy, The Kids Are Coming(To Take You Down), Wolf Like Me/ Company of Strangers, Graduate, Wounded, Weightless / Faster / Water Landing, Shipboard Cook, The Background(Acoustic), Palm Reader(Acoustic), Slow Motion(Stephan Solo Acoustic), Jumper (Brad Drum Solo at end), Semi-Charmed Life Encore: How’s it Going to Be
Yellowcard Setlist: Lights and Sound, Cut Me, Mick, Only One, Southern Air, Transmission Home, One Bedroom, Lift a Sail, Childhood Eyes, Keeper, Be The Young, The Hurt Is Gone, Ocean Avenue.
Crossover country music sensation Tyler Childers showed his hand in Saratoga Springs Wednesday night, July 3, selling out SPAC to the tune of an estimated 25,000 concert goers.
Tyler Childers performing in Saratoga Springs on 7/3/24.
Armed with a distinct voice, thought-provoking lyrics, an unassuming confidence and maturity beyond his years, the Grammy nominated Childers delivered the type of well-rounded performance that turned skeptics into believers and left long-time fans wishing the night could last forever. Singing through his career spanning catalog of hits, the complex Kentucky-based crooner left it all on the stage, creating a unique atmosphere of optimism and excitement despite the melancholy nature behind much of the music. The concert, part of his “Mule Pull ‘24” tour, was a testament to Childers meteoric rise in popularity and his deep connection to the audience.
With the Broadview stage at SPAC elegantly decorated in old furniture, plants, odd antiques, and a vintage television set, the show started with a surreal countdown that featured various clips of Childers formative years. Accented by the roar of the sold-out crowd as he finally walked out, it was enough to give you goosebumps before anyone played a single note. From the opening tune “Her and the Banks” and the foot stomping “Percheron Mules,” the 33-year-old Childers captivated the audience from the start. Bolstered by the power of his incredibly tight backing band, The Food Stamps, his signature raw and unique voice was strong and mesmerizing.
Tyler Childers plays to a sold-out Saratoga Performing Arts Center 7/3/24.
Bringing a gritty yet soulful and authentic Kentucky touch to each number, Childers would play a total of 23 songs on the night, including six from his massive 2017 breakthrough album, Purgatory. After working their way through “Born Again,” fans were treated to a pair of sing-alongs from the 2019’s Country Squire, including the title track and the grade school confessional “Bus Route.” Following that up with “I Swear (To God) and the beautifully subdued “Shake the Frost,” the crowd was soon throwing their fists in the air in unison for the rollicking “Rustlin’ In the Rain,” before one of Childers most popular songs, “All Your’n” had them howling with delight. Busting out a Kris Kristofferson cover next, “Help Me Make It Through the Night” gave way to a far more traditional country burner in “Cluck Ol Hen.”
The Food Stamps performing with Tyler Childers at SPAC on 7/3/24.
At this point of the show, The Food Stamps would disappear into the shadows leaving Tyler alone in the spotlight for some of his most heartfelt lyrics and soulful melodies of the night, delivering powerful performances of “Lady May,” “Nose on the Grindstone,” and “Follow You to Virgie,” with each delivering poignant messages about love, perseverance, and life’s hardships. When the Food Stamps reemerged, the full band was in all their glory on the massive “In Your Love” that saw fans waving their cell phones in the sky to create a spectacle similar to swimming in a sea of fireflies.
Tyler Childers performing in Saratoga Springs on 7/3/24.
Entering the Can I Take My Hounds to Heaven portion of the show, Childers would pay homage to one of his biggest influences, Hank Williams, with a stellar cover of “Old Country Church” that made SPAC feel like exactly that. Following fan favorites “Whitehouse Road” and “Honkey Tonk Flame,” opening act S.G. Goodman was then invited to the stage for a scintillating duet on “Way of the Triune God.” Building up the momentum, “House Fire” would have fans stomping their feet and set us up for one final singalong, the anthemic “Universal Sound,” bringing the epic and cathartic evening to a close.
Tyler Childers performing in Saratoga Springs on 7/3/24.
The Broadview Stage at SPAC proved to be an excellent venue for the concert, offering great acoustics and a spacious setting that enhanced the overall experience. The crowd’s enthusiastic response throughout the night highlighted the deep connection Childers has with his fans, making it clear why he continues to sell out shows across the country. Blurring the lines of what it means to be a country music superstar, this was a night to remember – filled with powerful music, heartfelt moments, and an undeniable sense of community.
Tyler Childers | 7-3-2024 | Saratoga Springs, NY | SPAC
Setlist: Her and the Banks, Percheron Mules, Born Again, Country Squire, Bus Route, I Swear (To God), Shake the Frost, Rustin’ in the Rain, All Your’n, Help Me Make It Through the Night, Cluck Ol Hen, Lady May, Nose on the Grindstone, Follow You to Virgie, In Your Love, old Country Church, Can I Take My Hounds to Heaven, Whitehouse Road, Two Coats, Honky Tonk Flame, Way of the Triune God, House Fire, Universal Sound.
