Pink Sweat$ delivered a soulful and electrifying performance at the Gramercy Theatre on February 16, 2024, leaving the audience mesmerized by his unique blend of R&B and pop.
The intimate venue provided the perfect setting for the artist to connect with his fans on a personal level, as he effortlessly transitioned between heartfelt ballads and upbeat tracks. Pink Sweat$ showcased his vocal prowess, hitting every note with precision and emotion, creating a captivating atmosphere that resonated throughout the venue.
Pink Sweat$’s presence was equally impressive, as he engaged the audience with genuine charisma and charm. The intimate nature of the performance allowed him to share anecdotes and stories behind some of his songs, creating a sense of intimacy that enhanced the overall experience.
The energy in the Gramercy Theatre was palpable, with fans singing along and swaying to the rhythm, creating a night that will undoubtedly be etched in their memories. Pink Sweat$’s ability to create a genuine connection with his audience, combined with his musical talent, made for an unforgettable and enjoyable concert experience.
Today marks a somewhat somber anniversary in Grateful Dead history as the band’s second show at their final residency at The Capitol Theater this day in 1971 would be the first of many without drummer Mickey Hart. Racked by depression and guilt from his father stealing money from the band, Hart would take a self-imposed hiatus for several years before rejoining in 1974.
stub via Ed Perlstein
As the Dead prepared for some of their last shows ever at The Cap, they were still treating this a short-term absence. They continued to deliver a string of new songs and material, many of which made their debuts at the memorable show from the night before. The music does not seem to suffer at all and takes on a sleeker, more focused sound with only one drum kit now being used. This show was even selected as one for live release by soundman Dan Healy back in the early 90s but never got officially unveiled until 2007 as Three From The Vault.
Discover Grateful Dead shows from over the years across New York State with our interactive map below
Unsurprisingly, the recording of tonight’s show begins with some on-stage tuning from the Dead. This actually elicits two distinct warm-up/time wasting songs with quick takes on “The Merry Go-Round Broke Down” and “Spring Song.” The end of the latter paves the way for the band to launch right into a show-opening “Truckin’.” It’s a tight and concise jam to start things off that certainly has a little less “thunder” to it thanks the subtraction of one drum kit. The always emotional “Loser” follows with Jerry Garcia taking the lead on vocals and delivering its powerfully somber guitar solo with ease.
“Cumberland Blues” swings the emotion right back the other way with a fun, spirited take fueled by some peppy Phil Lesh-produced bass lines before Pigpen gets his first say of the evening with his signature take on the Elmore James blues classic “It Hurts Me Too.” This rounds out a very similar opening to the show from the night before with the three of the four numbers being repeats.
These kept on coming with the brand new “Bertha” that follows, only the fourth one ever performed after its East Coast debut the night before. Some issues with the early vocals occur on the recording, but they soon get resolved on this fast-paced and energetic take with Pigpen on organ making notable contributions. The second-ever “Playin’ In The Band,” which also debuted last night, comes next although no jam of any merit is produced with the band very much still learning how to tackle this one. The string of repeats gets broken up with an electric take on a song more often associated with acoustic Dead, “Dark Hollow.”
The music does finally stretch out a bit with a 15-minute take on another blues classic “Smokestack Lightning,” with Pigpen once again manning the lead vocals and playing the part of Howlin’ Wolf as only he can. His improvised lyrics and harmonica play in conjunction with some stirring guitar licks courtesy of Garcia provide all the fuel that this first set highlight needs.
The Dead then round out the first set at The Cap this evening with a breakneck “China Cat Sunflower” and “I Know You Rider” that features its traditional seamless segue between the two. The new songs then kept on coming in the second set, beginning with the Bob Weir-led tunes “Greatest Story Ever Told” and then only the third ever known performance of “Johnny B. Goode,” a Chuck Berry cover that would continue to be seen on Grateful Dead setlists throughout the band’s touring career.
After some intricate tuning, a fresh song finally emerges, the brand new “Bird Song,” with Garcia reassuming lead vocals and leading the group through an especially rhythmic early rendition that seems to peter out fairly suddenly instead of being stretched out like it would be in the years to come. This sets the stage for Pigpen to shine once more as then leads the group through the blues-laden and Robert Hunter-penned “Easy Wind.” There would be only two more performances of this vintage Pigpen tune ever played after this one.
Another Dead classic then makes its live debut at the Capitol Theater as the first ever “Deal” is played with Jerry grabbing the reigns once more and leading the band through a rapid take on another soon-to-be live show regular. The second set “Drums” section may be missing one drummer this evening but Bill Kreutzmann handles this, and the rest of the show, with ease and finesse, paving the way nicely into the percussive-heavy opening of “The Other One.” This offers some of the real exploratory playing of the show as Garcia, Lesh and Kreutzmann all seem to lock in, eliciting tribal-like rhythms and patterns in a jam that slowly crescendos.
It comes to a pretty abrupt ending, however, as the Dead seem to want to fit in the second ever “Wharf Rat” before things come to a close. This slows the tempo down significantly as Garcia belts out the emotional lyrics on a another future live show staple. After one last extensive tuning session, which serves as an unofficial encore break of sorts, the band launches into one last cover for the night, a rousing, stretched out take of “Good Lovin’” with Pigpen once more adding his signature style to the proceedings.
The show then wraps up with a standard run through of an “oldie,” in “Casey Jones” as night two of the Dead’s final residency at the Cap comes to a close and the short-lived Mickey Hart-less era of the band begins.
Grateful Dead – Capitol Theater, Port Chester, NY February 19, 1971
Set 1: Truckin’ , Loser, Cumberland Blues, It Hurts Me Too, Bertha, Playing In The Band, Dark Hollow, Smokestack Lightnin’, China Cat Sunflower > I Know You Rider
Set 2: Greatest Story Ever Told > Johnny B. Goode, Bird Song, Easy Wind, Deal, Cryptical Envelopment > Drums > The Other One > Wharf Rat, , Good Lovin’ , Casey Jones
Disco Biscuits have shared part 2 of their Rock Opera set in space, Revolution in Motion. The four tracks follow the January release of Part 1, which included newer jam vehicles, “Another Plan of Attack” and “Twisted in the Road.”
Revolution in Motion, Part 2, features songs “Times Square,” “Freeze,” “Tourists (Rocket Ship),” and “Spaga’s Last Stand,” all which have debuted by the Disco Biscuits since 2022 and become the basis for some of the band’s most exploratory work to date.
The video companion to Part 2 picks up where Part 1 left off, where we saw aliens enter a wormhole while getting too ‘shocked’ brings them to our solar system, where the aliens descend towards New York City, setting their sites on Times Square – specifically, in front of Palladium Times Square at 7th Ave and 45th St., where the Disco Biscuits are performing.
The aliens freeze all those outside waiting to get into the show, but with Disco Biscuits on stage deep underground, they are not frozen and come to the rescue, ascending the memorable escalator in the lobby of the Palladium theater. With the aliens planning to abduct the frozen humans for study, the Disco Biscuits confront the aliens, saving the day, but in the process of themselves being abducted onto the alien ship.
Part 3 and 4 will released in March, as the band builds up to their album release show at Webster Hall on March 29.
Disco Biscuits 2024 Tour Dates 3/7 – Silver Spring, MD – The Fillmore 3/8 – Silver Spring, MD – The Fillmore # 3/9 – Pittsburgh, PA – Stage AE # 3/10 – Charlottesville, VA – Jefferson Theater 3/13 – Albany, NY – Empire Live 3/14 – New Haven, CT – College Street Music Hall % 3/15 – Portland, ME – State Theatre % 3/16 – Boston, MA – House of Blues % 3/28 – Wilkes-Barre, PA – F.M. Kirby Center 3/29 – New York, NY – Webster Hall ! (SOLD OUT) 3/30 – Buffalo, NY – Town Ballroom 3/31 – Buffalo, NY – Town Ballroom 4/2 – Louisville, KY – Mercury Ballroom 4/4 – New Orleans, LA – House of Blues 4/5 – Houston, TX – The Heights Theater 4/6 – Dallas, TX – Longhorn Ballroom 4/7 – Burnet, TX – Texas Eclipse Festival 4/11 – Asheville, NC – The Orange Peel 4/12 – Nashville, TN – Brooklyn Bowl 4/13 – Atlanta, GA – Tabernacle 4/14 – Raleigh, NC – Lincoln Theatre 6/20-23 – Rothbury, MI – Electric Forest Festival
Elliot Moss is a multi-instrumental singer and producer from NYC. His latest LP How I Fell is an emotional novel of his ups and downs as not only a musician but simply as a human. The 11-track LP boasts a variety of vibrant sounds coming together to form a meaningful, colorful, mix of musical talent.
The alt-pop album How I Fell begins with the floaty, intimate song “Altitude.” The track has ethereal vocals by Elliot, a punchy, powerful drumbeat, sprinkled saxophone pieces, layered guitars, and harmonies as well. The song reaches a powerful climax and then begins its soft descent before its ending.
“Lazy” and “Hearts Lose” keep a solid, chill, relaxed vibe in the musical journey that is this album. Autotuned vocals and low-vibration backing instrumentals keep the atmosphere melancholy but hopeful sounding.
“Magic” begins the same as the last two, down and relaxing. The tune later turns into a very alt-pop or pop-rock sound, showcasing Elliot Moss’s creative range. The remaining songs reflect this as well.
Elliot chose to add a variety of sounds to this album; the alternative heavy pop sound, the ethereal, floaty sound, the soft melodic down style, and other variety of sounds can be heard throughout.
How I Fell by Elliot Moss gives vibes of Sam Smith, with his vocal style, instrumentation, and the genre alone, as well as Tame Impala, The Score, and perhaps Green Day.
This album is a clear reflection of Elliot’s up and down moments as a musician and just as a person.
To learn more about Elliot Moss and to get your ears on How I Fell, click here.
Each Sunday evening from 7-9 p.m. you’ll find EQXposure on WEQX, featuring two hours of local music from up-and-coming artists.
Tune into WEQX.com this Sunday night to hear new music from Liam Davis, A Cave In Bloom, and ShortWave RadioBand.
Liam Davis – “Comin’ For Gold”
Liam Davis just went solo for his brand new single “Comin’ For Gold,” featuring hints of blues, rock, and synth.
A Cave In Bloom- “Bent”
A Cave In Bloom is a three-piece band from Glens Falls, informed by post-punk, indie, new wave, and prog tones. A Cave In Bloom is Joseph Beaty (Vocals and Guitar), Paul Coleman (Bass and Vocals), and Andy Farry (drums). “Bent” off of their self-titled EP is out now.
ShortWave RadioBand – “Plastic”
ShortWave RadioBand started as a semi-acoustic duo in late 2019, Lonny Eaton and Andy Scullin performed cover songs for a little more than a year before meeting drummer John Woods. The three quickly learned some more covers to play out with and in 2021, started writing their own songs. They then added Abby Stone on Trumpet and Ryan Shaw on Guitar. “Plastic” is out now.
Hardcore band Spaced has released their new single “Rat Race” ahead of their North American tour which will make a stop at the Bowery Ballroom on February 15
Spaced consists of five members blending and combining stunning vocals, remarkable instrumentals, and distinctive songwriting. The band includes Lexi Reyngoudt on vocals, Joe Morganti and Donny Arthur on guitar, John Vaughan on bass, and Dan McCormick on drums.
The Buffalo-based band live up to their name by blending hardcore with unique sounds to create an explosive and hallucinogenic landscape. Originally formed in 2019, Spaced would burst onto the scene in 2021 with their four-song demo, followed by their 2022 compilation, Spaced Jams and a dual single in 2023, both on New Morality Zine. The band has a vitality and unique take on the genre that quickly caught the attention of long-standing home to hardcore Revelation Records, who announced the band’s signing in 2023.
“Rat Race” features catchy themes and eccentric guitars with continuous drumming that give it a sentimental and hardcore vibe. With the groove-driven riffs moving into trippy whirls, the song features pulsating drums that plead for side-to-side mosh. The band’s vocalist Lexi Reyngoudt can be heard as she sings “us against you” with distinct enunciation that makes the song stand out.
A track about not fitting into everyday life while simultaneously not caring about it. There will always be someone who tries to dictate how you live your life and will tell you what you’re doing ‘wrong.’ The best way to go about that? Tell them you don’t care and continue to be yourself.
Lexi Reyngoudt.
With the release of a new track, the band has also announced the release of their new album, This Is All We Ever Get, set to premiere on March 22. Working with Jay Zubricky (Mindforce, Terror) at GCR Audio in Buffalo, Spaced recorded their new album over a few days in May 2023 and sent the album off for mastering with Will Killingsworth (Orchid) at Dead Air Studios. On the record, the band pulls from a wide range of influences, while still staying centered around individuality. Fans can preorder the album here.
Spaced will also join Militarie Gun, Spiritual Cramp, and Pool Kids on a North American tour which will make a stop at the Bowery Ballroom, on February 15. For tickets and more information about the band fans can visit here.
Tuesday, February 13, was a sleet-streaked Tuesday, as the Big Apple got its first snowfall in two years, but within a few notes of Daniel Donato’s standout playing, New York City’s iconic Bowery Ballroom melted away into sun-drenched paradise as the sold out crowd packed in.
23 shows deep into his 2024 winter/spring tour, Donato is a regular visitor to New York State recently selling out Brooklyn Bowl just late last year, so it is a treat getting to see him in such an intimate venue. It’s clear Donato and his band are destined for greater things. Whether he’s strumming out phaser-soaked melodies or channeling his southern drawl through machine gun-like rapid-fire guitar riffs, Donato’s virtuosity, honed through hard practice, is simply breathtaking. His guitar becomes an extension of his soul, delivering lyrics like “..the country boy lived within the sky blue telecaster” with a palpable authenticity.
Donato’s synergy with his road warrior bandmates creates a groove that feels like a well-worn freight train. Will McGee on electric and standup bass, Nathan “Sugar” Aronowitz on keys, organ and guitar, and Will Clark on drums. Donato and his crew exude an aura of rock and roll royalty, with a crew whose uniform of black cowboy hats and boots evokes the “Memphis Mafia.”
From the onset, drummer Will Clark’s metronomic beat set the stage for a musical journey that refused to relent. Clark’s percussive prowess seamlessly navigated through various styles and tempos, providing the perfect foundation for Donato’s cosmic country odyssey. A standout of the night was Aronowitz’s multi-instrumental talents, stepping up from the keys to deliver exceptional guitar work during “Dancin In The Desert” and organ playing that is seemingly otherworldly.
The crowd’s unofficial uniform of tie dyes, western wear, and psychedelia underscores Donatos ability to tap into a psychedelic Americana renaissance. While his style may draw comparisons to jam aficionados, Donato’s signature sound remains firmly rooted, with an unwavering dedication to his craft shines through. From humble beginnings being introduced to Grateful Dead through a high school history teacher to honing his chops with over 400 sets with Nashville’s famous Don Kelly Band, Donatos’ rise in the music industry has been the product of his own dedication, and the hard work of those around him.
As Donato and his team bid farewell, the audience barely budged, eagerly anticipating an encore. Returning to the stage, they delivered a jumping cover of the Dead’s “Quinn The Eskimo,” echoing sentiments of endless possibilities and boundless horizons. With his new album, Reflector, now out, Donato has proved himself not just as a musician but as a captivating live performer. Fans can look forward to experiencing Donato in NYC again this summer when he joins moe. to play Pier 17.
Daniel Donato’s Cosmic Country – Bowery Ballroom, NYC – February 13, 2024
Set 1: Hi Country, Haldway (In Between), Lose Your Mind> Waymore’s Blues> Mystery Train, Rose in a Garden, Darlin’ Cory [1] , Dance in the Dessert Set 2: Fee Wheelin’> Everybody’s Talkin’, Weathervane> Blue Skies> Weathervane, Cosmic Doo Doo, Better Deal Blues, Chore, Sugar Shack [2], Luck of the Draw, Sugar Leg Rag. Encore: Quinn the Eskimo [3] [1] The Weavers cover [2] Nathan “Sugar” Aronowitz on vocal [3] Grateful Dead Cover
They say sometimes you need to go away to come back and for fans of Long Island’s most promising powerhouse fusion trio Baked Shrimp, you can only hope that’s true.
After tirelessly traveling the roads, sailing the seas and playing music together for the last seven years, 2024 finds the band in uncharted waters. Murky and unclear. Fresh off the release of their 5th, yes 5th, studio album, fans of the band (known as the Crustnation), were both surprised and saddened to hear that Baked Shrimps’ current tour would also be their last. But before you can stick a fork in them, the tasty band with the tasty jams served up one final course on Friday, February 9th, giving longtime Albany supporters one final chance to dance at the packed-out Hollow Bar + Restaurant, a venue that’s played an important part in the bands storied history.
Baked Shrimp performed their final Albany show on 2/9/24 at The Hollow.
The double dose of entertainment started off proper with an opening set from Albany’s Glass Pony. Supporting the release of their latest album Washed Away, the self-described ‘psychedelic groove circus’ had fans both new and old mesmerized by their infectiously danceable tunes from the very start. Comprised of Eddie Hotailing (guitar/vocals), Chanda Dewey (drums), Jeff Picarazzi (bass) and Greg Pittz (lead guitar), the band has seen a noticeable growth in both their popularity and in their song writing over the last year. Showcasing their dynamic range and versatility with a set of mostly original songs like “Greenhorn Blues,” “Hypnos” -> “Somewhere to Go” and “Doppler,” it was Glass Pony’s searing rendition of the H.G. Wells/War of the Worlds-inspired jam “Grover’s Mill 1938” that was perhaps most memorable.
Glassy Pony’s Eddie Hotailing connects with the Albany audience on 2/9/24.
Humble and quiet off stage, when frontman Eddie Hotailing is in the grips of performing, he becomes like a rabid animal unleashed. Whether jumping off the stage and jamming out in the crowd, climbing up the walls or on top of Chanda Dewey’s drum kit, feeding off the energy and connecting with the audience is what he does best. Perched high atop The Hollow stage with his guitar in the air, Hotaling has never been more magnetic. Paying tribute to one of the groups biggest influences, Glass Pony would finish out their set with a cover of God Street Wine’s “Nightingale.” A great start to a great night of rock ‘n roll music indeed.
Glass Pony kicked things off proper at The Hollow on 2/9/24.
After a brief set break, promoter Greg Bell of Guthrie Bell Productions took the stage to say a few words about Baked Shrimp. An early believer in the band, Bell is largely responsible for bringing them to the Capital Region so many times over the years, but sadly, this night would be his last. Introducing the band by saying he loves these guys and calling them “the most polite fucking band he’s ever met in his life,” Baked Shrimp jumped right into the deep end with a near 12 minute confessional-like rendition of “More Or Less.” It was clear the guys weren’t just going through the motions. Every note had added meaning and things felt sentimental from the start.
Weird Times: Bassist Maz Perrotti filled in for Baked Shrimp’s Scott Reill on 2/9/24.
Briefly pausing to acknowledge the elephant in the room, the band took a moment to welcome bass player Max Perrotti to the “Crustnation” family. Filling in for original Shrimp bassist Scott Reill on this night, the amount of material and notes Perrotti was able to learn is a bit mindboggling. While the band has kindly requested privacy regarding the specifics of the situation, it was certainly weird seeing someone other than Scott holding down the low end. Perhaps intentionally building on that theme, the infectious opening licks of “Weird Times” and the deep improvisational jam that came from it further laid the blueprints of the unpredictability yet to come. After showing off a bit of country-style pickin’ and counting their “Lucky Stars,” Baked Shrimp would go all the way back to their earliest years with “Touché” from their 2018 debut album Feast of Delight.
Baked Shrimp’s Jared Cowen threw everything but The Wrench (his custom axe) at The Hollow on 2/9/24.
Seamlessly segueing from the psychedelic vibes into their first call-back cover of the night, the band jammed on the “Peter Gunn Theme” in a nod to their Blues Brothers-inspired Halloween set that took place at this same venue in 2023. Fans were eating it up and dancing their tushies off as the band brought it back to the final verse of “Touché,” which I could have sworn also contained teases of “The End” by The Doors.
Suddenly stopping the show and announcing he simply can’t go on any longer without Bones, lead guitarist and frontman Jared Cowen then introduced the Albany audience to the band’s latest amusing muse, a replica skeleton torso made of, you guessed it, bones. Placed atop the bass drum, it didn’t end there as this will forever be remembered as the night local artist Kosmic Kris introduced Bones to Legs, a rather creepy looking mannequin base covered in various inks. Paired together, somehow Bones and Legs just worked, like love at first sight, almost as if it were meant to be.
Bones got a Leg up during Baked Shrimp’s final Albany performance on 2/9/24.
The two props would remain on stage for the remainder of the show as charismatic drummer Jager Soss took over on vocal duties for the down and dirty rocker “Molly Ann.” Baked Shrimp would bring the tremendous first set to a close with the lead single “Chop Suey” from 2024’s final self-titled album. Catchy as hell and even better live. Working in more call-backs to previous Halloween shows, “Chop Suey” also contained “Scooby Doo Theme” teases (Scooby Doo 2018), and a “Ding-Dong the Witch is Dead” jam (Wizard of Oz 2019).
Drummer Jager Soss performing in Albany on 2/9/24.
Following a quick 10-minute set break, Baked Shrimp returned for Set II with purpose and vigor. After launching into an extended “Pork Etiquette” -> “Dragostea din tei” -> “Pork Etiquette” dance sandwich, the band called back to their 2021 NRBQ themed Halloween show with the rarely played “Howard Johnson’s Got his HoJo Workin.” From fun to introspective, there was a noticeable shift in The Hollow’s vibe when the band mellowed out on “The Victim” before lifting the mood back up with John Fogerty’s ‘can’t miss’ singalong “Centerfield,” which the band first played at their baseball themed Halloween show back in 2020. You can watch fan shot video of that in the video clip below.
Put Me in Coach: Baked Shrimp had the whole crowd singing along to their cover of “Centerfield” on 2/9/24.
After leading the crowd through another song from the new album called “Can’t Cut the Mustard,” the bittersweet feeling that the end was near suddenly felt very palpable. Expressing a genuine and heartfelt “thank you” to the audience for all the years of good memories and support, Cowen would mention how special this night felt to him and his hopes people will keep up with the guys down the line as they will still be out there making music in one form or another. After getting the ‘OK’ from both Greg Bell and Bones, Baked Shrimp would encore for the final time in Albany with a funked out nod to their 2022 Spinal Tap show with “All the Way Home,” before closing with a nostalgic speech about the importance of friends and loved ones, forgetting about those ‘weird’ times and to be present in the moment, to smile, to dance with strangers and the importance of supporting your local music scene. Pouring everything left in the tank into the powerful and soaring anthem “Rock Bottom,” which included subtle Umphrey’s McGee “All In Time” and Led Zeppelin “Immigrant Song” song teases, Baked Shrimp stood tall at the end, proud and powerful and completely exhausted as the marathon performance came to a close just after 2am.
Baked Shrimp serving it up in Albany on 2/9/24.
What. A. Show. Incredible musicians and even better people. While this chapter of Baked Shrimp may be coming to a close, it’s clear there’s still lots of music and lots of talent left inside these guys. It’s been a privilege watching them grow and getting to know them a bit over the years. From their earliest gigs at hole-in-the-wall clubs, to gracing the stage at major festivals like Peach, Northlands, Adirondack Independence, and the Great South Bay, to teaching us how to “Love Like Lon” at their own inaugural LonCon Festival, we here at NYS Music wish nothing but this best for all the members of this band. If hard work truly pays off, one day Baked Shrimp will surely be swimming in riches as bountiful as the heart of the ocean itself. Don’t take it from me though, listen for yourself! You can stream the entire show from The Hollow now on Bandcamp or at the link below. Baked Shrimp is scheduled to play their final show on Saturday, February 17, 2024 in Bridgeport Connecticut in what will surly be an emotional evening.
Baked Shrimp | February 9, 2024 | The Hollow | Albany, NY
Set One: More or Less, Weird Times, Lucky Stars, Touché -> Peter Gunn Theme -> Touché, Molly Ann, Chop Suey. Set Two: Pork Etiquette -> Dragostea din tei -> Pork Etiquette, Howard Johnson’s Got his HoJo Workin’, The Victim, Centerfield, Can’t Cut the Mustard. Encore: All the Way Home, Rock Bottom. Notes: Entire show featured Max Perrotti on bass, filling in for Scott Reill. This show paid a tribute to Baked Shrimp’s 6 Halloween performances which all took place in New York, 2 of the most recent being at The Hollow. “Peter Gunn Theme” from Blues Brothers 2023, “Chop Suey” contained “Scooby Doo Theme” teases (Scooby Doo 2018), and a “Ding-Dong the Witch is Dead” jam (Wizard of Oz 2019), “Howard Johnson’s Got his HoJo Workin’” from NRBQ 2021, “Centerfield” from Baseball 2020, and “All the Way Home” from Spinal Tap 2022. “Bones” and his new partner “Legs” were introduced and brought on stage prior to “Molly Ann.”
Glass Pony | February 9, 2024 | The Hollow | Albany, NY
The Westcott Theater in Syracuse became a pulsating hub of musical energy as Daniel Donato’s Cosmic Country, a genre-blurring jam band with country influences, graced the stage in a nearly sold-out performance that left attendees exhilarated and yearning for more.
Recently anointed “Nashville’s new guitar hero,” by Rolling Stone, Donato led the audience through a jammy night of fun showing off sonic influences from the Grateful Dead and Phish to Waylon Jennings.
The atmosphere within the Westcott Theater was charged with anticipation even before the first note resonated through the venue. As the lights dimmed, one of the most packed houses the Westcott has seen erupted into cheers, a testament to the fervent following that Daniel Donato and his Cosmic Country collective have cultivated. The energy was palpable as the band took the stage, setting the scene for an unforgettable night of country-infused improvisation and musical exploration.
The band’s lineup features Daniel Donato on lead guitar and vocals, alongside a talented ensemble of musicians including Nathan “Sugar Leg” Aronowitz on keyboards, rhythm guitar and vocals, Will “Mustang” McGee on bass, and Noah Winner on drums. And they immediately captivated the crowd. It was hard to move around inside the theater the venue was so packed, and when the music started all those people went wild.
The band’s chemistry was palpable, with each member contributing to the sonic tapestry in their own unique way. The rhythm section provided a solid foundation, propelling the music forward with a cosmic heartbeat, the bass was hard-charging and in your face while the keyboardist added layers of textures, creating an immersive sonic experience.
As the night reached its climax, the audience was left in a state of euphoria. Cosmic Country had taken them on a journey, blurring the lines between the earthly and the celestial. The Westcott Theater became a haven where traditional notions of genre were shattered, and the universal nature of music prevailed.
The night was a masterclass in musical exploration. Through his exceptional guitar skills, emotive vocals, and a band that seamlessly blended genres, Donato delivered a performance that was both otherworldly and grounded in the roots of country music. Cosmic Country is no doubt on the way up to the top and fans should make sure to catch them at more intimate venues like these while they still have the chance.
Daniel Donato’s Cosmic Country – Westcott Theatre, Syracuse – Saturday, February 10, 2024
Set 1: Why Have You Been Gone So Long?, Cigar Time, Halfway (In Between), Hi-Country, Playing Your Game, Weathervane > Blue Skies > Weathervane, Locomotive No. 9 > Rose In a Garden, Banks of the Ohio, Broadside Ballad > Hangman’s Reel
Set 2: Passing Storm, Sugar Shack, Luck of the Draw > Sugar Leg Rag, Illusions, Down Along the Cove, Down Bedford, Down By The Riverside, Dance in the Desert
DJ/Producer Dirt Monkey made a stop in Buffalo for his MYCELIUM SOUND tour on Friday, February 9. This EDM artist completely steam-rolled through Town Ballroom making it a night to remember.
Photo Credit: Maddie McCafferty
The openers this night were stacked with intricate sound design and deep bass grooves that made it impossible not to get hyped up. Artists Neon Black and Austeria are growing producers in the scene that are paving the way for up and coming dubstep. Last-minute fill in G-Space completely wooed the crowd with his layered mystic sound that blends trap and funk music.
Photo Credit: Maddie McCafferty
Dirt Monkey took over the stage and immediately brought the vibes even higher. One element that this talented producer has mastered is expanding across multiple EDM sub genres to bring a new sound to fans. From dubstep, to drum and bass, to house and everything in between he is not afraid to go beyond conventional norms. It’s no surprise his devoted following considers him a producer’s producer.
Photo Credit: Maddie McCafferty
2023 was the year of releases for Dirty Monkey. He released not one, but two full length albums, MYCELIUM SOUND PT. 1 and MYCELIUM SOUND PT. 2. He performed an array of songs off both albums and even shared unreleased tracks that he’s been working on.
Photo Credit: Maddie McCafferty
Old School X New School
Dirt Monkey utilizes a reggae sound throughout his drops that gives his music a sense of funk that is addictive to listen to. His visuals match this vibe with intricate geometrical patterns and electric colors.
Photo Credit: Maddie McCafferty
Despite this being a tour for his new sound, Dirt Monkey still found a way to play his old hits. Some of which include “Gabagool,” “Lift Off,” and “Jack It Up.” He also mixed in other artists tunes while giving them that Dirt Monkey twist. It is a testament to his artistry that he can make even a house music hater question their taste because Dirt Monkey knows how to add that extra flavor to songs.
Photo Credit: Maddie McCafferty
There was something different in the air at Town Ballroom that night and Dirt Monkey even shared how he could tell the people in Buffalo really listened to his music. The crowds energy that night made Buffalo a must stop for him and it’s why so many popular EDM artists keep coming back. The western NY EDM scene has reignited shows in a whole new way.
Photo Credit: Maddie McCafferty
If you want to be a part of the growing EDM phenomena in Buffalo check out the upcoming shows from SABAI February 23 and Subtronics February 29. Get your tickets here.
