Rock music is a universe with no shortage of tragic stories. There are the overnight leaps up the ladder of fame followed by Icarus-like flameouts. There are the legendary overdoses and suicides of Jimi, Janis, Kurt and the rest of the “27 Club.” Add to this stars like Eddie Cochrane, Marc Bolan and Duane Allman who met their ends behind the wheel. And, of course, there’s no shortage of luminaries like Buddy Holly, Otis Redding, Jim Croce, Randy Rhodes and Lynyrd Skynyrd who spun off the mortal coil when their planes fell out of the sky.
But none may be as horrifying and seemingly inevitable as that Jim Gordon. Gordon was perhaps the most recorded hitmaking drummer during the Sixties and Seventies. He was a legend whose career ended with the unthinkable, when the voices in his head triggered by his life-long battle with schizophrenia led him to stab his mother to death.
Drums & Demons
Since that tragedy in June 1983, Gordon has been largely written out of the rock’s history books – the devil whose name shall never be spoken. But now comes publication of Drums & Demons: The Tragic Journey of Jim Gordon (Diversion Books). With it, one of rock’s greatest journalists, the inimitable Joel Selvin, provides the first comprehensive view of Gordon’s vast musical achievements and a harrowing yet empathetic appraisal of the most treacherous of mental illnesses which brought him down.
Gordon was a Southern California-born golden child, one whose outsized talent earned him a spot amongst the legendary Wrecking Crew, the super talented corps of studio musicians who played on pretty much every hit to come out of Los Angeles studios in the Sixties and Seventies. It’s Gordon who keeps the beat and/or adds memorable percussive hooks to The Beach Boys’ “God Only Knows” and “Heroes and Villains,” The Monkees’ “Mary, Mary,” Sonny & Cher’s “The Beat Goes On,” Glen Campbell’s “Wichita Lineman” and “Gentle On My Mind,” Linda Ronstadt and the Stone Poney’s “Different Drum,” Nilsson’s “Everybody’s Talkin’,” Buffalo Springfield’s “Expecting to Fly,” “Mason Williams’ “Classical Gas,” CSN’s “Marrakesh Express,” Tiny Tim’s “Tiptoe Thru the Tulips” and dozens more. The barely out of his teen’s drummer would play three sessions a day, six days a week for about five years running before tiring of the studio grind and grasping a share of the spotlight as a part of some of most high-profile ensembles of the day.
Through his association with another Wrecking Crew alum, pianist/bandleader Leon Russell, Gordon would jump into the spotlight as a part of Joe Cocker’s Mad Dogs & Englishmen, touring and recording with both the British singer and then Delaney & Bonnie and Friends. Through his work with D&B, Gordon would come into the orbit of their guesting guitarists, George Harrison and Eric Clapton. Gordon would soon find himself recording with the former Beatle on his monumental solo debut, All Things Must Pass, and as a part of Clapton’s new band, Derek & The Dominoes.
It is with the wild and wooly short history of Derek & The Dominoes that Gordon experienced his greatest highs and disappointments. By this time, Gordon is self-medicating, as is the whole band, with mighty doses of heroin, cocaine and alcohol. The compositional high point of his career comes with the use of “his” gorgeous piano piece as the instrumental coda to the title tune of the band’s only album, “Layla.”
https://www.youtube.com/watch?v=c06AKXysKQY
Though Gordon would claim sole writing credit, the piano piece was actually composed with his onetime girlfriend from the Mad Dogs days, singer Rita Coolidge. It is with Coolidge where the demon in Gordon makes its first appearance before the rock glitterati, when the six-foot-four-inch drummer punches her out without warning, causing her to get a restraining order. Later while living in Clapton’s mansion during the Dominoes days, Gordon’s behavior would echo that of his ultimate undoing. In this incident, he would chase his then girlfriend, onetime Beatles’ “Gal Friday” Chris O’Dell, with a butcher knife before being interrupted (and saved?) by the arrival of Clapton’s manager Robert Stigwood. After the Dominoes’ debut album and tour, Clapton would have a falling out with Gordon, seeking to replace him with his original choice for drummer, Jim Keltner. Interestingly, he was also considering adding another guitarist to the lineup, the then 16-year-old Santana/Journey axe man-to-be Neil Schon. With the breakup of Derek and the Dominoes, Gordon would briefly join Traffic during their “Low Spark of High-Heeled Boys” era before returning to Los Angeles and more session work.
Back in the comfort of the studios, Gordon would continue to be the first choice session drummer for a host of A-list producers and artists. It’s Gordon who is driving disparate hits like Helen Reddy’s “I Am Woman,” Carly Simon’s “You’re So Vain,” Seals & Crofts’ “Summer Breeze,” Tom Waits’ “Looking for the Heart of Saturday Night,” Halls & Oates’ “Rich Girl” and Steely Dan’s “Rikki Don’t Lose That Number.” With the Hues Corporation’s “Rock the Boat,” he sets the template for the disco beat that would seemingly be on every record a few years later. And with “Apache” by The Incredible Bongo Band, Gordon created one of the foundational beats in hip hop, a break sampled by everyone from DJ Herc and The Sugarhill Gang to Jay-Z, Nas and Kayne West. Gordon’s musicianship would even earn high-praise from rock’s toughest taskmaster, Frank Zappa. FZ raved over his playing with his big band touring ensemble, The Grand Wazoo, and on “Apostrophe,” a heavy rock jam which paired Gordon with ex-Cream bassist Jack Bruce.
The most difficult and eye-opening part of Selvin’s book is his recounting of Jim Gordon’s long struggle with schizophrenia. As time went on, Gordon was increasingly tormented by a “Greek chorus” of voices in his head. The voices, led by his mother Osa, would criticize his weight, tell him when and when not to eat, to exercise, to drink water etc. Ultimately they would tell him what sessions to take and which to blow off. For years, Gordon kept this struggle to himself and would seek to silence the voices with drugs and alcohol. He would look for help, check in and out of hospitals, begin to take and then throw away his medication, all in an increasingly vicious cycle.
By the end, Jim Gordon is reduced to playing in a dive bar in Santa Monica. The voices in his head tell him his mother is evil and that she may even have been involved with the deaths of singer Karen Carpenter and Hollywood Squares’ star Paul Lynde (!!). The voices would make him gather up and throw his massive collection of gold records in the trash, then immediately retrieve them. This is something that would transpire ten times a day. When his mother decides to move away from Los Angeles, tragedy strikes. To Gordon, it is not about killing her; it’s about silencing the loudest and more persistent voice taunting him. Denied the right to an insanity defense, Gordon would remain incarcerated until his death in March 2023.
Selvin makes you feel this horrible descent, step-by-step down the staircase of madness. The slow grind helps us to understand the unthinkable patterns in his mind and his actions. In the end, Selvin makes us hate the disease more than the man and his actions which is a mighty accomplishment.
518 retro-electronica artist Wes Seneca, having unleashed the full-length album While Rome Burns in March 2023, has given a sneak peek into his upcoming project with the single and video for “Sam.”
EPSON MFP image
“Sam” is based on a voice sample from Jim Gallagher of the late 1980s Albany-based band E Plemnista. Gallagher, the front man and trumpeter, was cautioning a fan standing too close to the band during a performance. Gallagher and then bandmates Josh Vincent, Frank Cristafaro, Nick Nealon and Michael Eck were known for their physically aggressive performances and concert-related injuries.
Wes Seneca resides in the Capital Region and calls on musical influences that stretch from Germany’s Kraftwerk to DEVO and Wolf Alice. A veteran Capital Region acoustic performer, John Wesley “Wes” Seneca trades in what he calls “retro-electronica,” music created with decades-old electronic gear and recorded not with software on a laptop, but on a hardware digital workstation.
Wes is in many ways a creation of the global pandemic. When his acoustic group could not perform in front of live audiences, he took to the basement and conjured up a wide-ranging collection of audio tracks which took shape several years later, as the album While Rome Burns.
Even now that his acoustic group has found its way back to the stage, “Wes” continues create more electronic music and the single and video “Sam” are simply a sneak peek at a forthcoming 2024 release.
Prior to the release of the upcoming and currently untitled EP, “Sam” is available only as a free download at wessenecamusic.com.
From the soothing melodies of outdoor concerts along the St. Lawrence River to the vibrant tunes resonating in cozy venues offering craft beers and fine wines in the Adirondacks, the North Country of New York has a music scene that caters to a diverse audience. Here’s where you can immerse yourself in live music, ranging from concerts and karaoke to performances by touring artists.
Discover the historical charm of this theater, welcoming audiences since 1903. Following a $3.2 million renovation in 2007, Clayton Opera House offers a year-round calendar featuring nationally and internationally recognized artists, spanning genres from bluegrass to classical concerts.
Step into the Paddock Club’s inviting ambiance, adorned with Tiffany lamps, leather sofas, and tin ceilings. Situated in the country’s oldest indoor mall, the Paddock Club offers a diverse entertainment calendar featuring karaoke, jam sessions, DJs, and live performances.
Originally built in 1939, the Kallet Theater has transformed into a venue hosting concerts and community events. Catch upcoming performances featuring national recording artists like Marc Cohn, Selwyn Birchwood, The Grascals, and Enter the Haggis.
Run by students on the St. Lawrence University campus, The Java Barn hosts free weekly concerts, open mic nights, and larger events. Past performances include renowned artists like Dave Matthews, Grace Potter, Guster, and more.
Boasting a 97,000-square-foot facility, this venue is a hub for performances from the acclaimed Crane School of Music, the Department of Theater and Dance, and the Orchestra of Northern New York. The annual Community Performing Arts series brings touring artists to Potsdam.
Find entertainment at Cascades Lounge with country karaoke and DJ dance parties, while the events center hosts performances by national recording artists.
The Lake Placid Center for the Arts presents music, dance, and theatre performances year-round. Each season, the music series offers performances in a wide variety of genres: pop, jazz, indie folk, classical, Broadway hits, and more.
Retro Live is a dance club, hot spot, and live music venue with a great bar. Live bands perform every Saturday, and the open space makes for great acoustics and a fantastic dance floor with good views of the stage. If you’re looking for a live music venue with a mechanical bull, this is the place for you.
The Midnight Revival Band, Retro Live. Photo by Frankie Cavone
This North Country theatre is on the National Register of Historic Places. The Strand Center Theatre was built as a vaudeville theatre in 1924. The beautiful space has seating for 950 people and regularly hosts performances by touring musicians, from duets to orchestras.
This community art center offers musical performances year-round in a hip and funky atmosphere. Also offered: theatre, poetry, comedy, community meetings, art shows, art classes, and more!
This building is over 100 years old, and regularly hosts regionally and nationally known musicians for concerts and shows. Visitors love the vibe and acoustics of the historic, open space. The Whallonsburg Grange is a great place to hear folk, bluegrass, and Celtic music, although you’ll find other genres as well!
Smoke Signals is a popular BBQ restaurant and bar in Lake Placid with a fun atmosphere, breathtaking views of the lake, AND two spaces for musical performances. You’ll find regional and North Country local bands playing here almost every weekend.
A beloved spot among both locals and tourists, The Waterhole invites you to experience its dynamic music scene. Whether you choose the indoor setting or the outdoor areas, this live music venue promises a diverse lineup of musicians. With its Party On The Patio series, The Waterhole comes alive, especially during the vibrant summer months.
Voted among the Adirondacks’ Top 5 Best Wineries, Breweries & Distilleries, Raquette River Brewing offers more than just exceptional local beer and delectable food. Revel in live music both outside in the pavilion and inside the cozy tasting room. Perfect for enthusiasts of both craft beer and soulful tunes, this venue creates a harmonious blend.
Elevate your date night with live music at barVino, a family-owned wine bar and restaurant in North Creek in North Country. With an impressive beer menu and an intimate setting, this venue provides the perfect backdrop for an evening of good food and captivating local artists.
Delight in the free summer music series, Songs At Mirror Lake, hosted at Mids Park every Tuesday at 7 PM. Immerse yourself in the melodies performed on a beautiful stage, creating a captivating atmosphere in this popular waterfront park on Main Street in Lake Placid.
A hometown restaurant in Plattsburgh, Olive Ridley’s is well known for weekly entertainment, delicious food and great drinks. Check their calendar for up to date shows you can catch after dinner or watching the big game.
P-2’s Irish Pub has the slogan, “The Place to Be in the Adirondacks!” and following being closed during the pandemic for 13 months, a new slogan – “The Place You Leave Smiling Bigger Than You Arrived!” – is fitting for the vibe of the crowd in this underrated Adirondack town. With a love of live music and talent from around the U.S. and Canada, a new bandshell provides a home venue for talented musicians.
Whether youâre looking for a night of family fun in the bowling alley, or catching a game and enjoying a tasty burger at the bar, Big Zâs Hangout is a go-to destination. A newly renovated space offers a fun, comfortable and engaging environment for visitors and members of the community to enjoy themselves. From live music in the bar to concerts in the parking lot, Big Zâs is where the partyâs at in Lake Placid.
Beck’s Tavern, bar and yurts are located right next to the Gore Mountain Lodge, serving German inspired fare and American favorites, with live music Friday, Saturday and Sunday nights.
Located in the “Biggest Little Town in New York State” in downtown Stony Creek, the Inn is nestled in the hub of the Southern Adirondack mountains within a half hour of Lake George, Queensbury, Glens Falls, Saratoga or the Gore Mountain Region. For 35 years, the owners have provided a unique establishment with simple roots; good food & music, reasonable prices & a comfortable friendly setting to relax and enjoy family and friends.
Daikers is a restaurant and bar located in the heart of the Central Adirondack Mountains. Enjoy live music, great food and drinks while overlooking Fourth Lake.
The Adirondack Lakes Center for the Arts produces professional theatre, concerts as part of our Weekend Series, artist exhibits in three galleries, youth and adult arts-education workshops, and grant opportunities for art and cultural organizations and teaching artists. The Arts Center is coordinator for the Statewide Community Regrants (SCR) program of the New York State Council on the Arts (NYSCA) for the four-county region of Hamilton, Franklin, Clinton, and Essex counties.
The mission of the View Arts Center in Old Forge is to create a dynamic center for arts and culture based in the Adirondack Region, with a focus on enrich, educate, entertain, and inspire.
Rudy’s Scar Bar and Grille is a spin-off of Flagship Rudyâs Lakeside Drive-In, located on the shore of the Great Lake Ontario, in Oswego. The mountain pub version stays true to core concepts and menu favorites, with great live music on a regular basis. Fun fact: Scar Bar is named in homage to Scarface Mountain, one of the Saranac 6er peaks in the Adirondacks.
Within the walls of this legendary bar & grill lies a fifteen foot oak bar, oak-paneled walls/cabinets and even an old-school bracketed television. Notoriously, decadent tales of grandeur continue to swirl atop the Monopole. Those incredibly potent folktales attracted original visitors and turned them into repeat customers, along with regular live music upstairs from rising acts in the Northeast, and some big names who have passed through the famous venue.
The Edwards Town Hall Opera House is an architecturally unique theater seating about 275 people, with superb acoustics, raked auditorium and raised stage floor, with its original painted front curtain well preserved and still in place. This venue is an unusually intact example of a type of facility no longer surviving in most small towns in Northern New York.
The Upper Jay Art Center was founded by Scott and Byron Renderer in 2005 as a place to enjoy music, theater, and visual art. In 2008, it incorporated as a 501(c)(3) non-profit organization and, with a wink and a nod the brothers, upholsterers by trade, named the performance space the Recovery Lounge. Over the past decade, the Lounge has become an essential gathering place in the Ausable River Valley, featuring plays by classic and contemporary playwrights, acted by an ever expanding troupe of local talent, play and poetry readings, performance art, dance, and art exhibits. All events are affordable and many are free.
Located in the heart of the Champlain Valley, Ausable Brewing Company is a small farm based nanobrewery, brewing a variety of small batch artisan ales and sodas, and hosting local food trucks and live music all summer long.
Tannery Pond Center in North Creek is dedicated to enriching lives with quality arts programming and a welcoming community center. TPC presents a full schedule of arts programming, including exhibits of original art, musical concerts and performances, as well as workshops and childrenâs programs. Other groups presenting arts programs at the center include Our Town Theatre Group, North Country Singers, and Adirondack Lakes Center for the Arts.
Paradox Brewery is a certified veteran owned, independent craft brewery founded in the heart of the Adirondack Mountains brewing innovative beer of the highest quality. You can find live music in their taproom on weekends, as well as open mic nights, especially in the summer months.
20 Main has long been a staple of the Au Sable Forks and surrounding communities. Welcoming townspeople, visitors from all over the globe, bikers and a range of musicians and other entertainment, 20 Main Bar as well as host community fundraisers for Christmas in the Forks and other local charities. With a new outdoor space behind the main bar with sound stage, garden area, and a light, friendly atmosphere, its a great place for live music every Friday, Saturday and Sunday.
Located near Gore Mountain, Basil and Wick’s has recently reopened, offering traditional American comfort fare, classic cocktails in a warm, homey location. Plenty of music is on tap – open mics, karaoke, or local musicians performing après ski.
Just north of Saranac Lake in the small town of Bloomingdale is Hex and Hop, creating delicious craft beers and meads in the hear of the Adirondack Park. In the summer, outdoor live music can be enjoyed at Hex and Hop, as you take in the crisp Adirondack mountain air with a side of craft beer & good tunes from bands and solo artists all summer long.
A newly opened venue in Saranac Lake, The Garagery is holds the Saranac Lake Hootenanny each Monday night, hosted by Charlie Reinersten, offering a vibrant musical experience in collaboration with Twolined Studio. Musicians are welcome every Monday from 6:30-10:00 pm for a night of featured artists, and open mic performances.
The Mill, as suggested by the name, was originally built in 1952 as a grain mill for the Champlain Valley Seed Cooperative. In 2021, the abandoned building was repurchased and in a collaborative effort between creative director Taylor Haskins and local contractors, they rebuilt the building up as a new cultural hub. For visitors looking for a drink and a bite to eat, The Knock is a speakeasy inside the venue that has a sultry 1920âs prohibition aesthetic. The menu of small plates made in house are all created from locally sourced ingredients.
The Hub is a cafe, restaurant, lounge, bar, and bike repair shop focused on serving Lake George, Brant Lake, Loon Lake, Friends Lake, and Schroon Lake.
The Dave Matthews Tribute Band along with opening act, The Tim Britt Band, played to a large crowd of eager fans on December 29 at the Town Ballroom in Buffalo.
As that crowd filled the venue, it was quite apparent of the varying age of the fans. And not surprising since the original DMB has been around since 1991. But when the music started there were no differences, just fans of all ages enjoying one great night. And seeing new and old fans still enjoying this music shows how timeless it is.
Opening the night, The Tim Britt Band. This four-piece band fronted by Tim Britt is a modern/alternative/folk group from Buffalo. Accompanying Tim was Evan Laedke on keys, Gerry Grismondi on bass, and Damone A-Miracle Jackson on drums. The band played a night full of well received great original songs. With the only exception being the encore, “Sledgehammer” (Peter Gabriel). This band is definitely a fun and exciting band worth checking out.
Closing out the night was The Dave Matthews Tribute Band, which started in 2004 have now played over 1,500 shows in 46 states and 8 countries. This five-piece band consists of David Suruani on drums, Gary Wilkinson on vocals and acoustic guitar, Tim Sheldon on bass, Zaxh Sweetser on keys, Alex Crizni on violin, Eric Wozniak on sax, and Sam Osmond on electric guitar (guest).
With The Dave Matthews Tribute Band being no stranger to Buffalo, making its rounds many times through the area had no problem filling the venue. And not surprising being this tribute is among the best next to the original I have ever heard. You could close your eyes and swear you were listening to DMB. And this night was exactly that. From the vocals to the drums and everything in-between, this band embodies DMB. And the energy and absolute talent were in full force playing all the hits from across the catalog. Keep an eye out for this band if you are a fan.
Setlist: Tripping Billies, Dancing Nancies, Warehouse, Crash Into Me, You Never Know, Satellite, Lie in our graves*, If Only, Two Step*, #41, Space Between, Bartender, Say Goodbye*, Crush, Ants Marching
As the clock struck midnight and confetti filled the air, Billy Joel made history with his unforgettable inaugural performance at UBS Arena on New Year’s Eve 2023. Returning to Long Island for his first concert since 2018, Joel’s momentous show marked not only a thrilling start to the new year but also a significant milestone in his illustrious career.
At 74, Joel’s energy and musical prowess remained as captivating as ever. Having announced the conclusion of his decade-long residency at Madison Square Garden in July 2024, this performance became a cherished moment for fans, signaling the beginning of the end of an era. Joel’s decision to conclude the residency after his 150th show to prioritize family time underscored the significance of each live appearance, making the UBS Arena debut a cherished affair for both the legendary artist and his dedicated audience.
Billy Joel took the stage at 10:30 pm, kicking off the night with a series of enthralling performances even before the anticipated countdown to midnight. The evening commenced with the captivating Regina Spektor, setting an electrifying atmosphere and paving the way for Joel’s grand entrance. The timing was impeccable, aligning perfectly with the audience’s anticipation for the transition into the new year. As the iconic countdown from Times Square illuminated the arena, Joel seamlessly serenaded the crowd with the timeless tunes of “Auld Lang Syne,” swiftly followed by a heartfelt rendition of “All You Need Is Love.” These musical choices forged a sense of togetherness, uniting thousands in a poignant moment of celebration and unity.
Among the unforgettable moments of the evening was Joel’s surprising cover of “Start Me Up,” infusing his timeless style into the classic Rolling Stones hit. Later on, Joel shifted gears to perform “Souvenir” marking his return to the song since 2018.
At the heart of his New Year’s Eve performance at Elmont’s UBS Arena, Billy Joel paused to share a glimpse into his future plans while addressing the audience. With his trademark wit, the Piano Man reassured fans about his continued relationship with Long Island. “Just because I’m selling that house doesn’t mean I’m leaving Long Island. I still have a house on Long Island,” Joel affirmed, referring to his longtime property in the village of Centre Island. “I’m just gonna spend a little more time in Florida like old Jewish guys from Long Island do.”
Billy was accompanied by a stellar ensemble of incredibly talented musicians, each adding their unique touch to the musical extravaganza. Mark Rivera on saxophone, Tommy Byrnes on guitar, Crystal Taliefero handling percussion and lending her powerful vocals in a stunning rendition of “River Deep,” Dave Rosenthal on keyboards and serving as the musical director, Andy Cichon on bass, Chuck Burgi on drums, and Mike Delguidice on rhythm guitar and backing vocals—these individuals formed the backbone of the performance. The seamless synergy and years of collaboration between Joel and his bandmates were unmistakable, creating an electric atmosphere that ensured an unforgettable night of music and cherished memories for the audience.
The encore was a rollercoaster of emotions, featuring anthems like “We Didn’t Start the Fire,” “Uptown Girl,” “It’s Still Rock and Roll,” “Big Shot,” and “You May Be Right.” Each song carried its own resonance, sparking sing-alongs and an electric atmosphere that reverberated throughout the arena.
Joel’s decision to conclude the night with this powerhouse ensemble of hits was a testament to his commitment to delivering an unforgettable experience. The energy, passion, and sheer joy exuded by Joel on stage were infectious, leaving a lasting impression on Long Island and setting the bar high for future performances at UBS Arena.
As the clock struck 1 am, bringing an end to the performance, the arena echoed with cheers, applause, and a shared sense of gratitude for being part of a momentous occasion. Billy Joel’s New Year’s Eve debut at UBS Arena will undoubtedly be etched into the memories of all who were fortunate enough to witness this historic event, marking a new chapter in the legacy of one of music’s most enduring icons.
Billy Joel – UBS Arena – Sunday, December 31, 2023
Setlist: My Life, Pressure, Everybody Loves You Now, The Downeaster Alexa, Start Me Up, An Innocent Man, The Lion Sleeps Tonight, Barbara Ann, The Longest Time, Big Man On Mulberry Street, Movin Out, Half A Mile Away, Vienna, Don’t Ask Me Why, Allentown, New York State of Mind, The River of Dreams, Whole Lotta Love, Auld lang syne, All You Need Is Love, Only the Good Die Young, Nessun dorma, Scenes From an Italian Restaurant, Souvenir, Piano Man Encore: We Didn’t Start the Fire, Uptown Girl, It’s Still Rock and Roll to Me, Big Shot, You May Be Right
With Billy Strings tearing up stadiums, bluegrass is undeniably experiencing a renaissance. And there are few bluegrass bands in New York right now on a hotter streak than Dirty Blanket. The Canandaigua-based act sold out their fifth-straight concert on New Years Eve, ringing in 2024 with a rowdy crowd at Three Heads Brewing in Rochester.
The band’s seamless blend of traditional and contemporary bluegrass, coupled with high-energy picking, had the audience jumping and shouting. The intimate venue provided the perfect setting for their energy, creating an unforgettable night of music and celebration.
Dirty Blanket is a five-piece consisting of Joel Fedkiw on banjo, Max Flansburg on lead guitar, Richie Colf on mandolin, Kevin O’Leary on guitar and Benny Bleu Haravitch on the upright bass. The band has been selling out shows all over the state and Flansburg just finished a weekend picking with the nationally-renowned Sam Grisman Project (not for the last time).
On New Years the impeccable musicianship was on full display, with each member contributing to the rich tapestry of sound that defines Dirty Blanket’s signature style. A lot of bluegrass bands have the instrumentals down but what sets Dirty Blanket apart from the pack is their vocal harmonization. The singing just sounds great. And the instrumentation is there – the synergy between the banjo, guitar, bass, and mandolin was nothing short of magic. Whether it was the lightning-fast fingerpicking or the soulful strains of the bass, every note resonated with precision and passion, captivating the audience.
The band started off the first set with a driving rendition of the Hot Rize song “Hard-Pressed,” before turning to crowd-favorite originals like “My Getaway,” and “Hobo Jones.” The first set also saw covers of Bob Dylan’s “It’s All Over Now Baby Blue,” and “Jack-A-Roe” by the Grateful Dead before ending with the original “Better Days.”
Set Two started with “New Disease,” and featured ten songs including covers of “On and On” by Bill Monroe and “The Shape I’m in by The Band. As the clock struck midnight and the calendar turned to 2024, the venue erupted in cheers and applause. To add a festive touch to the celebration, balloons cascaded from the ceiling, creating a visually stunning moment that complemented the wild atmosphere. Dirty Blanket seamlessly transitioned into a lively rendition of “Auld Lang Syne,” inviting the crowd to sing along and embrace the camaraderie of the New Year. The band swapped instruments to showcase Benny Bleu’s old time banjo playing for the first two songs of the encore before ending the night with a version of “Burning Love” by Elvis and sending the crowd home happy.
Three Heads Brewing provided the ideal backdrop for Dirty Blanket’s New Year’s Eve celebration. The rustic charm of the brewery, coupled with the intimate setting, created an environment where the music could take center stage. The great sound handled by engineer Hakeem Dodley enhanced the crispness of the instruments, allowing the audience to fully appreciate the nuances of Dirty Blanket’s performance. Everybody had a great time celebrating the new year, and this band gave just one more example of why if they play near you, you need to get a ticket.
Lincoln Center for the Performing Arts occupies a three-block area of the Upper West Side of Manhattan, bordered by Amsterdam and Columbus Avenues to its sides, and 62nd and 65th Streets at its top and bottom. 80 years ago, this area had a different name: San Juan Hill.
Phipps Houses, 235-247 West 63rd Street. Wurts Bros, 1944 – Museum of the City of New York
San Juan Hill was a vibrant, predominantly Black community in Manhattan, inhabited by over 7,000 families and 800 business who were later displaced by “urban renewal” efforts. These efforts, led by the infamous Robert Moses, targeted San Juan Hill as a slum to be cleared, citing loosely hidden racial prejudices angled to improve the city’s appeal to middle-class white Americans.
Up until its destruction, San Juan Hill was a thriving Black neighborhood with great pride. The neighborhood is cited as the birthplace of Bebop music and The Charleston. Notable residents included pianists Thelonius Monk and James P. Johnson, as well as Arctic explorer Barbara Hillary, the first Black woman to reach the North and South Poles.
Robert Moses spearheaded numerous programs similar to slum clearance. He served as the Secretary of State of New York from 1927-1929, and despite never being elected to an office, he is regarded as one of the most influential figures in the history of New York City. When FDR’s New Deal freed up millions of dollars for infrastructure projects, Moses planned out systems of parks, swimming pools, expressways, and bridges across New York City, many of which still stand today.
In addition to these efforts to expand New York’s community spaces, Moses began the slum clearance projects, based on the idea of eradicating what he viewed as “blight.” He served as Chairman of the Committee on Slum Clearance in New York City, and used the precedent of eminent domain to seize San Juan Hill and declare it an unlivable slum. The neighborhood was flattened, and the City of New York broke ground on May 14, 1959 to begin the construction of Lincoln Center for the Performing Arts.
President Eisenhower Breaking Ground at Lincoln Center Bob Serating, 05-14-1959
When Lincoln Center was built, the poignant Opera House that faces Columbus Avenue was built with its back to the Amsterdam Houses, a public housing development on a neighboring block to its west. Musician Etienne Charles, in conversation with NPR, pointed this out. “You can make huge statements with architecture. It’s body language with bricks.”
As it stands today, Lincoln Center hosts the country’s highest caliber of performing arts, including the New York Ballet, New York Philharmonic, and the Metropolitan Opera. Nevertheless, as it continues to celebrate that excellence, the development stands as a reminder of the thriving neighborhood that once existed on those blocks.
Today, on West 65th Street, a 150-foot mural spans the side of David Geffen Hall, commemorating San Juan Hill, the artistry that was born there, and the people who were ultimately displaced by the construction of Lincoln Center. Created by Nina Chanel Abney, the mural was commissioned by Lincoln Center alongside The Studio Museum in Harlem and Public Art Fund.
Photo Credit: Nicholas Knight
The abstract, colorful work centers words such as “homage,” “honor,” and “culture,” a commemoration of San Juan Hill that reminds passersby of the rich history that stood on the ground now occupied by Lincoln Center. The title of the work – San Juan Heal.
In addition to installations like San Juan Heal, Lincoln Center is taking initiative to create an inclusive and relaxed atmosphere for the community. Henry Timms was appointed as President and CEO of Lincoln Center in 2019. Under his leadership, the organization began summer programs like Summer For The City, and expanded the repertoire and diversity of music and art performed at the Lincoln Center venues.
Timms began the Summer For The City festival in 2022, aiming to help “loosen up” the performing arts center. For much of the summer during the inaugural celebration, its regal campus was covered in turf carpeting, eclectic seating options, and in 2023, a sea of pink plastic flamingos.
After years of exclusivity, it is safe to say that Lincoln Center is beginning to loosen up and turn away from the stuffy elitism that infused the highest-brow of American performing arts.
Photo Credit: Chris Lee
The original Lincoln Center festival was discontinued before Timms arrived on scene, citing quality over quantity of programming. This also came with the scrapping of a diverse selection of performances coming from all around the world, showcased each summer at Lincoln Center.
In the years after, the team decided to focus on the Mostly Mozart Festival, an annual summer selection of performances by orchestras from across the country. In 2023, the festival was led by Jonathon Heyward, the first Black music director of the Baltimore Symphony Orchestra and the youngest music director of any major orchestra in the United States.
Lincoln Center began in direct opposition to the Black communities it flattened in order to be built. For years, it stood for the elite, the exclusive, and predominantly, the white. To casual passersby, the mural remembering San Juan Hill by the organization that facilitating the neighborhood’s demise gives due pause to the integrity of the installation. However, as the organization begins to reflect on this troubled history and implement changes and programming to address it, reconciliations are slowly making way.
Journeying back to San Juan Hill evokes a rich history somewhat forgotten by the upscale neighborhood of Lincoln Square. Looking back once again, the native Lenape people of the region also have claim to the area. In realizing a community once neglected, another is regrettably pushed to the side, but as Lincoln Center begins to grapple with the colonizing history it stands for, the native people of Manahattastill await.
On Sunday, December 31, 2023, Phish took the stage at Madison Square Garden for the 83rd time, and gave fans an ultimate performance for the conclusion of their annual New Years Eve run celebration. In true Phish fashion, the event bid farewell to 2023 with a spectacular Broadway-style production, immersing the audience in the mythical realm of “Gamehendge,” performing the band’s rock opera for the first time in its entirety in nearly 30 years.
This series of shows not only added another feather to the band’s cap, but etched a historic moment in their 40+ year journey. The night kicked off with a powerful performance of “Everything’s Right”, setting the tone for an evening filled with seismic energy. The ground was shaking, sections of audiences were engaged in friendly competition to see who could be loudest. Confetti, glow sticks, and bubbles danced through the air, creating a sensory feast for the devoted crowd.
A hallmark of Phish’s New Year extravaganza is the visual surprise ushering in the new year. From scores of clones to airborne hot dogs, the band’s creativity over four decades knows no bounds. This year was no exception, as Phish embarked on a captivating odyssey into the magical world of Gamehendge, a story about the battle to save a once-thriving land. The tale unfolded through the wonderful narration by Broadway actress Annie Golden, renowned for her role in the popular Netflix hit, Orange is The New Black. As the opening notes of “Harpua” resonated, the audience exploded in euphoric bliss.
The second and third sets unfolded as a vivid retelling of Phish’s legendary folklore in Broadway fashion. Colonel Forbin stumbled upon the mythical universe, Gamehendge, a realm inhabited by The Lizards, now under the oppressive rule of the evil King Wilson. The first to discover this universe, Wilson steals away from the too-trusting species their beloved helping friendly book – a guide to eternal joy and never ending splendor. The stage transformed into a mesmerizing display, featuring a colossal rhombus rising from the ground, enchanting puppets, soaring mockingbirds, and the powerhouse band from Vermont performing each song with more meaning than ever, as die-hard fans were engulfed in waves of joy, laughter, and tears.
As the clock struck past 1AM, fans spilled onto the New York streets, clutching their commemorative cups filled with memories. Phish’s journey continues, with upcoming performances in Mexico for their annual Riviera Maya shows and an eagerly anticipated four night residency at The Sphere in Las Vegas.
Phish – Madison Square Garden, NYC – Sunday, December 31, 2023
Set 1: Everything’s Right, Tube, Ether Edge > Reba, Taste, Ruby Waves, A Life Beyond The Dream, Character Zero
Set 2: Down with Disease, Harpua > The Man Who Stepped Into Yesterday > The Lizards > Punch You in the Eye > AC/DC Bag > Tela > Llama > Wilson > The Sloth > Divided Sky
Set 3: McGrupp and the Watchful Hosemasters > Colonel Forbin’s Ascent > Fly Famous Mockingbird > Auld Lang Syne > Split Open and Melt, You Enjoy Myself > Loving Cup > Possum
Post-holiday depression was not in abundance on Friday, December 30, as Shinedown performed their last show of 2023 to a jam-packed, sold-out crowd at the Premier Theater at Foxwoods Resort in Mashantucket, Connecticut. This show differs from the rest of the band’s fall tour as they have mainly been in arenas but decided to have a one-off show in a smaller, more intimate venue to close out the 2023 calendar year.
Shinedown consists of Barry Kerch on drums, Eric Bass on the bass guitar and piano, Zach Myers on guitar, and Brent Smith on lead vocals. Kerch and Smith are the only two members left from the founding lineup which released their debut record, Leave a Whisper in 2003.
As Outkast’s “B.O.B. (Bombs Over Baghdad)” blasted through the speakers, fans settled into their red cushioned chairs as the house lights dimmed. The relaxation didn’t last long as all four members ran out on stage, greeted the audience, and blasted into “Diamond Eyes (Boom-Lay Boom-Lay Boom)” off of 2008’s The Sound of Madness as the crowd jumped out of their seats with a thunderous cheer.
From the first riff, fans were in for a treat as the show was not shaping out to be like any regular casino show. One thing that has enhanced Shinedown’s live performances is their use of pyrotechnics/explosives, and their stage setup which gives fans exactly what they want. Though on a smaller scale, Shinedown was able to wow the sold-out crowd and make their last show of the year an unforgettable one.
Shinedown played a total of 17 songs that lasted just under two hours of post-grunge hard rock that made the band so popular. Throughout the show, in between commanding the crowd with an iron fist as all eyes watched Smith run around on stage, he also announced to the crowd that during their set, they were going to play a mix of “old school and new school.” The band pulled out songs from their entire discography from the debut aforementioned Leave a Whisper album to their newest release, 2022’s Planet Zero.
Touring as a musician can be tough but Shinedown put in a lot of work on stage. For the entirety of the two hours that they played, they were constantly running around. The band’s presence on stage is inspiring. Each member of the band interacts with the crowd differently yet at the same time, they work together as one delivering and making sure the fans get their pennies worth. When all was said and done, it felt like the band ran a marathon after all the moving they did on stage. By the end of the show, the band was dripping in sweat just showing the dedication to their fans to make sure they went home happy.
At multiple points in the show, the band got into a deep groove. At the end of “45,” Myers stood on the body of his red, white, and blue guitar and played with his feet as the song came to a close. At another point in the show, the band was headbanging in unison that would even make the most hardcore headbanger smile.
At the end of their smash hit song, “Second Chance,” the band stopped the show to present a birthday cake and sing “Happy Birthday” for one of the members of their crew. The celebrations did stop there as during the show, the president of Foxwoods Casino came out announcing that from the meet and greets, they were able to raise $92,600 for the City of Hope charity. At the same time, the band was gifted plaques to commemorate all their songs to go No. 1 and reach the top five and 10 on the charts.
On top of the band performing their classic songs, they were also able to squeeze a couple of cover songs into the setlist for the show. With Myers on lead vocals, the band, minus Smith performed “The Middle” by Jimmy Eat World as well as their bone-chilling rendition of “Simple Man,” by Lynyrd Skynyrd performed by just Smith and Myers. With the help of the crowd belting out the chorus, the theater rang loud of the classic Lynyrd Skynyrd tune.
As fans left the Premier Theater back out to the casino floor, they left with eardrums ringing and faces melted from the sheer magnitude of Shinedown’s show. As 2023 creeps towards an end, fans already made their 2024 concert plans to catch Shinedown on their next tour after witnessing an arena-level show in a small yet intimate theater that made everyone in the last row feel like they were upfront.
Setlist: Diamond Eyes (Boom-Lay Boom-Lay Boom), Dead Don’t Die, I’ll Follow You, State of My Head, Devil, Unity, 45, Enemies, Sound of Madness, A Symptom of Being Human, Planet Zero, Second Chance, The Middle, Daylight/Get Up, Simple Man, Monsters, Cut the Cord
