HiddeninTheHoney is the latest release from Albany’s Atelo Songs. After performing across New York State for 15 years as Sam Gleason, Atelo Songs was “born” in 2020. According to the artist’s bio, embracing this new moniker was “marking a transformative phase in his artistic journey”.
Surviving an apartment fire, and an accident that would leave him with permanent injuries and brain damage requiring eighteen months of rehabilitation, Atelo Songs emerged as a “means of self-betterment and creative expression.” Atelo joined Albany Barn, an artist housing program, and has spent the last several years focusing solely on music.
HiddeninTheHoney is interesting and artistic. There’s lots of substance to his lyrics and they are delivered with interesting melodies and smooth harmonies.
We all have those certain songs, albums and artists who have helped us get through trying times. HiddeninTheHoney is an album about trying times and their aftermath. It sounds heavily influenced by Panic! At The Disco, almost as if it was their music that helped Atelo through his struggles. “Panic!” fans will hear lots of familiarities but it’s never copy-cat or cookie cutter. Atelo delivers his songs in his own style with a demeanor more Elvis Costello than Panic! At The Disco’s Brendan Urie.
HiddeninTheHoney kicks off with the rocker “Not in The Mood”. Slide-Guitar and rollicking piano compliment the fast paced lyrics of the verses. The chorus is catchy and very relatable with Atelo singing that He’s “always trying to improve but today I’m just not in the mood.”
“Death Dead in The Eyes” has a Latin, jazzy sound. If Carlos Santana had invited Elvis Costello to perform a track on one of his collaboration albums, this may be the result.
“Go Meet The Trees” is a campy, sing a long song that sounds as if someone made a left turn leaving a Panic! At The Disco concert and ended up at a GratefulDead show. The melody sounds like it could belong in a modern day pharmaceutical commercial. Warning – You may find yourself singing along by the end.
The album’s final track, the trans-like “Final Door” closes with the line “There’s Nothing in Store” but there may be lots more in store for Atelo Songs. Don’t be surprised if You hear some of his music on modern rock radio or appearing on a movie soundtrack or in a Netflix series. HiddeninTheHoney is a good listen and a musical journey, creative and striving for originality throughout, and may just take Atelo Songs from Albany to the national spotlight.
On February 24, Patchogue Theatre was alive with the iconic reggae sound of The Legendary Wailers, featuring the legendary Junior Marvin. The band’s lineup included Mary-eL on guitar, known for her collaborations with Roger Waters, Tom Morello, and Billy Corgan, Grammy-nominated singer Desi Hyson on lead vocals and keyboard, and Isaac Kouao on drums.
Born in Kingston, Surrey County, Jamaica, Marvin’s journey traces back to his childhood in London, where he developed a passion for both acting and music. He made a mark in the entertainment world with a role in the Beatles’ film Help! and subsequent television appearances. Meanwhile, his musical apprenticeship unfolded in the United States, sharing stages with legends like T-Bone Walker and Ike & Tina Turner.
Patchogue Theatre, a historic venue with a rich cultural legacy, served as the perfect backdrop for this unforgettable performance. The theater has been a hub for the arts since its opening in 1923, hosting a variety of shows ranging from vaudeville to modern performances.
The crowd was treated to a soothing setlist, featuring timeless BobMarley classics. Hits like “Get Up, Stand Up,” “Stir It Up,” “Buffalo Soldier,” “Jammin,” and “One Love” reverberated through the venue, bringing the spirit of reggae to life.
The grand finale of the night was the performance of “Exodus,” leaving the audience in awe and concluding the show on a high note.
The following day, Junior Marvin made a special appearance at Looney Tunes Record Store in West Babylon. In an intimate setting, he captivated the audience with solo renditions of “Redemption Song” and “Stir It Up,” showcasing his masterful guitar playing and soulful vocals. Fans had the opportunity to get up close and personal as Junior signed copies of his latest album, “Happy Family,” and posed for pictures.
The event was a testament to the enduring legacy of reggae music and the incredible talent of Junior Marvin and The Legendary Wailers. The Patchogue Theatre and Looney Tunes Record Store provided the perfect venues for fans to experience the magic of this iconic musician, ensuring an unforgettable weekend of music and memories.
Adding to the excitement of the weekend, the new Bob Marley biographical film, “One Love,” has become a box office sensation. Portrayed in the film by his son, David Marvin Kerr Jr., Junior Marvin’s character adds a personal touch to the cinematic journey, providing audiences with a deeper understanding of the man behind the music. With a worldwide gross of $120.6 million, the film stands as a testament to the enduring influence of Bob Marley’s timeless message of love and unity.
Setlist: Get up, Stand Up, Stir It Up, I Shot the Sheriff, Buffalo Soldier, Roots, Rock, Reggae, Three Little Birds, Natural Mystic, Positive Vibration, No Woman, No Cry, My Friends, Jamming, One Love, Blackbird Fly, The Heathen, Exodus
On February 24, the Binghamton Philharmonic performed a crowd-pleasing pops concert – with a twist. In “Pops at the Forum,” rather than sticking to the timeworn pops formula of show tunes and light classics, Maestro Daniel Hege led the orchestra in a satisfyingly dynamic mix of opera excerpts, overtures, film music, and even rock.
Percussionists Steve Mathiesen, Elaina Smales, Sam Lazzara, and Joel Smales
The show spotlighted the talents of several of the Philharmonic’s world-class musicians. Principal cellist Hakan Tayga, along with percussionists Julie Licata, Steve Matthiesen, Sam Lazzara, and the father-daughter team of Joel and Elaina Smales, provided dramatic solos in Tan Dun’s atmospheric “Crouching Tiger” Concerto. Principal flutist Karen Bogardus and oboist Evan Ocheret phrased their solo lines sinuously in Fauré’s delicate Pavane in F-sharp minor. The orchestra’s trumpet section – Frank Campos, Ben Aldridge, and Jud Spena – brought the heat in Leroy Anderson’s toe-tapping “Bugler’s Holiday.” And the whole audience whistled along enthusiastically to the “Colonel Bogey” March (known to some as the “Comet” song!).
Meg Cronin and Haiden Scanlan
Other highlights of the show were Wagner’s famous Ride of the Valkyries, the brass-heavy “Fanfare on Amazing Grace” by living African American composer and Upstate New York native Adolphus Hailstork, and a hard-driving orchestral arrangement of the Led Zeppelin classic “Kashmir,” with Sam Lazzara rocking out once again on solo drum.
Lisa Reynolds, Lois Zuck, and Dan Reynolds
As usual, it was a pleasure to see many children and teens in the audience; one young Hakan Tayga fan seated directly in front of this reviewer played air cello along with the soloist’s every note. The rest of the audience was just as appreciative, leaping to its feet spontaneously at the close of the concert. “Pops at the Forum” was a wonderful addition to the Philharmonic’s season line-up, and a great way to while away a winter day!
Katelyn Jackson, Elaina Neubert, Megan Lewis, Allayna Bidwell, and Ava CiriglianoJudi Hess and Vikki Collazo
The Pit Brothers Band has announced the release of their latest album, Through The Fog. The band consists of four members including two brothers, Eric and David Pitagorsky, who hail from Queens, NY. The album showcases the band’s multi-genre talents and intense groove.
Through the Fog is a testament to The Pit Brothers’ dedication to their craft and their commitment to delivering unforgettable live performances. This album serves as a milestone in the band’s journey to a new era while paying homage to their roots. Listeners can expect a captivating experience that showcases the band’s raw talent and vibrant energy.
The album is compiled of nine live tracks. Many of the songs on the album have very strong Grateful Dead and Allman Brothers Band inspiration to them that is very apparent. The sound that The Pit Brothers Band achieved is comparable to groovy, bluesy jam bands. A common theme throughout the album is a high intensity groove with various titillating sounds playing parts of their own.
The live album has unique and captivating energy and sound. The group displays compelling organ sounds, quick and witty guitar riffs, and a jovial vocal style that keeps the listener bopping. There is much Pink Floyd, Rolling Stones, and even Bob Dylan undertones sprinkled throughout.
To listen to The Pit Brothers Band’s latest album, Through The Fog, click here.
On the evening of Saturday, February 17, music enthusiasts gathered at the historic Landmark Jeanne Rimsky Theater in Port Washington for a memorable night of extraordinary performances headlined by the immensely talented guitarist Brandon “Taz” Niederauer and his friends. The event also featured the opening act, Circus Mind, which added its unique flair to the already electric atmosphere.
A Glimpse into the Past: Landmark Jeanne Rimsky Theater
The Jeanne Rimsky Theater in Port Washington stands as a cultural gem within the community, offering a vibrant space for artistic expression and entertainment. Named in honor of the esteemed philanthropist Jeanne Rimsky, this theater has become a focal point for local and regional performances, ranging from theatrical productions to musical concerts and dance recitals. With its intimate setting and state-of-the-art facilities, the Jeanne Rimsky Theater provides audiences with memorable experiences, while also serving as a nurturing ground for emerging talents. Its commitment to fostering creativity and enriching the cultural landscape of Port Washington makes it a cherished venue for both performers and spectators alike.
Circus Mind Sets the Stage Aglow
The evening kicked off with an engaging performance by Circus Mind, a band known for its fusion of jazz, rock, and soul. The ensemble showcased their musical prowess with members Mark Rechler on keys and vocals, Brian Duggan on guitar, Michael Amendola on sax, Dylan Niederauer on bass, Steve Finkelstein on percussion, and Dan Roth on drums.
Circus Mind’s setlist was a journey through a diverse musical landscape, beginning with the mesmerizing “Jazziest Time” and weaving through songs like “Swing Set,” “Whole Lot of Nuthin,” and “Baby Come Back Down.” The crowd was treated to an unforgettable cover of “Right Place, Wrong Time,” which left everyone craving for more.
Dylan Niederauer and Steve Finkelstein seamlessly transitioned into their roles as they joined Taz and his band for a dynamic collaboration later in the evening.
Taz and Friends: A Musical Extravaganza
Brandon “Taz” Niederauer took the stage with his band, accompanied by stellar musicians Nick Cassarino on guitar and vocals, Matt Godfrey on keys, and Kendall Lentz on drums. The crowd was in for a treat as the ensemble showcased their versatility and musical chemistry throughout the night.
Taz’s setlist featured an eclectic mix of classics and contemporary hits, with standout performances including a soulful rendition of Creedence Clearwater Revival’s “Fortunate Son,” a powerful take on Stevie Wonder’s “Living for the City,” and a heartfelt rendition of Prince’s “I Would Die 4 U.”
Adding an extra layer of magic to the night, Taz welcomed the talented Rita Panico to the stage for a series of captivating vocal performances. The highlight was a stunning cover of Chaka Khan’s “Ain’t Nobody,” along with renditions of “Let It Whip” and a soulful finale with “Red Hot Mama.”
The night at the Landmark Jeanne Rimsky Theater reached its crescendo with the energetic and soulful vibes of “Red Hot Mama,” leaving the audience on their feet and applauding the musical brilliance that unfolded throughout the evening.
Songwriter Cosby Gibson has released two videos to her YouTube channel to display both her music and the everyday activity of a songwriter. The music and videography are carried out with unique expression and inspiration.
Cosby Gibson is an award-winning performing songwriter who lives near the Adirondack Mountains. She writes unique, original acoustic and folk-style songs on guitar and dulcimer. GRAMMY balloted, and winner Capital District Music Awards for Best Folk Album, 2017 and 2018.
She’s won Dorn Space Arts Award for Music Outreach, 2019, Best Folk Album, 2021, and Outstanding Folk Artist in 2023, and has been a nominee for the Eddies Music Awards for Best Folk Duo in 2023.
Cosby’s first video, “Day in the Life: A Song Writer’s Day Off,” details everyday activity that she participates in. The 15-minute video shows how Cosby creates and practices her music, delving into the ways she recharges and unwinds. The video also emphasizes the means in which she becomes inspired and how nature connects musical idea and artistic expression beautifully.
Gibson is seen in the video performing various tasks like making breakfast, taking in the atmosphere of the outdoors and doing laundry, showing that inspirations can be drawn from all types of activity.
“It’s almost as if Cosby composes from another time; simpler, more honest, more concise, without frivolous self-importance…Follow Cosby’s footsteps through the forest, to a cabin with a stone fireplace, warm and inviting.”
Greg Jackson, Upstate Live
The second video Cosby Gibson posted is a music video for the “The Hollow Crown,” an uplifting folk tale of kings and queens and knights who fought over the “hollow crown.” In the video, Cosby tells the story of how the once sought-after crown, became one that brought upon evil and misfortune. The tune is joyful, with a solemn background.
The tune ends on peaceful notes, and the music video does as well. The hymn is quite catchy and is reminiscent of a story book of sorts.
For more information on Cosby Gibson and to hear some more of her works, click here.
Today marks a somewhat somber anniversary in Grateful Dead history as the band’s second show at their final residency at The Capitol Theater this day in 1971 would be the first of many without drummer Mickey Hart. Racked by depression and guilt from his father stealing money from the band, Hart would take a self-imposed hiatus for several years before rejoining in 1974.
stub via Ed Perlstein
As the Dead prepared for some of their last shows ever at The Cap, they were still treating this a short-term absence. They continued to deliver a string of new songs and material, many of which made their debuts at the memorable show from the night before. The music does not seem to suffer at all and takes on a sleeker, more focused sound with only one drum kit now being used. This show was even selected as one for live release by soundman Dan Healy back in the early 90s but never got officially unveiled until 2007 as Three From The Vault.
Discover Grateful Dead shows from over the years across New York State with our interactive map below
Unsurprisingly, the recording of tonight’s show begins with some on-stage tuning from the Dead. This actually elicits two distinct warm-up/time wasting songs with quick takes on “The Merry Go-Round Broke Down” and “Spring Song.” The end of the latter paves the way for the band to launch right into a show-opening “Truckin’.” It’s a tight and concise jam to start things off that certainly has a little less “thunder” to it thanks the subtraction of one drum kit. The always emotional “Loser” follows with Jerry Garcia taking the lead on vocals and delivering its powerfully somber guitar solo with ease.
“Cumberland Blues” swings the emotion right back the other way with a fun, spirited take fueled by some peppy Phil Lesh-produced bass lines before Pigpen gets his first say of the evening with his signature take on the Elmore James blues classic “It Hurts Me Too.” This rounds out a very similar opening to the show from the night before with the three of the four numbers being repeats.
These kept on coming with the brand new “Bertha” that follows, only the fourth one ever performed after its East Coast debut the night before. Some issues with the early vocals occur on the recording, but they soon get resolved on this fast-paced and energetic take with Pigpen on organ making notable contributions. The second-ever “Playin’ In The Band,” which also debuted last night, comes next although no jam of any merit is produced with the band very much still learning how to tackle this one. The string of repeats gets broken up with an electric take on a song more often associated with acoustic Dead, “Dark Hollow.”
The music does finally stretch out a bit with a 15-minute take on another blues classic “Smokestack Lightning,” with Pigpen once again manning the lead vocals and playing the part of Howlin’ Wolf as only he can. His improvised lyrics and harmonica play in conjunction with some stirring guitar licks courtesy of Garcia provide all the fuel that this first set highlight needs.
The Dead then round out the first set at The Cap this evening with a breakneck “China Cat Sunflower” and “I Know You Rider” that features its traditional seamless segue between the two. The new songs then kept on coming in the second set, beginning with the Bob Weir-led tunes “Greatest Story Ever Told” and then only the third ever known performance of “Johnny B. Goode,” a Chuck Berry cover that would continue to be seen on Grateful Dead setlists throughout the band’s touring career.
After some intricate tuning, a fresh song finally emerges, the brand new “Bird Song,” with Garcia reassuming lead vocals and leading the group through an especially rhythmic early rendition that seems to peter out fairly suddenly instead of being stretched out like it would be in the years to come. This sets the stage for Pigpen to shine once more as then leads the group through the blues-laden and Robert Hunter-penned “Easy Wind.” There would be only two more performances of this vintage Pigpen tune ever played after this one.
Another Dead classic then makes its live debut at the Capitol Theater as the first ever “Deal” is played with Jerry grabbing the reigns once more and leading the band through a rapid take on another soon-to-be live show regular. The second set “Drums” section may be missing one drummer this evening but Bill Kreutzmann handles this, and the rest of the show, with ease and finesse, paving the way nicely into the percussive-heavy opening of “The Other One.” This offers some of the real exploratory playing of the show as Garcia, Lesh and Kreutzmann all seem to lock in, eliciting tribal-like rhythms and patterns in a jam that slowly crescendos.
It comes to a pretty abrupt ending, however, as the Dead seem to want to fit in the second ever “Wharf Rat” before things come to a close. This slows the tempo down significantly as Garcia belts out the emotional lyrics on a another future live show staple. After one last extensive tuning session, which serves as an unofficial encore break of sorts, the band launches into one last cover for the night, a rousing, stretched out take of “Good Lovin’” with Pigpen once more adding his signature style to the proceedings.
The show then wraps up with a standard run through of an “oldie,” in “Casey Jones” as night two of the Dead’s final residency at the Cap comes to a close and the short-lived Mickey Hart-less era of the band begins.
Grateful Dead – Capitol Theater, Port Chester, NY February 19, 1971
Set 1: Truckin’ , Loser, Cumberland Blues, It Hurts Me Too, Bertha, Playing In The Band, Dark Hollow, Smokestack Lightnin’, China Cat Sunflower > I Know You Rider
Set 2: Greatest Story Ever Told > Johnny B. Goode, Bird Song, Easy Wind, Deal, Cryptical Envelopment > Drums > The Other One > Wharf Rat, , Good Lovin’ , Casey Jones
Elliot Moss is a multi-instrumental singer and producer from NYC. His latest LP How I Fell is an emotional novel of his ups and downs as not only a musician but simply as a human. The 11-track LP boasts a variety of vibrant sounds coming together to form a meaningful, colorful, mix of musical talent.
The alt-pop album How I Fell begins with the floaty, intimate song “Altitude.” The track has ethereal vocals by Elliot, a punchy, powerful drumbeat, sprinkled saxophone pieces, layered guitars, and harmonies as well. The song reaches a powerful climax and then begins its soft descent before its ending.
“Lazy” and “Hearts Lose” keep a solid, chill, relaxed vibe in the musical journey that is this album. Autotuned vocals and low-vibration backing instrumentals keep the atmosphere melancholy but hopeful sounding.
“Magic” begins the same as the last two, down and relaxing. The tune later turns into a very alt-pop or pop-rock sound, showcasing Elliot Moss’s creative range. The remaining songs reflect this as well.
Elliot chose to add a variety of sounds to this album; the alternative heavy pop sound, the ethereal, floaty sound, the soft melodic down style, and other variety of sounds can be heard throughout.
How I Fell by Elliot Moss gives vibes of Sam Smith, with his vocal style, instrumentation, and the genre alone, as well as Tame Impala, The Score, and perhaps Green Day.
This album is a clear reflection of Elliot’s up and down moments as a musician and just as a person.
To learn more about Elliot Moss and to get your ears on How I Fell, click here.
Tuesday, February 13, was a sleet-streaked Tuesday, as the Big Apple got its first snowfall in two years, but within a few notes of Daniel Donato’s standout playing, New York City’s iconic Bowery Ballroom melted away into sun-drenched paradise as the sold out crowd packed in.
23 shows deep into his 2024 winter/spring tour, Donato is a regular visitor to New York State recently selling out Brooklyn Bowl just late last year, so it is a treat getting to see him in such an intimate venue. It’s clear Donato and his band are destined for greater things. Whether he’s strumming out phaser-soaked melodies or channeling his southern drawl through machine gun-like rapid-fire guitar riffs, Donato’s virtuosity, honed through hard practice, is simply breathtaking. His guitar becomes an extension of his soul, delivering lyrics like “..the country boy lived within the sky blue telecaster” with a palpable authenticity.
Donato’s synergy with his road warrior bandmates creates a groove that feels like a well-worn freight train. Will McGee on electric and standup bass, Nathan “Sugar” Aronowitz on keys, organ and guitar, and Will Clark on drums. Donato and his crew exude an aura of rock and roll royalty, with a crew whose uniform of black cowboy hats and boots evokes the “Memphis Mafia.”
From the onset, drummer Will Clark’s metronomic beat set the stage for a musical journey that refused to relent. Clark’s percussive prowess seamlessly navigated through various styles and tempos, providing the perfect foundation for Donato’s cosmic country odyssey. A standout of the night was Aronowitz’s multi-instrumental talents, stepping up from the keys to deliver exceptional guitar work during “Dancin In The Desert” and organ playing that is seemingly otherworldly.
The crowd’s unofficial uniform of tie dyes, western wear, and psychedelia underscores Donatos ability to tap into a psychedelic Americana renaissance. While his style may draw comparisons to jam aficionados, Donato’s signature sound remains firmly rooted, with an unwavering dedication to his craft shines through. From humble beginnings being introduced to Grateful Dead through a high school history teacher to honing his chops with over 400 sets with Nashville’s famous Don Kelly Band, Donatos’ rise in the music industry has been the product of his own dedication, and the hard work of those around him.
As Donato and his team bid farewell, the audience barely budged, eagerly anticipating an encore. Returning to the stage, they delivered a jumping cover of the Dead’s “Quinn The Eskimo,” echoing sentiments of endless possibilities and boundless horizons. With his new album, Reflector, now out, Donato has proved himself not just as a musician but as a captivating live performer. Fans can look forward to experiencing Donato in NYC again this summer when he joins moe. to play Pier 17.
Daniel Donato’s Cosmic Country – Bowery Ballroom, NYC – February 13, 2024
Set 1: Hi Country, Haldway (In Between), Lose Your Mind> Waymore’s Blues> Mystery Train, Rose in a Garden, Darlin’ Cory [1] , Dance in the Dessert Set 2: Fee Wheelin’> Everybody’s Talkin’, Weathervane> Blue Skies> Weathervane, Cosmic Doo Doo, Better Deal Blues, Chore, Sugar Shack [2], Luck of the Draw, Sugar Leg Rag. Encore: Quinn the Eskimo [3] [1] The Weavers cover [2] Nathan “Sugar” Aronowitz on vocal [3] Grateful Dead Cover
They say sometimes you need to go away to come back and for fans of Long Island’s most promising powerhouse fusion trio Baked Shrimp, you can only hope that’s true.
After tirelessly traveling the roads, sailing the seas and playing music together for the last seven years, 2024 finds the band in uncharted waters. Murky and unclear. Fresh off the release of their 5th, yes 5th, studio album, fans of the band (known as the Crustnation), were both surprised and saddened to hear that Baked Shrimps’ current tour would also be their last. But before you can stick a fork in them, the tasty band with the tasty jams served up one final course on Friday, February 9th, giving longtime Albany supporters one final chance to dance at the packed-out Hollow Bar + Restaurant, a venue that’s played an important part in the bands storied history.
Baked Shrimp performed their final Albany show on 2/9/24 at The Hollow.
The double dose of entertainment started off proper with an opening set from Albany’s Glass Pony. Supporting the release of their latest album Washed Away, the self-described ‘psychedelic groove circus’ had fans both new and old mesmerized by their infectiously danceable tunes from the very start. Comprised of Eddie Hotailing (guitar/vocals), Chanda Dewey (drums), Jeff Picarazzi (bass) and Greg Pittz (lead guitar), the band has seen a noticeable growth in both their popularity and in their song writing over the last year. Showcasing their dynamic range and versatility with a set of mostly original songs like “Greenhorn Blues,” “Hypnos” -> “Somewhere to Go” and “Doppler,” it was Glass Pony’s searing rendition of the H.G. Wells/War of the Worlds-inspired jam “Grover’s Mill 1938” that was perhaps most memorable.
Glassy Pony’s Eddie Hotailing connects with the Albany audience on 2/9/24.
Humble and quiet off stage, when frontman Eddie Hotailing is in the grips of performing, he becomes like a rabid animal unleashed. Whether jumping off the stage and jamming out in the crowd, climbing up the walls or on top of Chanda Dewey’s drum kit, feeding off the energy and connecting with the audience is what he does best. Perched high atop The Hollow stage with his guitar in the air, Hotaling has never been more magnetic. Paying tribute to one of the groups biggest influences, Glass Pony would finish out their set with a cover of God Street Wine’s “Nightingale.” A great start to a great night of rock ‘n roll music indeed.
Glass Pony kicked things off proper at The Hollow on 2/9/24.
After a brief set break, promoter Greg Bell of Guthrie Bell Productions took the stage to say a few words about Baked Shrimp. An early believer in the band, Bell is largely responsible for bringing them to the Capital Region so many times over the years, but sadly, this night would be his last. Introducing the band by saying he loves these guys and calling them “the most polite fucking band he’s ever met in his life,” Baked Shrimp jumped right into the deep end with a near 12 minute confessional-like rendition of “More Or Less.” It was clear the guys weren’t just going through the motions. Every note had added meaning and things felt sentimental from the start.
Weird Times: Bassist Maz Perrotti filled in for Baked Shrimp’s Scott Reill on 2/9/24.
Briefly pausing to acknowledge the elephant in the room, the band took a moment to welcome bass player Max Perrotti to the “Crustnation” family. Filling in for original Shrimp bassist Scott Reill on this night, the amount of material and notes Perrotti was able to learn is a bit mindboggling. While the band has kindly requested privacy regarding the specifics of the situation, it was certainly weird seeing someone other than Scott holding down the low end. Perhaps intentionally building on that theme, the infectious opening licks of “Weird Times” and the deep improvisational jam that came from it further laid the blueprints of the unpredictability yet to come. After showing off a bit of country-style pickin’ and counting their “Lucky Stars,” Baked Shrimp would go all the way back to their earliest years with “Touché” from their 2018 debut album Feast of Delight.
Baked Shrimp’s Jared Cowen threw everything but The Wrench (his custom axe) at The Hollow on 2/9/24.
Seamlessly segueing from the psychedelic vibes into their first call-back cover of the night, the band jammed on the “Peter Gunn Theme” in a nod to their Blues Brothers-inspired Halloween set that took place at this same venue in 2023. Fans were eating it up and dancing their tushies off as the band brought it back to the final verse of “Touché,” which I could have sworn also contained teases of “The End” by The Doors.
Suddenly stopping the show and announcing he simply can’t go on any longer without Bones, lead guitarist and frontman Jared Cowen then introduced the Albany audience to the band’s latest amusing muse, a replica skeleton torso made of, you guessed it, bones. Placed atop the bass drum, it didn’t end there as this will forever be remembered as the night local artist Kosmic Kris introduced Bones to Legs, a rather creepy looking mannequin base covered in various inks. Paired together, somehow Bones and Legs just worked, like love at first sight, almost as if it were meant to be.
Bones got a Leg up during Baked Shrimp’s final Albany performance on 2/9/24.
The two props would remain on stage for the remainder of the show as charismatic drummer Jager Soss took over on vocal duties for the down and dirty rocker “Molly Ann.” Baked Shrimp would bring the tremendous first set to a close with the lead single “Chop Suey” from 2024’s final self-titled album. Catchy as hell and even better live. Working in more call-backs to previous Halloween shows, “Chop Suey” also contained “Scooby Doo Theme” teases (Scooby Doo 2018), and a “Ding-Dong the Witch is Dead” jam (Wizard of Oz 2019).
Drummer Jager Soss performing in Albany on 2/9/24.
Following a quick 10-minute set break, Baked Shrimp returned for Set II with purpose and vigor. After launching into an extended “Pork Etiquette” -> “Dragostea din tei” -> “Pork Etiquette” dance sandwich, the band called back to their 2021 NRBQ themed Halloween show with the rarely played “Howard Johnson’s Got his HoJo Workin.” From fun to introspective, there was a noticeable shift in The Hollow’s vibe when the band mellowed out on “The Victim” before lifting the mood back up with John Fogerty’s ‘can’t miss’ singalong “Centerfield,” which the band first played at their baseball themed Halloween show back in 2020. You can watch fan shot video of that in the video clip below.
Put Me in Coach: Baked Shrimp had the whole crowd singing along to their cover of “Centerfield” on 2/9/24.
After leading the crowd through another song from the new album called “Can’t Cut the Mustard,” the bittersweet feeling that the end was near suddenly felt very palpable. Expressing a genuine and heartfelt “thank you” to the audience for all the years of good memories and support, Cowen would mention how special this night felt to him and his hopes people will keep up with the guys down the line as they will still be out there making music in one form or another. After getting the ‘OK’ from both Greg Bell and Bones, Baked Shrimp would encore for the final time in Albany with a funked out nod to their 2022 Spinal Tap show with “All the Way Home,” before closing with a nostalgic speech about the importance of friends and loved ones, forgetting about those ‘weird’ times and to be present in the moment, to smile, to dance with strangers and the importance of supporting your local music scene. Pouring everything left in the tank into the powerful and soaring anthem “Rock Bottom,” which included subtle Umphrey’s McGee “All In Time” and Led Zeppelin “Immigrant Song” song teases, Baked Shrimp stood tall at the end, proud and powerful and completely exhausted as the marathon performance came to a close just after 2am.
Baked Shrimp serving it up in Albany on 2/9/24.
What. A. Show. Incredible musicians and even better people. While this chapter of Baked Shrimp may be coming to a close, it’s clear there’s still lots of music and lots of talent left inside these guys. It’s been a privilege watching them grow and getting to know them a bit over the years. From their earliest gigs at hole-in-the-wall clubs, to gracing the stage at major festivals like Peach, Northlands, Adirondack Independence, and the Great South Bay, to teaching us how to “Love Like Lon” at their own inaugural LonCon Festival, we here at NYS Music wish nothing but this best for all the members of this band. If hard work truly pays off, one day Baked Shrimp will surely be swimming in riches as bountiful as the heart of the ocean itself. Don’t take it from me though, listen for yourself! You can stream the entire show from The Hollow now on Bandcamp or at the link below. Baked Shrimp is scheduled to play their final show on Saturday, February 17, 2024 in Bridgeport Connecticut in what will surly be an emotional evening.
Baked Shrimp | February 9, 2024 | The Hollow | Albany, NY
Set One: More or Less, Weird Times, Lucky Stars, Touché -> Peter Gunn Theme -> Touché, Molly Ann, Chop Suey. Set Two: Pork Etiquette -> Dragostea din tei -> Pork Etiquette, Howard Johnson’s Got his HoJo Workin’, The Victim, Centerfield, Can’t Cut the Mustard. Encore: All the Way Home, Rock Bottom. Notes: Entire show featured Max Perrotti on bass, filling in for Scott Reill. This show paid a tribute to Baked Shrimp’s 6 Halloween performances which all took place in New York, 2 of the most recent being at The Hollow. “Peter Gunn Theme” from Blues Brothers 2023, “Chop Suey” contained “Scooby Doo Theme” teases (Scooby Doo 2018), and a “Ding-Dong the Witch is Dead” jam (Wizard of Oz 2019), “Howard Johnson’s Got his HoJo Workin’” from NRBQ 2021, “Centerfield” from Baseball 2020, and “All the Way Home” from Spinal Tap 2022. “Bones” and his new partner “Legs” were introduced and brought on stage prior to “Molly Ann.”
Glass Pony | February 9, 2024 | The Hollow | Albany, NY
