Rochester psychedelic indie rock band Adequate Phil have released their latest track, “Limes” which is out on all streaming services now. The song marks their final single before the release of their debut album.
Adequate Phil, hailing from Troy, is an experimental psychedelic indie rock powerhouse with influences from Radiohead, Animal Collective, The Beatles, and The Shins. With the release of their debut album on the horizon and in spite of recent personal difficulties and lineup changes, Adequate Phil continues to captivate audiences with their magnetic stage presence and innovative sound. Since 2021, they’ve been an eclectic and relatively underground driving force in the local scene.
The track “Limes” is nothing short of unique. Its monumental psychedelic influence just oozes out of each pore of the track. You can hear the influence from classic psychedelic bands like The Beatles, Grateful Dead, Jimi Hendrix, and more. You can also hear influence from artists like King Gizzard and even Yoko Ono.
The vocals are haunting and obscure, the lead and rhythm guitar are hallucinogenic. Nothing about this song is conventional, but it has an eerie familiarity. The more you listen, the more you become entranced by the sounds the band emanates.
For more information on Adequate Phil and to lay ears on their latest single, “Limes,” click here.
Staten Island’s New Dorp Plaza North is a quiet, commercial street, minus the occasional train whirring through the tracks that separate it from its southern counterpart. It is lined with hair salons, restaurants and dance companies, but sandwiched in between these complexes lies Goose Room — the recording studio looking to bring some noise back into the forgotten borough.
Founded by local musician Rain Johannes in 2022, Goose Room is Staten Island’s newest recording studio. Feeling like the current studios on the island were pricey and small — tailored to artists without instruments — he aims to make the studio an accessible and comfortable environment for musicians of all kinds.
The idea for Goose Room hatched in Johannes’ old Westerleigh family house in 2017, where he moved back to after two years at Bard College. He was pursuing a degree in Music Technology at NYU, and would help his friends from his days at LaGuardia High School mix and master their tracks in a DIY-basement studio. When the opportunity arose to move his practice into a rental unit in the East Island neighborhood of New Dorp, he took the chance to further expand his reach to the musicians of the island.
Johannes first learned to play guitar from his dad, and went to lessons throughout his youth. During his time at LaGuardia, he joined a songwriting ensemble, and continued to make music in his bedroom as he started college. “I wanted to maintain as much of my home studio setup in this space as possible,” Johannes, now 27, said. “Studios can sometimes be really stifling, especially when you have never been inside one or are coming from only playing songs in your bedroom.”
Johannes wants artists to feel at home at Goose Room. A studio he interned at during his career at Bard provided musicians with a separate living space to relax in during downtime. Inspired by this hospitality, he set up a kitchen, bedroom, bathroom and backyard area — “so they can smoke in between takes,” he jokes. Comfy couches with colorful pillows line the large, sleek living room area, filled with natural light from floor-length windows. A large, welcoming rug is laid in the recording space itself, and iconic records adorn the walls. is With personal picture frames, bright green plants and stickers of local bands placed all around, it feels like you’re visiting a long distance friend and working on a collaborative passion project.
As word began to spread about the new studio space, Johannes started to meet several Staten Island musicians eager to work with him. One of these bands was rock group Our Own Yokos, who, after fifteen years of making music in the borough, finally released their first single “Sir Chunk” with Goose Room in February of 2023.
All three members of the band — guitarist Shaun Gold, bassist Brian Buchanan and drummer Cole Rice — were born and raised on Staten Island. When it came to recording their music, they longed to do it at a hometown studio — a perfect homage to their immense pride in its music scene.
“We don’t hide the fact that we’re from here,” said Buchanan. “We play here, and we go to shows here. The community infrastructure of the scene right now is really strong, and a recording studio is just a natural part of that infrastructure.”
In their lengthy history of playing in Staten Island bands, the members of Our Own Yokos have seen many music venues and spaces disappear. Despite the lack of stages, they find that the friendship between the local bands is tighter than ever, and their newfound camaraderie in Johannes.
“He’s another musician in the room — not someone that just presses his buttons and hits record,” said Gold. “He’s someone that really has a good sense of what his clients are doing and has been an asset to us in many ways.”
Along with becoming a hub for the already-existing scene on Staten Island, Johannes hopes that Goose Room can show musicians outside of the borough all of the things the community has to offer. “I find that I end up becoming an unofficial ambassador of Staten Island,” he says. “I think for some people in other boroughs, coming here is part of the adventure, because it’s different from where they’re from.” He’s directed artists from elsewhere to the best bagels and pizza in town, but now wants to lead them to venues and other music spots to check out.
So far, Goose Room Recording Studio has furnished recordings with more than 30 artists. For now, Johannes aims to connect more with the local scene, as more clients from the forgotten borough learn about his practice through word of mouth. He hopes to connect with even more musicians, forming bonds that help make the kinship between artist and engineer stronger.
“I really enjoy the experience of recording with someone and being engaged with them musically,” he said. “That’s something kind of unique to me in this space that is always a given. It’s part of it’s part of like the environment I try to foster here and something I appreciate.”
Waterparks is a dynamic, genre bending trio hailing from Houston, Texas, consisting of charismatic frontman Awsten Knight, guitarist Geoff Wigington, and drummer Otto Wood. With their high-energy stage presence and genre-defying sound, Waterparks has become a force to be reckoned with in the alternative music scene.
Waterparks brought their electrifying energy and infectious enthusiasm to the MGM Music Hall at Fenway Park as part of “The Sneaking out of Heaven Tour,” with fans lined up around the venue as early as 3 AM, these fans left in awe with a high-octane performance and unforgettable moments.
From the moment they stepped onstage, frontman Awsten Knight and his bandmates captivated the crowd with their signature blend of pop-rock anthems and irresistible hooks. The atmosphere was electric as fans sang along to every word, their voices blending harmoniously with the band’s infectious melodies.
Throughout the night, Waterparks delivered one memorable moment after another, from Awsten’s impromptu phone call to a fan’s boss, quitting their job on their behalf, to the spirited chants of “fuck these kids” and “support the moms.” Awsten’s playful banter and charismatic stage presence kept the energy levels high, while guitarist Geoff whirlwind performance earned him the endearing nickname “Hurricane Geoff.”
The band’s setlist was a perfect mix of old favorites and new hits, with standout moments including fans making Awsten wear a gifted shirt that said “I F*ck Fish”, followed up by their hit “Fuck About It” resulting in a hilarious exchange between Awsten and Otto. Awsten’s solo piano performance on the B stage showcased his versatility as a musician, while his humorous attempt to coax crew member Lucas into an Ed Sheeran cover provided a lighthearted moment of fun.
As the night came to a close, Waterparks left the crowd wanting more with an electrifying encore performance of “Turbulent” and “Real Super Dark” solidifying their status as one of the most exciting acts in modern alternative music. With their infectious energy and undeniable talent, Waterparks proved once again why they are a force to be reckoned with in the music industry.
Setlist: Watch What Happens Next, Blonde, Greatest Hits Medley (Fuzzy / Violet! / American Graffiti / The Secret Life of Me / Just Kidding / See You in the Future / Lowkey As Hell), Why Can’t I [Liz Phair cover], Stupid for You, You’d Be Paranoid Too (If Everyone Was Out to Get You), SOULSUCKER, SNEAKING OUT OF HEAVEN, Magnetic, RITUAL, SELF-SABOTAGE, BRAINWASHED, FUCK ABOUT IT, High Definition, Snow Globe, Crying Over It All, 21 Questions, I Miss Having Sex but at Least I Don’t Wanna Die Anymore, FUNERAL GREY
The Ghost Club’s concert at Elsewhere, as part of “The King Whatever Tour,” was a riveting display of indie rock energy and resilience. Led by the enigmatic frontman Domenic Dunegan, the five-piece band delivered a performance that was as emotionally charged as it was musically compelling.
Despite facing a momentary setback when Domenic accidentally hit his head while standing up on the bar, he soldiered on with unwavering determination, embodying the band’s ethos of perseverance against the odds.
From the moment they took the stage, The Ghost Club commanded attention with their incisive songwriting and sharp commentary on themes of masculinity, self-reflection, and resilience. Hits like “Creature of the Shadows” and “I Feel Fine” had the crowd entranced, while live debuts of “It’s Your Call” and “I’m Sold” showcased the band’s willingness to push boundaries and explore new sonic territories.
A defining moment of the evening came during their cover of Black Sabbath’s “War Pigs,” where Domenic’s electrifying stage presence and raw emotion electrified the audience. Despite his injury, he continued to deliver a mesmerizing performance, captivating the crowd with every lyric and melody.
As the night progressed, The Ghost Club treated fans to a string of live debuts, including the poignant “If I Fell (Don’t Wait Here for Me)” and the anthemic title track “King Whatever.” Closing out the set with the haunting ballad “Don’t Let Go,” Domenic and the band left an indelible mark on everyone in attendance, proving that they are a force to be reckoned with in the indie rock scene.
Overall, The Ghost Club’s performance at Elsewhere was a testament to their resilience, passion, and unwavering commitment to their craft. Despite facing challenges along the way, they delivered a show that was both powerful and unforgettable, leaving fans eagerly anticipating their next performance.
Stay tuned for their upcoming album “King Whatever” set to release ahead of this summer!
Setlist: Creature of the Shadows, All I Know, It’s Your Call (Live Debut), I’m Sold (Live Debut), I Feel Fine, War Pigs (Black Sabbath cover), Sucker, Two Steps Ahead, If I Fell (Don’t Wait Here for Me) (Live Debut), Hate Me Too, King Whatever(Live Debut), Same Graves, Don’t Let Go
The Dropkick Murphys brought their St. Patrick’s Day Tour 2024 to the MJN Convention Center in Poughkeepsie on Monday, March 11. Those looking for a pot of gold got so much more. This was three bands joining together to form a punk shamrock.
The Scratch, from Dublin, opened the show. There was a reason the Dropkick Murphys asked them to join the tour. The Scratch is not a mild-mannered band from the Emerald Isle. From behind his percussion kit, Daniel Lang led the band on what can only be called “The Scratch” sound. Joining Lang on stage were Conor Dockery (guitar, backing vocals), Cathal McKenna (bass/backing vocals), and Jordan O’Leary (guitar, lead vocals) for a non-stop power set.
The Scratch
Pennywise, playing in the middle spot, just let it loose. They played loud and hard. Even cranking up a version of the Beastie Boys’ “Fight for Your Right.” Many Pennywise fans were on hand singing, dancing, even creating a mini mosh pit. Being California-based did not put a damper on the night’s Irish overtones; it stoked them.
Pennywise
If The Scratch filled the tank with gas, and Pennywise started the engine, the Dropkick Murphys put the pedal to the metal. The band exploded onto the stage with a mission in mind. Considered Celtic Punk, or maybe it’s U2 meets Green Day, in either case, it was explosive.
Dropkick Murphys St. Patricks 2024
Front man Ken Casey lit the fuse for the Murphys. He was non-stop, traversing the stage from end to end. Continuously reaching his hand out, encouraging everyone to join along in the revelry.
Being a Monday night did not diminish the energy. Crowd surfing and singing were the norm. Early in the set, a wedding proposal added to this night of Irish joy. Band members moved from guitars to banjos to accordion, tin whistle to bagpipes as the two-hour, 22-song set marched on.
Dropkick Murphys
Proclaiming they are a band for the working-class and not afraid to share their political beliefs, the band performed Woody Guthrie’s “Gotta Get to Peekskill.” “Dirty Old Town” followed, paying tribute to the late Shane MacGowan of the Pogues. The songs allowed the crowd to capture its spiritual breath before kicking the night back into overdrive.
The set featured “The Boys are Back” and “Rose Tattoo,” encoring with “I’m Shipping Up To Boston,” and closing out with “Kiss Me, I’m Shitfaced.” Celtic punk has been around for a while. The Dropkick Murphys are making sure it lives on.
On Thursday March 14, Dark Star Orchestra (DSO) kicked off their Spring 2024 Tour at Utica’s Stanley Theatre. DSO has been performing continuously for 26 years paying tribute to The Grateful Dead. Known for playing The Dead’s actual concert setlists DSO treated the Utica Deadhead faithful to their own uniquely crafted setlist.
The show opened with classic Grateful Dead opening song “Cold Rain and Snow” which featured all seven DSO musicians on stage. Vocalist Lisa Mackey left the stage for the Bob Weir classic “Black Throated Wind”. Balloons and some varying scents began to fill the air when the band broke into the standard “Deep Ellum Blues”, a song covered by Jerry Garcia’s solo projects as well as The Grateful Dead. Part of the fun of DSO shows is to guess what Grateful Dead concert they may be playing.
Discover Grateful Dead shows from over the years across New York State with our interactive map below
After “Deep Ellum Blues” there was a lot of chatter in the crowd about what show this could possibly be. Keyboardist Rob Barraco switched from piano to organ and the band kicked into the opening riffs of The Dead’s 80’s rarity “My Brother Esau”. It seemed as if there was a collective epiphany from the crowd that We were in the midst of an original DSO setlist. “I like how they did their own set list and how they have the low energy and then bring in the high energy.” Said Debbie Rathbun. The band next slowed things down with the Hunter/Garcia ballad “So Many Roads” featuring Jeff Mattson on lead guitar and vocals. This was one of those “close your eyes moments” in which Mattson’s guitar tone and phrasing was beautiful and so spot on to Garcia’s. DSO kept it mellow following up with the Brent Mydland song “We Can Run”, sung by Rob Barraco. Earlier in March Barraco performed two shows with original Grateful Dead bassist Phil Lesh celebrating Lesh’s 84th birthday at The Capitol Theater in Port Chester, NY.
DSO continued to mix Grateful Dead favorites, rarities and Jerry Garcia Band staples in set 2. The first deep jam of the night came shortly after the opening song, “Help on The Way”. The instrumental “Slipknot!” showed off DSO’s prowess, tightness and put on display live in Utica why they are the world’s premiere Dead tribute. “Franklin’s Tower” seemed to have the entire crowd inside the beautiful Stanley Theatre on their feet. The band sounded fresh and really seemed to be having fun with smiles abound. Rob Eaton delivered Bob Weir’s “Corrina” with ferocity and passion. The band continued to groove and segway from song to song eventually turning over the stage to Dino English and Rob Koritz for a lengthy, trance-like “Drums”; a staple of The Grateful Dead experience. Set 2 concluded with “One More Saturday Night”, appropriate after a night of weekend energy on a Thursday Night.
The Rolling Stones “Honky Tonk Women” was the lone encore, capping off a night of fun, song surprises, reminiscing and originality in Utica from the world’s number one Grateful Dead tribute.
Dark Star Orchestra – The Stanley Theatre, Utica, NY – March 14, 2024
Set 1: Cold Rain and Snow, Black Throated Wind, Deep Elem Blues, My Brother Esau, So Many Roads, We Can Run, Midnight Moonlight, Box of Rain, Greatest Story Ever Told, Shakedown Street
Set 2: Help on the way > Slipknot > Franklin’s tower> Corrina > Crazy Fingers > Uncle John’s Band > Drums and Space > UJB reprise > Lonesome and a Long Way From Home > Saint of Circumstance > China Doll > One More Saturday Night
With his most recent single, “Kill Switch,” a joint effort with Canadian producer DJ BLKLUOS, New York rapper Uzi Masalino is back in the spotlight. The dynamic duo quickly puts out the fire they started with their previous project, Pain & Politics, their joint EP.
Bronx artist Uzi Masalino’s shares risqué bars, making “Kill Switch” pulsate and burst with raw energy. A trip through the harsh realities of street life is set in motion by DJ BLKLUOS’ flawless production. DJ BLKLUOS creates a soundscape that draws listeners from beginning to end. As soon as the drums hit this beat, Uzi sets the mood. His gritty flow and reality raps blend perfectly with the beat.
With the lyrics, “they living with their moms, no bills or big drips, them ****** ain’t grown men they big kids,” Uzi paints a picture of the striking reality he witnessed.
Beginning with their EP, Pain & Politics, they skillfully combine their talents with each song leaving Hip-Hop fans eager for more.
“Kill Switch” is currently accessible on all major streaming platforms. With Uzi’s easy transition to DJ BLKLUOS’ wide variety of beats, their chemistry grows stronger as their collaboration does.
Press play below to feel the intensity for yourself. Follow DJ BLKLUOS and Uzi Masalino for upcoming exciting collaborations and more music-related news.
Bar Italia made their highly anticipated return to NYC with a cigarette-tinged concert at Warsaw in Brooklyn on March 15. Touring with their new album, The Twits, and making their way across the US to their Coachella debut, the band gave one of their best performances to date. The band entered the stage cast in warm, low-key lighting to an ecstatic crowd and filled the room with guitar buzz and imagery-filled lyrics.
The British shoegaze/post-punk trio, signed to Matador Records, includes Sam Fenton and Jezmi Fehmi of Double Virgo and singer-songwriter Nina Cristante. They formed in 2020 to instant recognition but stayed away from the press until late last year, even keeping their names hidden from fans. This garnered them a mysterious image that they are now attempting to shed. They also added a new drummer, Liam Toon, just days before the show.
The band has garnered a strong following in New York after making two trips from the UK last year. For an international band of their size, they have made a particular effort to play in NYC, and it has paid off for them, as Friday’s show was more than packed with eager fans. Now they’re off to continue across the US, eventually making stops on the West Coast, including two days at Coachella.
Opening for them was Scarlet Rae, a Brooklyn-based singer-songwriter who did a great job of setting the tone for the show and got a lively reaction from the crowd.
It’s a feat how Bar Italia can get a crowd moving and cheering without almost any audience interaction. They uttered about 10 words between songs the entire show, but the audience was there for the music, and the music was electric. That’s not to say the band was closed off. They were full of smiles the whole night and didn’t hold back, showing a lot of emotion on stage.
The interaction between the trio’s vocals formed a texture that cannot be compared to any other act. Sam Fenton and Jezmi Fehmi’s distorted guitar riffs reverberated through the venue as they played “My Little Tony,” wallowing in their dramatic vocals before being lifted up by Nina Cristante and her tambourine in the chorus. The song’s lyrics connect deeply, focusing on imagery that conjures small, intimate scenes that convey displeasure for how our generation has learned to socialize.
They capped off the main set with “World’s Greatest Emoter,” a song title referencing an interview in which Liam Payne described actor Will Smith as the “world’s best emoter” after he slapped the comedian Chris Rock at the 2022 Oscars. The room was pounding with this song, and it only got more intense as they faked the audience out, ending the song multiple times, only to drop right back in seconds later at twice the volume. This was a highlight for the band’s new drummer, Liam Toon, whose skilled playing helped balance the song’s instrumentation with the song’s dense vocals and guitar.
The crowd was feverish by the time the band said thank you and walked off stage, only to walk back on moments later unceremoniously. The band capitalized on this, playing three of their most popular songs. They capped the concert off with “Skylinny,” which had the entire crowd of 1,100 people chanting, “Run-a-runaway, Run-a-runaway.”
This was the kind of concert that made you stop for a minute after to take in your surroundings and breathe. Hopefully, Coachella brings good things for Bar Italia because we are sure NY would be happy to welcome them back whenever they feel like hopping the pond again.
Bar Italia – Warsaw, Brooklyn – March 15, 2024
Setlist: Friends, my little tony, calm down with me, Real house vibes (desperate house vibes), twist, Jelsy, Brush w Faith, harpee, Nurse!, punkt, glory hunter, my kiss era, Polly Amour, worlds greatest emoter
In a brief preface to Saturday’s performance at VBI Theatre of Cunneen-Hackett Arts Center in Poughkeepsie, 84-year-old free jazz legend Joe McPhee told the crowd that ‘no plan was the plan’ and that those in attendance would enjoy a performance that had never happened before and would never happen again.
Alternating between saxophone soloist, spoken-word beat poet, and band conductor, McPhee held true to that promise, leading the unconventional 10-piece group in an hour of adventurous free improvisation that drew on chamber music influences and the avant-garde as much as it did on the blues.
A Poughkeepsie native who lectured on jazz at Vassar College in the early 70s, McPhee is the connective tissue to the great saxophone innovators of the past. In his poetry, he namechecked John Coltrane, Ornette Coleman, and Albert Ayler. Before the show, McPhee joked that he always backs out of playing in his hometown, but that show organizer and electric guitarist James Keepnews just kept at him until the gig was scheduled. Kudos to Keepnews for making it happen.
The ensemble featured two basses (Michael Bisio of the Matthew Shipp trio and the masterful Hilliard Greene), cellist Daniel Levin, guitarists Keepnews and Billy Stein, violists Judith Insell and late-addition Fung Chern Hwei, and violinists Rosi Hertlein and Gwen Laster. McPhee noted that he had met some of the musicians that very day and that they’d had only a brief rehearsal. In other words, in this first of the 2024 Elysium Furnace Works concert series, anything could happen.
McPhee is a commanding presence on stage. In his red Puma sneakers, cap, and stylish vest, he looked 20 years younger than his age and he did an excellent job directing the group so that everyone wasn’t stepping all over each other. McPhee’s performance was also a kind of balancing act between recounting poetry, soloing on saxophone, and directing traffic.
The performance kicked of with McPhee’s line of poetry: “The sound begins.” He cued Rosi Hertlein to accompany him and her vocalizations and technique recalled the visionary deep listening stylings of Pauline Oliveros. “The sound surrenders to itself,” recited McPhee, “and becomes the place where the meeting begins.”
As the night progressed, Joe McPhee featured small groups of musicians. Bisio, Levin, and Stein all stood out for their contributions and innovative rhythmic bowing techniques. Then at times, McPhee would call for all of the players to improvise, leading to a beautiful cacophony. Then the sound entered the stratosphere when McPhee played his horn.
McPhee’s great gift is incredibly similar to his idol Ayler: though he can play atonally, sing through the horn, or play piercing overtones, the essence of his playing is rooted in a kind of spiritual blues that is more sensitive and melodic than other percussive players. Perhaps this is why his poem and piece “New Chicago Blues” may have connected best with the audience. At one time each of the ten members of the stage was playing his or her own version of the blues – this was no 12-bar nightclub band, but an expression of deep blues and immediacy that transcended meter and time while still honoring everything a listener knows about the genre. It was powerful, wild, and rare stuff. It appeared the show was being recorded, so hopefully it will be released by McPhee in the future – but knowing his ethos, he’s probably already on to the next thing.
But it takes real talent to look forward while also recognizing your link to the past. In the course of an evening, McPhee namechecked everyone from Duke Ellington to Sun Ra to his recently departed friend Peter Brotzmann who told him in a final email that they were “same age, different color, but brothers in soul. Stay straight, old friend.” It was a humbling realization that most of McPhee’s contemporaries aren’t around anymore, and it was a reminder of what a gift it is to see him in such fine form in 2024.
McPhee originally learned the trumpet in his youth, but it was the music of Albert Ayler that inspired him to pick up the saxophone. On only his second day owning the instrument, McPhee went to a jam session at the National Cafe on Main Street, and was kicked out by all the other musicians. As he forged ahead on the free jazz scene, it took a long time for McPhee to gain acceptance, and he rarely found it in Poughkeepsie where he worked a factory job to help fund trips to Europe. There his free jazz approach was appreciated and he met such luminaries at Cecil Taylor.
Joe McPhee is currently working on a memoir with Hudson Valley author (and Elysium Furnace Works show-promoter) Mike Faloon called Straight Up, Without Wings: The Musical Flight of Joe McPhee which will be published by Corbett vs. Dempsey upon completion. In recent years labels like Corbett vs. Dempsey and Superior Viaduct have been instrumental in releasing McPhee’s new music and reissuing classic releases from the HatHut label.
For those looking to dip their toes into McPhee’s experimental music, there’s no better place to start than 1970’s Nation Time. Originally released by the Poughkeepsie independent label CjR, original copies are extremely rare and collectible in jazz vinyl circles, but reissues have revived interest in the record and are readily available. But, McPhee is hardly about mining the past – he’s always doing something new and expressing his ultimate belief that “music is love and love is music”. At 84, he still has much to say in his poetry and through his horn.
On Wednesday, March 13, a hungry crowd packed into Empire Live on North Pearl Street for the Disco Biscuits, currently on tour ahead of the release of Revolution in Motion, Part 1, due out on March 29.
The show marked a return to a smaller venue in Albany, instead of the Palace Theatre, where the Philadelphia trance-fusion pioneers have played 7 times, dating back to 2004. The 1,000 capacity Empire Live offered a club feel to the show, an underground vibe where fans of the Biscuits could gather and dance to nearly three and a half hours of live electronic jams. For a night, this was Albany, New York’s hottest club, and even with sightlines what they are, the crowd carried on and enjoyed the mid-week throw down late into the night.
Opening up with “Morph Dusseldorf,” the twists came early with samples of Dolly Parton’s “Jolene” dropped into the nascent “Morph” jam, honoring a fan’s birthday request and offering a glimpse of untzgrass, at long last. “Triumph” slipped in next, giving way to 30 glorious minutes of “Save the Robots” leeching into the ending of “Astronaut,” giving way to an inverted version of the fan favorite. A resounding “Suspended in the Air” middle section of “Astronaut” was particularly blissful, while the ending section was peppered by another sample, this time Tone Loc’s “Funky Cold Medina,” with the middle-age crowd nodding at each other upon recognition of the now 35-year old song.
After a standard 30 minute setbreak, the Biscuits returned with “M.E.M.P.H.I.S.,” venturing out into a spacious jam that found its way into the end of “Naeba,” which would be the second inverted song of the night. The slow churn into the song, as well as the stretched out ending were disco bliss, had plenty of room for improv as well as to dance – this was not a coincidance.
A Tractorbeam version (instrumental) of recent debut “Dino Baby” followed and made way to “Another Plan of Attack,” the two songs being the newest songs of the night, following nearly two hours of old school songs. With sampling becoming commonplace this tour, another surprise in the form of “Hella Good” from No Doubt was found in parts of “Another Plan of Attack,” and while this could have been the end of the night, the Biscuits whisked their way into a 36-minute “I-Man” that had twists and turns and the crowd fist pumping along well past midnight.
An encore featuring the recently released “Spaga’s Last Stand” was all that was left in this deep tank of electronica improvisation, where we find the Biscuits at the top of their game.
The Disco Biscuits will be back in New York on March 29 at Webster Hall for the album release show, followed by two nights at Town Ballroom in Buffalo over March 30 and 31.
Setlist via Biscuits Internet Project Disco Biscuits – Empire Live – Albany, NY – March 13, 2024 Soundcheck: Magellan, Wet Set 1: Morph Dusseldorf 1, Triumph > Save The Robots > Astronaut 2 3 > Save The Robots Set 2: M.E.M.P.H.I.S. > Naeba 2 > Dino Baby 4 > Another Plan of Attack 5 > I-Man Encore: Spaga’s Last Stand 1 with ‘Jolene’ (Dolly Parton) samples 2 inverted 3 with ‘Funky Cold Medina’ (Tone Loc) samples 4 Tractorbeam version (instrumental) 5 with ‘Hella Good’ (No Doubt) teases
