NYS Music 2024

Category: Reviews

  • Blues, Roots, and Bourbon take over Buffalo

    April 20 saw year three of the Buffalo Blues and Roots festival at Buffalo RiverWorks. With help from Three Chords Bourbon, Ray Barry and Barry Entertainment has brought some strong Chicago-esque blues to Buffalo’s waterfront on April 20.

    Buffalo Blues and Roots

    Starting in 2022, Barry Entertainment has taken on the daunting task of organizing a full day of music, arts vendors, and bourbon tasting. Over this time they have welcomed international stars, Grammy award winners, and local talents to Buffalo. Vanessa Collier, Selwyn Birchwood, and Colin James to name a few. Pair theses with rising names and local talent and you now have the Buffalo Blues and Roots Festival.

    Like previous years, Three Chord Bourbon, from nearby Clarence, was named sponsor of this event, and offered up some sample of their goods. 2024 saw a Kentucky Straight Bourbon on display, along with a blended bourbon and Rye Whiskey. The straight bourbon was a nice offering subtle notes and smooth finish that left the consumer ready for more. The chatter heard around the tasting table was very positive, and seemed as though the Kentucky straight was the fans choice.

    Starting of the day was Diane Kallay. Originally from the Western NY area, Kallay has earned regional recognition over the years, winning accolades for Best Female Blues Vocalist, as well earning nominations for Best Acoustic Duo (for Kinship, with her brother), and Best Female Vocalist. Her vocal range, and ability to cover multiple genres with relative ease has led to sharing the limelight with such acts as .38 Special and The Marshall Tucker Band.

    On this night, though, Kallay performed a beautiful set along with Barry Arbogast, Paul Beringer, Sal Marino, Keith Spurlock, and Michael Mietlicki. A nice mix of sultry blues and gentle roots to welcome music fans as they entered the venue.

    Next up was Rusty Fisher. If you enjoy classic blues guitar riffs, you need to check out Rusty. Unlike 2023, where he sat in for a couple acts, Fisher had his own set time this year and made it count. Teaming up well known Western New Yorkers Dan Shurtleff (of The Growlers) and Nate Coffey, he took the stage for about an hour and did nothing but amaze the growing crowd. Lucky for locals, he is out and about often. He can be found at Fanatics Pub & Pizza on June 16th, among other venues that kick ass. Riffs, licks, and shredding seem to be the way of life for Rusty.

    Planned accordingly or pure coincidence, Shurtleff was able to remain on stage with his drum set as he is the guy for The Growlers (Facebook). With the incomparable John Lewandowski leading the charge on harmonica, Shurtleff sits comfortably at the drums and does his thing. For the third year in a row, Lewandowski and the rest of the team shook the stage and got fans yearning for more. Seeing them last year for the first time was a treat. 2024 has me looking for more of their shows.

    Joining the band on stage was local star Pat Harrington. Growing up about 45 minutes north of Buffalo, Harrington joined Victor Wainwright and The Train in 2016 and has provided a fresh youthful explosion to the band that Wainwright was seeking. Well known around the Buffalo area, Harrington has taken the blues world by storm and is has been heralded as one of the best young blues guitarists. As the night goes, Harrington would continue to join in and jam with everyone.

    Buffalo Blues and Roots
    Pat Harrington – Buffalo Blues and Roots Festival
    Pat Harrington

    As the show progresses, it seems like the next act couldn’t possibly top the previous. Enter Scott Celani and his band. Covering early music from Black Crowes, the Buffalo native and 2021 inductee to the Buffalo Music Hall of Fame came out rocking a Buffalo Bills cap, black leather jacket and aviator sunglasses, ready to play the part. I can assure you he excelled. As John Popper said “Scott has some pipes!” Not as raspy as Chris Robinson, Celani for sure has what it takes for these covers, and it was on full display as he paraded around nailing every note.

    Following the amazing faux Black Crowes show, a handful of the musicians called an audible and took the stage for a little tribute to the late Dickey Betts. On stage were Ray Barry, Pat Harrington, Guy Nirelli, Dan Shurtleff, Eric Weinholtz, and Dave Thurman. An amazing tribute to a musical legend that the fans and musicians will never forget

    Next up, Patti Parks. Another member of Buffalo Music Hall of Fame, Parks delivered a soulful set, donned in a black and red dress and fedora style hat. High energy and smooth vocals are on full display as Parks proves her worth better than a Buffalo Sabres coach.

    Buffalo Blues and Roots

    Following the dynamite set from Parks, Miller and The Other Sinners hit the stage for the third year in a row. David Miller has nothing to prove to Western NY. He and his Sinners have made a name for themselves at this event as well as others from Buffalo to Syracuse. Some would say he is a household name, and rightfully so. He has shared the stage with names such as Tedeschi, Bonamassa, Vaughn, and Copeland. In doing so, David Miller has paid his dues earned his keep. While Buffalo is not a hotbed for Southern Soul, Miller makes an exception and delivers a world class set. New album for 2024 Thieves in The Breadline includes “Better Times Better Days” which was written pre-Covid and hits on the affect of social media on our lives.

    Based out of Central NY, Tas Cru is a blues-roots songwriter/musician, with a splash of funk thrown into the mix. Take your standard blues jam and kick it up a notch, you wind up with Tas Cru. Soft, subtle lyrics and quick fingers on the guitar are only part of what makes him special. Amid a couple samples of Three Chords Bourbon, Cru flawlessly floats around and interacting with the crowd, he jokes around quips of his time touring, which all turn out to be segways into the next song. Such stories as about a young man saying he should be paid more for helping out. Cru’s response was “welcome to the blues, kid”.

    Rounding out the 9-hour jam session, Victor Wainwright came out to crowd that was the loudest it had been all day. The headlining act of the Buffalo Blues and Roots Festival was at the end of an intense leg of their tour, including back-to-back shows at the aforementioned Fanatics Pub, in Lima, NY. Regardless of that, Wainwright and his Train of musicians, including hometown favorite Pat Harrington, were full of energy as if they had downed a couple red bulls backstage. Playing the ivories and swaying on his stool, ala Ray Charles, Wainright had a story for everything. He talked about getting his musical inspiration from older Disney movies, although he came from a musical family. The music for movies like The Jungle Book were what got Victor into the blues and roots scene. His parents were happy, though, that he was still into music of some sort. Subsequently, he and the band broke out into a very jubilant version of “I Wanna be Like You”, which the crowd really took in.

    Grammy nominated and winner of Blues Music Awards for Piano Player of the Year (3x) and BB King Entertainer of The Year, Victor Wainwright is a name you will hear often and if you ever have the chance, you need to go see the show. Truly amazing and inspiring for all ages.

    The blues and roots don’t always have to be the classic sounds of Elmore James or Cab Calloway. One song from Miller and The Other Sinners or Victor Wainwright will convince you of that. Still blues and roots, but with some modern flare and ingenuity, the artists on stage today make the genre much more marketable to the new generation.

    Year three of Buffalo Blues and Roots didn’t see as many visitors as the first two years, but when you are going against a big show at the Highmark Stadium and numerous 420 events around town, you are bound to see a decline. Craft vendors, bourbon tasting and nine hours of outstanding music for a respectable price tag, one would be foolish not to check it out. Despite that, organizer Ray Barry said next year is in the works, and I will be there. In addition to this festival, Barry Entertainment (Facebook) organizes other events in and around the Buffalo area, please go check them out.

    Rusty Fisher Band
    The Growlers
    The Growlers
    The Growlers
    The Growlers
    The Growlers
    The Growlers
    Diane Kallay
    Ray Barry/Barry Entertainment
    Scott Celani
    Patti Parks Band
    Patti Parks Band
    Patti Parks Band
    Patti Parks Band
    Patti Parks Band
    Patti Parks Band
    Patti Parks Band
    Patti Parks Band
    Buffalo Blues and Roots
    Victor Wainwright and the Train

  • Saints Did Conquer – Queensryche and Armored Saint at Empire Live in Albany

    A hefty double-bill of old-school metal stomped into a packed Empire Live in Albany on April 26 – Queensryche and Armored Saint.  Both acts have long legacies of gigs in the Albany area: Seattle’s Queensryche first came through the area promoting their debut e.p., opening for Twisted Sister in Scotia in 1983, and have played the area fairly regularly for 40+ years, most recently warming up Judas Priest at the MVP Arena in 2022.

    photo by Mark Kurtzner

    L.A. metal heroes Armored Saint first played the region in early January 1985 – again, in Scotia – warming up for Metallica and WASP and promoting their debut LP ‘March of the Saint’.  So there’s some history here, and Albany showed up for this gig – the venue was sold out, and vintage metal tees and battle vests were on display for a great Friday night of heaviness.

    Happily, there wasn’t a long, agonizing wait through a half-dozen opening bands – Armored Saint hit the stage at 8 p.m. sharp, walking on stage to an intro tape of Judas Priest’s classic “Delivering the Goods”, and proceeded to deliver the goods with a crushing 50-minute set of headbanging gloriousness.  As vocalist John Bush pointed out early on, although Saint were a regular visitor to the Albany region through the late 80s (mostly at the long-departed temple of metal, Saratoga Winners in Latham), it has been almost 33 years since the band has been here.  The last gig this band played hereabouts was at Winners in October 1991, with Wrathchild America.  Soon after, the band went dormant when Bush joined New York’s Anthrax, and since they reunited early this century, they have not been back to their Albany stomping grounds of yore.  They more than made up for their absence this Friday night.

    photo by Mark Kurtzner

    Saint kicked off proceedings with the hammering “End of the Attention Span”, an ode to the damage done by small screens, social media and on-demand culture, taken from the killer newest AS record, ‘Punching the Sky’. Unlike Queensryche, who were playing an album-specific vintage set, Saint covered their entire discography this night, launching immediately thereafter into a steamrolling “Raising Fear”, title track of their underrated 1987 third record.  Next up were a pair of songs from Saint’s (arguably) most-acclaimed LP, 1991’s Symbol of Salvation, the propulsive “Tribal Dance” (during which drummer Gonzo Sandoval earned his wage admirably), and a soaring “Last Train Home”, with the audience roaring the chorus back to Bush and the band.  The title track of their 40-year-old (!) debut LP, March of the Saint, followed, which spawned headbanging and more vocal crowd participation, and the excellent “Left Hook From Right Field” (from 2010’s La Raza) was a cool surprise – the Saint have been mixing up setlists on this run with Queensryche, and while killer second record Delirious Nomad was sadly unrepresented this night, “Left Hook” was one that hasn’t been played every show, a great choice.

    Next up was “Standing on the Shoulders of Giants”, another standout from newest LP Punching the Sky, which saw guitarists Jeff Duncan and Phil Sandoval unleashing some Thin Lizzy-esque guitar harmonies.  Saint, in contrast to the headliners, is pretty much the same guys who have been with the band since back in the day.  Bush, the Sandoval brothers and bassist Joey Vera have been in the band since their inception, and guitarist Jeff Duncan has been with the band since 1988.  Only guitarist Dave Prichard, who sadly passed in 1990 from leukemia, is missing from the lineup that recorded their debut EP in 1983.

    photo by Mark Kurtzner

    Other than Bush talking about how many years it had been since the band played Albany, the band kept the stage banter to a minimum and used their time for music, hammering out each song into the next.  “Win Hands Down”, the roaring title track from their 2015 LP, came next, into another crowd favorite, “Can U Deliver” (again from the ‘84 debut), with the band wrapping up with a blasting, high-velocity “Reign of Fire” (again from Symbol of Salvation).  When this band’s debut hit the streets in 1984, the slogan was “Saints Will Conquer” – and they did so in heroic fashion this night.

    Unlike Saint, who have always led the charge for traditional, real old-school metal, Queensryche have historically cast a wider net, dipping their toes into prog-metal, concept albums (including 1988’s legendary ‘Operation: Mindcrime’), and mainstream success (1990’s ‘Empire’), and over the years leaning fairly far away from their trad-metal beginnings.  But not tonight – this was a old-school, early Queensryche set, with the band playing their debut self-titled 1983 EP, and 1984 debut album ‘The Warning’ back-to-back and in order.  

    That debut EP was a monumental beginning for this band – in 1983, every metalhead on the planet seemed to own and love that record, including this writer as a 15-year-old, and you cannot deny the quality of those 4 songs, which the band opened their set with this night: the legendary “Queen of the Reich” began proceedings, arguably the most well-known song of the night, into the raging “Nightrider” and “Blinded”, both long-ignored deep tracks in the band’s catalog, but truly excellent, hammering real metal.  “The Lady Wore Black” is more epic, and more indicative of what was to come for Queensryche after 1983, and sounded great.  

    photo by Mark Kurtzner

    The rest of the set was debut LP The Warning, soup-to-nuts, in order, from “Warning” through “Roads to Madness”.  The band played it flawlessly.  While Armored Saint’s lineup is fairly unchanged from days of old, three of the five band members who recorded the music from these early Queensryche records are no longer with the band: only guitarist Michael Wilton and bassist Eddie Jackson remain from the ‘classic’ lineup, but vocalist Todd La Torre (who had been with the band for 12 years now) is able to replicate former singer Geoff Tate’s vocals on these early songs with uncanny accuracy.  In all honesty, my personal enthusiasm for ‘The Warning’ is nowhere near the nostalgic appeal I feel for the debut EP, but the band nailed it and there was a percentage of the crowd who were all-in for every single moment.

    The band didn’t deviate from the stalwart, old-school vibe for the encore, trotting out “The Prophecy”, an EP-era deep track that never made the record, but eventually saw light on ‘The Decline of Western Civilization – Part II’ soundtrack a few years later, a great choice.  It was only the final track, “Empire”, that post-dated 1984.  And to their credit, the band kept the set-list old-school and metal instead of taking the easy route for the encore and playing crowd-pleaser hit singles like “Silent Lucidity” or “Jet City Woman” (or something from ‘Mindcrime’) – no doubt some of the more casual fans would have preferred that, tonight was about the old-school.   All hail both bands, but game, set and match went to the Saint.

    photo by John Moore
    photo by John Moore
    Queensryche and Armored Saint
    photo by Mark Kurtzner
    Queensryche and Armored Saint
    photo by Mark Kurtzner
    photo by Mark Kurtzner
    Queensryche and Armored Saint
    photo by Mark Kurtzner
    photo by Mark Kurtzner
    photo by Mark Kurtzner
    Queensryche and Armored Saint
    photo by Mark Kurtzner
    Queensryche and Armored Saint

  • Joe Louis Walker Plays to a Packed House at Caffe Lena

    Respected blues and roots music songwriter and performer Joe Louis Walker from the Hudson Valley of New York brought his diverse blues driven songs, incredible musicianship and warm performance skills to a packed house at Caffe Lena in Saratoga Springs on Sunday, April 21.  

    Joe Louis Walker – photo by carlrubinomusicphotographer.com

    Walker did two sets of his original contemporary blues, R&B and rock, infused with a hint of gospel, from “Run Me Down”, which he opened the show with, to “Too Drunk To Drive Drunk”, which he did as an encore and said emanated from when he and a friend were in a bar and the friend looked at someone and said “that guy’s too drunk to drive drunk”, delivering a truly energetic show throughout to a highly appreciative crowd.

    He interspersed his performance with crowd-pleasing stories about what brought him to write some of the songs he performed and what they mean to him, such as “Don’t Walk Away” which he wrote for his wife, and “The Blues Comin’ On” which he wrote with Dion of Dion and the Belmonts. 

    At the end of his show Walker credited those he referred to as the creators of rock ‘n roll, of which he said there could not be a better mousetrap, and launched into a rock ‘n roll tribute performance that included an instrumental medley of measures from multiple chart topping rock songs that spanned decades and brought the crowd to its feet.

    Weaving passages of musical tension and release into each song on his triple humbucking pickup electric guitar and with his melodic larger-than-life singing of his well-crafted lyrics, he delivered a performance that owned the room at Caffe Lena, giving the audience a clear understanding of what lies behind his being an inductee of the Blues Hall of Fame, his Grammy for Contemporary Blues for “Everyone Wants A Piece”, his multiple M. C. Handy awards, and his place as a featured performer at countless blues festivals.  

    Joe Louis Walker was backed up with stellar performances by Scott Milici on keys and backing vocals, Geoff Murfitt on electric bass and John Medeiros Jr on drums, all of whom also played on his Weight Of The World album.

    Scot Milici, Keys & Vocals, Joe Louis Walker – photo by carlrubinomusicphotographer.com
    Geoff Murfitt, Bass, Joe Louis Walker – photo by carlrubinomusicphotographer.com
    John Medeiros Jr, Drums, Joe Louis Walker – photo by carlrubinomusicphotographer.com

    The show was part of his 2024 tour covering locations as wide-spread as New York, California and Morocco, with performances at the New Orleans Jazz and Heritage Festival on April 26 and in the Netherlands at the Holland International Blues Festival.  He will next appear in New York State at the Full Moon Resort in Big Indian on June 26th.  The tour is also in support of his 2023 album “Weight Of The World” which was recorded in a studio outside of Woodstock, NY.

    During the show Walker, who has played at Caffe Lena before, mentioned how much he felt honored to play in the same place that legends like Bob Dylan had, and after the show he said he truly enjoyed performing in this special place with such an appreciative audience.

    Joe Louis Walker – photo by carlrubinomusicphotographer.com
    Joe Louis Walker – photo by carlrubinomusicphotographer.com
    Joe Louis Walker – photo by carlrubinomusicphotographer.com
    Joe Louis Walker – photo by carlrubinomusicphotographer.com
    Joe Louis Walker – photo by carlrubinomusicphotographer.com

  • Cult Singer-Songwriter’s Star-Crossed Life Profiled in New Documentary Lost Angel: The Genius of Judee Sill

    She was one of the greatest “misses” of the 1970s – a singer-songwriter of lyrical and musical depth who led a life more tragic than anything conjured by Tolstoy.  Now, 45 years after her passing, she is revealed and righteously revered in a powerful new documentary from co-directors Andy Brown and Brian Lindstrom, Lost Angel: The Genius of Judee Sill (Greenwich Entertainment).

    Judee Sill

    While there are many wonderful interviews with her contemporaries like Linda Ronstadt, Graham Nash and Jackson Browne and performances of her songs by Fleet Foxes and more, this documentary is very much a first-person autobiography.  The most powerful voice telling Sill’s story here is her own. It comes in audio clips from recently unearthed interviews and heartbreaking passages from her journals read by Sonya Goddy.

    Sill’s story begins and ends in hardship, interrupted by a brief two-year window when she was poised to be “the next big thing” in the burgeoning singer-songwriter genre.  She would be one of the first signings to David Geffen’s powerhouse Asylum Records, the home of platinum-selling artists like Jackson Browne, Joni Mitchell, Linda Ronstadt and The Eagles.

    Sill would begin tickling the ivories at the piano in her father’s bar at age three. By her teen years, her life went south when she became involved with petty theft and addiction, which sent to a reform school. While there, she fell in love with playing the church organ and gospel music. In 1968, while in prison on fraud and prostitution charges, she realized that if she could endure the agony of kicking heroin cold turkey in the clink, she could do anything.  She decided to become a singer-songwriter and marked this commitment with a jailhouse tattoo of a treble clef on her shoulder.  She would continue her struggles after prison, working as a jazz bass player in a piano bar and developing a 15 – 20 bag a day heroin habit, before finally getting clean. Within a few short years, she went from living in a car to being the subject of cover story on Rolling Stone Magazine.

    Judee Sill

    Her songwriting career began when she secured a $65 a week job writing songs after scoring her first major achievement penning “Lady-O” for The Turtles.  While playing open mic nights at the legendary Troubadour in Los Angeles, she would come to the attention of songwriter and boyfriend-to-be JD Souther. He and other in that tight circle of musicians who would sing her praises to Geffen.  Her unique fusion of country jazz and baroque stylings, and her songs uniquely anchored on Bach bass movements, would secure her a record deal and heavy promotion for her eponymous 1971 debut album. 

    Unlike some artists who play it humble, Sill unabashedly proclaimed: “I really want to be a star” in interviews.  Her debut album included the classic “Jesus Was A Cross Maker.” It was a tune based on her turbulent relationship with Souther who, by then, was dating Linda Ronstadt.  A faithful friend to the end, Ronstadt provides some of the most pertinent observations in this film about Sill’s massive talent and her inability to cope and roll with disappointments in her career.  Sill’s follow-up album, 1973’s Heart Food, would also garner continued critical accolades but even more disappointing sales.  It would include the incredible “The Kiss,” a song that is called representative of her “amazing, universal force.” It is a ballad that, like many of her works, is a representation of “a sensual experience with God” according to Big Thief’s Buck Meek.

    “She didn’t play the game well and was terrible at kissing ass,” adds JD Souther. “Part of her bitterness was that she knew how good she was.” Another reason for her lack of success may have been cosmetic – that she didn’t possess the physical beauty of contemporaries like Joni Mitchell.

    Judee Sill

    In frustration at her lack of success, and especially in light of the soaring careers of label mates like Ronstadt and Mitchell, Sill would lash out at Geffen, reportedly calling him “a fag” from the stage.  “She went to battle with Geffen and lost” adds another musician.  She would be dropped from his label, beg for forgiveness that wouldn’t come and spiral down from there. 

    A car accident would severely compromise her health. It would lead to two spinal fusion surgeries, constant pain and, once again, a dependence on drugs.  She would pass away in October 1979 due to an overdose which was officially ruled a suicide. It’s a conclusion doubted by many of her friends and collaborators.

    With all of the agony, this film really is more about the pure ecstasy of Sill’s talent and music.  The documentary’s directors do a wonderful job presenting her music, with clips of her performances on BBC’s Old Grey Whistle Test and at a low-key lunchtime gig on University of Southern California campus.  There are also some great covers including “The Kiss” by Fleet Foxes and “The Phoenix” by Shawn Colvin.  Her impact on a new generation of artists is related in interviews with luminaries like Big Thief’s Buck Meek and Adrianne Lenker and Weyes Blood.

    Do yourself a favor and see this film now streaming on Amazon and Apple TV or in a theater near you.

  • Spafford Covers All The Bases At Brooklyn Bowl

    Spafford returned to New York City’s Brooklyn Bowl last weekend for a “holiday” performance on April 20 with a show full of cover songs and some exquisitely jammed out originals. This three-set show marked the end of a short run of shows in the Northeast for the band, who are back in action after a scary accident on tour last month in Ohio. Spafford certainly showed no signs of being worse for the wear and made it an enjoyable 4/20 for all involved.

    Photo Credit: Perri Sage Photography Perrisage.com

    A late arriving crowd to the Bowl walked into a soundtrack mix of classic rock hits on the PA atop a bed of pin strikes and gutter balls. Pre-show music included a nice live version of “In Memory Of Elizabeth Reed” as a nod to the recently departed Dickey Betts. Spafford then took the stage and started things off with the appropriately titled “I Can’t Find My Vape,” a newer, funky instrumental tune in the vein of Herbie Hancock.

    The crux of the first set, however, was the next two songs, starting with a near 30-minute “Comfortable.” The song started out exactly as such, with a nice comfortable groove to it, before an intense guitar solo from Brain Moss ushered in another loose but explorative jam with strong psychedelic undertones. Certainly no strangers to extended jamming, the band showed off their musical prowess early and took the sound down to near ambient levels before building it back up to a triumphant finish.

    This was followed up “The Postman,” another original but a much more composition-based song off their 2018 release For Amusement Only. The now firmly entrenched keyboardist Corey Schechtman shined on all of them – piano, synthesizer, and organ – as Spafford doled out some more legitimate funk to the Brooklyn Bowl audience through a thick, oozing jam that slowly escalated in pace. The opening set then came to a close with an old school original, the reggae-tinged “Diana” that culminated with another provocative Moss guitar solo.

    Spafford then let all the covers out in the second set and wasted no time in doing so. Drummer Nick Tkachyk began things with a simple, lone, up tempo drum beat and the band then immediately launched into their take of Stone Temple Pilots’ “Plush.” With its faster pace and underlying organ fills, it’s certainly a more joyous take on the dour alt rock classic. True to their nature, Spafford stretched out the ending and molded it into a massive jam that maintained upbeat and completely danceable. This eventually led to bassist Jordan Fairless taking over the mic to lead the way on a take of Porno for Pyros’ “Pets,” another regular in the Stafford stable of cover songs.

    Another jam that smoothly shifted from mellow to breakneck then served as the springboard for a leap into another signature cover song, Tears For Fears’ “Mad World.” Schechtman on piano alongside some furious rhythm guitar from Moss served as the fuel for yet another ebullient interpretation of a glum pop hit from yesteryear. Spafford then shifted from musical influences to modern day and segued right into a newer cover song they’ve made their own, Demi Lovato’s “Anyone.” Moss did the heartfelt, introspective lyrics about prayer justice all while the song never lost its peppy undercarriage. To close out the second set at Brooklyn Bowl, Spafford once again delved into the alternative music playbook with a pair of Green Day covers. Fairless returned to lead vocals for their their techno-like cover of “Brain Stew” which was parlayed right into a jazzed up take on “Jaded,” both making their live Spafford debut.

    The third set began with a not-so-subtle nod to the holiday at end with a quote from the movie Reefer Madness played over the PA and Spafford followed in tow with an entertaining cover of Sublime’s “Smoke Two Joints,” a song they first debuted last year on 4/20. It paid homage to the original at first and then turned into a sprawling, exploratory jam that reached several veritable peaks before rounding back into form.

    With the holiday formalities out of the way, the third set was then dominated by the other extended jam of the evening, a 30-minute “Dirtbag” that served as testament to the band’s musical dexterity. Starting with a rollicking funk jam, it soon devolved into total silence before being resuscitated by some triumphant guitar fills from Moss. The multi-textured song also has elements of progressive rock, acid jazz and, of course, jam band, really allowing band the show off their full skill set.

    Photo Credit: Perri Sage Photography Perrisage.com

    Spafford then closed out another successful appearance at Brooklyn Bowl with one last flurry of cover songs, starting with Pink Floyd’s “Run Like Hell.” It’s not quite as hectic as The Disco Biscuits’ take on it, but thanks to some looping synthesizer sounds produced by Schechtman and more metronome-like precision from Tkachyk on drums, it eventually produced an incredibly lively jam that funneled right into “Cantaloupe Island,” some actual Herbie Hancock. After some heartfelt thanks from Moss, Spafford paid one last respect to the date and sent folks on their way with an honest cover of Tom Petty’s “You Don’t Know How It Feels” and its joint smoking instructions.

    As a reminder, Spafford has several upcoming shows in New York including one on June 12 at Rochester’s Water Street Music Hall. Three days later, Spafford is set to play Colony in Woodstock and then the band wraps up their time in NY (for now) with a stop on Long Island at The Stephen Talkhouse in Amagansett on June 17. Tickets for all Summer Tour dates are on sale at spafford.net. 

    Spafford Brooklyn Bowl – New York, NY 4/20/24

    Set 1: Can’t Find My Vape, Comfortable > The Postman, Diana

    Set 2: Plush > Pets->Mad World->Anyone, Brain Stew->Jaded

    Set 3: Smoke Two Joints > Dirtbath, Run Like Hell->Cantaloupe Island

    E: You Don’t Know How It Feels

    All photos by Perri Sage Photography Perrisage.com

  • Danielle Nicole, Kevin Burt and Soulful Femme Blow Roof Off Retro Live in Plattsburgh

    Danielle Nicole and her band, Kevin Burt, Big Medicine and Soulful Femme put on a fantastic night of blues at Retro Live in Plattsburgh on Saturday, April 20.

    Danielle Nicole headlined the show as part of her 2024 tour throughout the US and overseas and in support of the recent release of “The Love You Bleed”. Nicole wrote all but four of the songs on that project and co-wrote the remaining four with Brandon Miller.  The album hit number one on the Billboard, iTunes and Spotify charts. Nicole performed cuts from both her new release and prior albums.

    Kevin Burt photo by Carl Rubino

    With a powerful voice, skillful musicianship, and dynamic stage presence she gave the packed crowd just what it came for – blues that reaches your core. Switching between two four string electric bass guitars, and together with Brandon Miller on electric guitar and vocals and Go-Go Ray drums, she blew the roof off the place, bringing the diverse crowd to enthusiastic dancing and cheering.

    Grammy nominated in Contemporary Blues, inducted into the Kansas City Hall of Fame, recipient of multiple Blues Music Award, and charted on the Billboard Blues Charts, it’s no surprise that she has logged over 10 million streams on Spotify. 

    Nicole’s set included a stellar guitar solo by Brandon Miller alternating between fingerpicking and flatpicking on a Les Paul and a killer drum solo by Go-Go Ray, both of which found the audience screaming with excitement.

    Danielle Nicole photo by Carl Rubino

    Kevin Burt and his band Big Medicine preceded Nicole’s performance with an excellent set comprised of Burt’s own songs and covers of songs by Bill Withers and well-known blues artists.  Burt is a triple first-place winner of the International Blues Challenge and nominee for Best Acoustic Artist at the Blues Music Awards. 

    With his big voice, excellent guitar skills, blues harp and warm stage presence, Burt delivered a compelling performance of blues and soul music, backed by guitarist Ken Valdez.  He performed in support of his newly released album, Thank You Brother Bill, A Tribute To Bill Withers, with all but Burt’s song “Thank You Brother Bill” being performances of some of Wither’s most recognized, and not so well known, songs, which reached the top of the Billboard charts.  

    Danielle Nicole photo by Carl Rubino

    Between songs, Burt touched the hearts of his audience when he spoke of his recent experience teaching music in a local school when it went into an active shooter lockdown, as well as his work to bring music to young people and musical instruments to youth who cannot afford them.

    Soulful Femme, a duo consisting of Stevee Wellons on vocals and Cheryl Rinovato on guitar, opened the show with a captivating mixture of Rinovato’s skilled guitar playing and Wellons’ vocals. 

    Drawing upon influences as varied as Jimi Hendrix and Marvin Gaye the pair presented a unique sound with elements of blues, rock and soul. The pair performed in support of both their current East Coast Tour thorough May and their recent album release ATTITUDE, with all but one of the songs written by Wellons and by Rinovato.

    Danielle Nicole with Brandon Miller photo by Carl Rubino

    Following Danielle Nicole’s set, she and her band were joined on stage by Kevin Burt and his guitar player Ken Valdez, where the combined forces did a fantastic rendition of Bill Withers’ “Use Me Up”, sung by Burt with guitars by Valdez and Brandon Miller.

    The event was put together by Plattsburgh Blues & Jazz, a non-profit organization which brings world class blues and jazz musicians to the Plattsburgh region of Northeastern New York, hosted at Retro Live, a relatively new, and up and coming music venue that is very much a regional North Country jewel.

    Stevee Wellons – Soulful Femme
    Soulful Femme
    Cheryl Rinovato – Soulful Femme
    Danielle Nicole with Brandon Miller
    Kevin Burt
    Danielle Nicole
    Danielle Nicole and Brandon Miller
    Danielle Nicole
    Kevin Burt
    Kevin Burt
    Go-Go Ray
    Brandon Miller
    Danielle Nicole with Brandon Miller
    Kevin Burt
    Kevin Burt

  • Cypress Hill Blazes Through Brooklyn Steel Ahead of 4/20 Celebration

    On April 19, Cypress Hill hit Brooklyn Steel for their “We Legalized It 2024 Tour.” The show was the second stop on their tour, with Souls of Mischief and The Pharcyde performing as the opening acts. The timing couldn’t have been better, coming right before the weed holiday, 4/20.

    B-Real

    The night kicked off with Souls of Mischief and The Pharcyde getting the crowd pumped up. But when Cypress Hill took the stage, the energy went through the roof. They played hits, like “Hand on the Pump,” “Tequila Sunrise” and “Latin Lingo,” getting everyone hyped.

    The highlight of the night was when Cypress Hill did a special weed-themed melody, mixing songs like “Roll it Up, Light it Up,” “I Wanna Get High,” and “Dr. Greenthumb.” It was the perfect way to get everyone in the mood for 4/20.

    The Pharcyde

    Cypress Hill are pioneers in the movement for weed legalization. For years, their music has been synonymous with cannabis culture, advocating for its decriminalization and celebrating its medicinal properties. Now, as New York joins the growing list of states where weed is legal, Cypress Hill’s message feels more relevant than ever. Their music has been a soundtrack for the fight for legalization, and now, as the law changes, their influence continues to be felt. It’s a testament to their impact on both music and society as a whole.

    Cypress Hill

    Setlist: Cock the Hammer, Real Estate, Hand on the Pump, When the Shit Goes Down, A to the K, Phuncky Feel One, Tequila Sunrise, Low Rider, Latin Lingo, Stoned is the Way, Roll It Up, Light It Up, I Wanna Get High, Dr Greenthumb, Cisco Kid, Dr Greenthumb, Hits From the Bong, Illusions, Boom Biddy Bye Bye, Throw ya Set, Ain’t Going Out, How I Could Just Kill A Man, Rap Superstar, Insane in the Brain

  • Judas Priest Opens Up US Tour With Spectacular Show In Wallingford, Connecticut

    The year 1974 was when Judas Priest’s debut record, Rocka Rolla was released. Now, 50 years later, the legendary British metal band was in Wallingford, Connecticut on Thursday, April 18 for the first show of their United States leg of a tour in support of their new record, Invincible Shield. Last fall the Toyota Oakdale Theatre hosted the first night of Judas Priest’s 50 Heavy Metal Years Tour with Queensrÿche. This time, the Swedish heavy metal band, Sabaton was the opener for the Rock and Roll Hall of Fame band.

    Judas Priest is coming off a few-month trek of shows in Europe. By the time the band hit the United States, the well-oiled Judas Priest machine was ready to roll. The entire night was a beautiful ceremony of heavy metal that brought fans of all ages and all eras of the band together.

    Before Judas Priest took the stage, the previously mentioned Sabaton graced the stage at 7:30. The eager Priest fans cheered for the Swedish natives who had a great following at this show. For the opener, it might take a few songs for the band to win over fans. But, the band – who dressed in camo pants and black tops – won fans over from the first note with their history-inspired lyrics and Amon Amarth’s style of metal. 

    The band was backed by an army tank which served as a drum riser for Hannes Van Dahl. This hasn’t been seen for some kiss fans since Eric Carr of KISS had his drums on top of a tank during the band’s “Creatures of the Night” tour in the 80s. At one point in the show, the band dawned World War II-style gas masks while they played. Lead singer Joakim Brodén sang through the mask while carrying a large canon-like prop around the stage. Fans around the theatre all gasped in amazement while taking videos on their phones.

    Joining Brodén and Van Dahl in Sabaton is Pär Sundström on bass, with Chris Rörland and Thobbe Englund. Englund is rejoining the band after an eight-year absence from the group. It was announced on Feb. 9 that Englund was rejoining and replacing guitarist Tommy Johansson.

    England has always produced some of the best heavy metal bands in the world. Arguably, Black Sabbath is at the top of that list. Sabbath and Priest have had a wonderful friendship over the years. Judas Priest lead singer, Rob Halford filled for Black Sabbath singer Ozzy Osbourne on a handful of occasions. It was only fitting for Priest to blast Black Sabbath’s “War Pigs,” off of 1970’s Paranoid through the PA system. In unison, louder than any guitar that night, the crowd belted out lyrics to Sabbath’s famous tune before Judas Priest took to the stage.

    With a curtain of the tracklist of the brand-new record, at the forefront of the stage, the lights began to flicker. When the curtain dropped and the band was all cluttered together on a staircase leading to Scott Travis’s drum kit. The band plunged into “Panic Attack” off of the brand-new record. The cheering and screaming from the crowd was deafening as the band spread out on the stage to meet the eager Wallingford crowd. The band played 18 songs that crisscrossed their entire career and spanned their entire discography.

    The band sounded as tight as ever. Guitarist Richie Faulkner was prancing around the left side of the stage the entire night. He was a man possessed by his blue Flying V and Explorer guitars. Throughout the night, he was running around the stage, posing at the edge as well as – in KISS-like fashion – throwing guitar picks into the crowd while throwing up the rock and roll horns.

    Halford sounded better than ever. His signature screaming and wailing was music in itself to the metal maniacs that had sold out the theatre. Bassist Ian Hill, who is only one of two members in the band from the “classic lineup” stood comfortably towards the band behind guitarist Andy Sneap. Hill would barely move from his spot the entire night yet was the anchor in the rhythm section. Sneap was brought on board to produce the band’s latest two records, 2018’s Firepower and the new Invincible Shield. He has been in the band as a touring guitarist and producer ever since 2018.

    Priest’s iconic cross logo was hung above the stage. With each song, it would light up different colors, shoot lights out and even at one point in the show it moved down towards the front of the stage. People around the theatre all pointed and again, took out their phones to capture the cool moment.

    The band blasted through their set, which featured hits like “Breaking the Law,” “You’ve Got Another Thing Comin’,” and “Painkiller.” At one point during the encore, Halford rod out on a motorcycle and wore a biker cap to signify the second to last song, “Hell Bent for Leather.”

    By the time the last song of the night was played, “Living After Midnight,” off of the band’s 1980 album, British Steel and Queen’s “We Are the Champions” was played off the PA system, fans were already talking about when they would be seeing the band next. Judas Priest was brought up with bands like KISS and Aerosmith but at the rate they are going, Priest will still be going for more years to come.

    Sabaton setlist: Ghost Divison, The Last Stand, Swedish Pagans, The Red Baron, Bismarck, Stormtroopers, Carolous Rex, Shiroyama, The Attack of the Dead Man, Primo Victoria, Soldier of Heaven, To Hell and Back

    Judas Priest setlist: Panic Attack, You’ve Got Another Thing Comin’, Rapid Fire, Breaking the Law, Lightning Strike, Love Bites, Devil’s Child, Saints in Hell, Crown of Horns, You Don’t Have to Be Old to Be Wise, Turbo Lover, The Green Manalishi (With the Two Prong Crown), Painkiller, Electric Eye, Hell Bent for Leather, Living After Midnight

  • Hearing Aide: NYC-Based Indie Group Rookie Mistake Release Debut EP, “I Will Not Die in Upstate New York”

    NYC-based indie-folk group Rookie Mistake have released their debut EP I Will Not Die in Upstate New York on March 29. The album is full of intriguing sound and promising talent.

    I Will Not Die in Upstate New York

    Rookie Mistake is made up of Nick Fioravanti, Gianna Minerva, Justin Gambardella, and Ethan Brown. They were originally formed in May 2022 in college at SUNY Oneonta and are currently based in the NYC Metro. They’re excited to share their debut EP, I Will Not Die in Upstate New York after playing house shows and small clubs around New York State.

    The group is heavily swayed by artists from genres like folk, indie, alternative, and classic rock. You can hear similarities to groups like Joy Again, The Walters, The Lumineers, and Mumford and Sons. The group refuses to conform to a specific genre. They have elements of folk, indie, bluegrass, and glimpses of alternative.

    The opening track “I Will Not Die in Upstate New York” sets the tone of the EP with a heavy emphasis on acoustic folk, but still gripping the indie sound. It is a story of returning home, leaving the past behind, traveling far and wide and living life. The next track “Fortune Cookie” is quite laid back, but transforms into a heartfelt, hopeful and fast-paced tune. This track really shows the singer’s heavier vocals and the instrumental capabilities as more than just soft folk.

    When the song “Trampoline” plays, the band really starts to show their indie roots. They prove their talents are simply multi-dimensional. “Famous” and “I Love it Here” bring back those soft, folk elements and showcases that the band can play a range of sound and can make indie-folk really pop. The songs are filled with depth, both emotionally and instrumentally.

    To hear Rookie Mistake’s debut EP and to learn more about the band, click here.

  • Atlas B. Brings Some Spice to NoFun in Troy

    Electronic music can be confusing. Deciphering the differences between Jungle, Drum & Bass, Dubstep, Techno, House, Trance, and numerous others can be quite the challenge, but also part of the fun. Electro-Soul Beats is a genre that might elude most, but not Atlas B, it’s where he lives. On April 13, at NoFun in Troy, Atlas B performed his unique brand of music.

    Using a laptop, an APC 40 controller, and (I assume) Ableton Live, Brian Enders took the audience on a sonic journey that was sample-rich, melodic, often-times wobble-bassey, and just plain fun. And that was just the sound.

    Brian Enders A.K.A. Atlas B. is a Clifton Park native and has been making a name for himself locally. Starting in November of 2021 he launched his Atlas B. project using DistroKid to distribute his first single “Aeronautics” and has consistently been producing and performing ever since. He’s no stranger to NoFun as he’s done numerous shows there and packs in a crowd.

    The normally darkened scene at NoFun was lit up like a Christmas tree with a gigantic curved LED wall that spanned nearly the entire width of the stage, not to mention the 6 CRT monitors at the foot of the stage. The complex, fractal-like, mirrored animations were a great accent to the hard-driving grooves that boomed throughout the space and spilled into River Street.

    Occasionally Atlas B. was joined by Noah Fense Beers for some welcome and well-delivered rap lyrics atop the pristine chunked-out beats, giving the whole show a nice ebb and flow. It highlighted the power of collaboration and how music can be a binding force between people. That force was present between the two performers and it radiated into the audience. That good vibe was brought to the forefront when Ender’s brought out his remix of “Say You’ll Be There” by The Spice Girls. There’s something to be said about an artist that can weave a set of music together that hits hard and then drop in The Spice Girls without causing bedlam.

    The future for Atlas B. looks bright as word gets out and his music gains momentum. No future dates announced yet, but certainly keep an eye on Troy’s NoFun and Empire Live in Albany as he tends to pup up there.