Juliana Hatfield performed at the intimate City Winery Main Stage on January 28 in NYC. Outside of her solo work, Juliana is known for her involvement in indie rock acts such as Blake Babies and The Lemonheads. Opening for her was Leslie Mendelson. Leslie opened the show with an acoustic set of originals and cover songs. Juliana then took the stage and performed a solo set filled with older deep cuts, songs from her 2021 album Blood, and excerpts from cover albums she’s released in the last few years.
Juliana Hatfield at City Winery NYC
In November, Juliana released an album of Electric Light Orchestra covers. Motifs of loneliness and escapism were apparent. Even in a room filled with people, you could feel these prevailing themes. Substituting parts of ELO’s full orchestra, Juliana made her own adjustments that added a unique personal spin to the songs. On her record, Juliana used vocal keyboards to emulate the string instruments to accompany the lead guitar.
This album followed two other cover collections Juliana has released, including The Police and Olivia Newton-John. The blue twinkling lights that filled City Winery’s ceiling felt like the perfect throwback to the cosmic imagery of ELO’s early stage shows. The crowd was equally entranced by both her performance and witty stage banter.
Setlist: Dancin’ ‘Round and ‘Round (Olivia Newton‐John cover), Candy Wrappers, Hotels, Forever, Everybody Loves Me but You, Necessito (Some Girls song), Wonder Why, Telephone Line (Electric Light Orchestra cover), Please Mr. Please (Olivia Newton‐John cover), Hole in My Life (The Police cover), Tourist, Everything’s for Sale, My Sister (The Juliana Hatfield Three song), There’s Always Another Girl, Ugly, I Got No Idols (The Juliana Hatfield Three song), Had a Dream, Bottles and Flowers, June 6th, Shining On, Nirvana, Spin the Bottle, I Wanna Be Your Disease, Choose Drugs
In a recent event at the LIMEHOF, the spotlight shone on the legendary comedian, writer, and actor, Jackie Martling, following a screening of his much-anticipated documentary, “Joke Man.” The intimate setting brought together fans, both familiar and new, creating an atmosphere that resonated with warmth and nostalgia.
Martling opened the evening by expressing his gratitude for the audience’s presence, noting that while previous screenings took place among family, this particular event welcomed strangers as well. As the evening unfolded, Tom Needham, host of the event, guided the conversation through key moments of Martling’s career, providing insights into the making of the documentary and shedding light on the comedian’s multifaceted talents.
“The Journey to ‘Joke Man’”
The transition of the LIMEHOF to embrace comedians and entertainers of all kinds was highlighted during the interview. Martling, an integral part of the Hall of Fame since its inception, played a crucial role in this evolution. Needham praised the comedian for his diverse career, acknowledging his contributions as a writer, comic, actor, filmmaker, and even a musician.
Martling shared the serendipitous story of how “Joke Man” came to be, emphasizing the collaborative efforts with director and producer Ian Karr.
The Musical Side of Jackie Martling
The conversation then shifted towards Martling’s lesser-known but equally significant role in music. The documentary showcased Martling’s musical journey, featuring his contributions to the soundtrack. Martling humorously confessed that they “stole” his music for the film, recounting his early attempts at music and how he eventually found his comedic calling. The discussion touched upon his initial struggles with music, the evolution of his comedy, and the unexpected joys of making music albums.
Audience members were treated to a sample of Martling’s musical talents as his songs played in the lobby, emphasizing the versatile nature of his artistic pursuits. The interview delved into Martling’s enduring love for music, tracing it back to his early attempts at songwriting and the humorous anecdotes surrounding his musical endeavors.
The Howard Stern Show and Beyond
A significant portion of the interview focused on Martling’s legendary tenure on the Howard Stern Show. The comedian provided a detailed account of how he initially joined the show, highlighting the organic nature of his collaboration with Howard Stern, Robin Quivers, and Fred Norris. Martling debunked the myth of instant success, narrating how he committed to the show for three years without pay before becoming a permanent fixture.
The interview explored Martling’s role as the behind-the-scenes joke writer, detailing the intricacies of how he seamlessly contributed to the show’s comedic brilliance. His reflections on the challenges and successes of the show, including its move to mornings and eventual syndication, underscored the lasting impact of the Howard Stern Show on both Martling’s career and the world of radio.
The evening concluded with Martling reminiscing about the show’s close-knit camaraderie, the fine line between breaking balls and reality, and the unique dynamics that fueled its success. The audience left with a deeper understanding of the man behind the jokes, as well as a renewed appreciation for Jackie Martling’s enduring legacy in the world of entertainment.
On Sunday, January 28, the Binghamton Philharmonic Orchestra, together with the combined choirs of the Southern Tier Singers’ Collective and the Binghamton University Chamber Singers, mounted a moving musical performance of Mozart’s Requiem at the Broome County Forum Theatre. It was a rare treat to hear this great work of the choral repertoire, especially when performed with such great mastery.
The orchestra and choir were joined by four up-and-coming young soloists from the Curtis Institute of Music: soprano Juliette Tacchino, mezzo-soprano Katie Trigg, tenor Jackson Allen, and bass Evan Gray. The quartet of singers, hailing from as far away as France and New Zealand, powerfully conveyed the profound human longing in Mozart’s vocal writing. Tacchino’s silvery sound blended beautifully with Trigg’s rich, plummy tones, and all four soloists distinguished themselves by their highly expressive musicality.
Amanda and Talia Rabineau
Maestro Daniel Hege led a tight, seamless ensemble through the wildly contrasting emotions of the Requiem; as usual with this group, the woodwinds were particularly strong. Hege’s tempos seemed to grow organically from one movement to the next, giving the work a living, breathing pulse and a satisfying sense of wholeness.
Carlos Perez, Cassi Lee, Ajen Lewis
But it was the chorus that was the true star of the show. Prepared by William Culverhouse, the combined choirs infused Mozart’s majestic work with energy, elegance, and intimacy. Culverhouse’s singers showed themselves capable of rigorous counterpoint and stunning pianissimi, their phrasing crisply commanding and meltingly lyrical by turns. Mozart’s demands on the chorus are almost soloistic, and this chorus was fully up to the challenge, cycling through his extremes of volume, speed, and emotion with virtuosity and aplomb.
Tenor Jackson Allen, Bass Evan Gray
Over 1100 concertgoers, including many younger music lovers, came out on a snowy midwinter day to hear Sunday’s stunning performance, demonstrating their appreciation with a standing ovation and several curtain calls. The Philharmonic’s foray into the great repertoire of choral music was a great success, one that bears repeating!
Shooting for the moon with infinite potential, Asbury Parks’ next big thing is Fungkshui. Not stopping there, they may also be the next big thing in the Capital Region too. With frequent visits to the area, including recent high octane rock performances at Putnam Place and the Rye Bread Music Festival (RFB), the fun-loving psychedelic prog-funk quintet is quickly and consistently earning high praise from high people in high places.
Fungkshui performing at Lark Hall in Albany 1/25/2024.
Whether Fungkshui (pronounced funk shway) are playing to packed clubs along the boardwalks of New Jersey, or randomly stopping in for an unannounced happy hour improv set at The Eleven, it seems the band has found their ‘home away from home’ at Albany’s Lark Hall. As friendly with their staff as they are with their fans, Fungkshui originally made a good first impression at the hall last March while opening for acclaimed avant-garde jazz trio LaMP. Later returning for “Funk Night” with the E-Block in September, NYS Music was there for the for their most recent throwdown on Thursday, January 25th.
Teaming up with sonic astrological improv jammers Quantum Cosmic, a new experimental side project featuring members of Annie in the Water, Raisinhead and The Switch, the dynamic pairing of bands proved to be the perfect combination of good vibes and good times. On a night full of other-worldly jams, technical proficiency, soaring and sublime guitar solos, guest sit-ins, and enough funk to make you want to float around the room and dance with total strangers, both bands turned in peak performances that you ‘outta be kicking yourself for missing.
Blasting off a little later than the advertised 8pm start, Quantum Cosmic quickly made up for lost time by inviting the audience to help telepathically guide them through their all-improvised set. Encouraging listeners to share their positive and creative thoughts as well as birthday wishes to drummer Joshua West, “Just hopefully you’re not a dick about it, ” joked guitarist Michael Lashomb, who also plays with the ever-busy West in Annie in the Water.
Along with Matt Richards on keys, Raisinhead guitarist Ted Grey and bassist James Woods, the band who hasn’t played the same show twice and gambles on “making it up as they go along’ would surprise everyone by also inviting up fellow Annie in the Water/Space Carnival bassist Chris Meier for a memorable trippy dip on the AITW OG staple “The River,” in which the birthday boy West hilariously changed (forgot?) some of the lyrics. After coming back down to earth for a brief intermission, things at the hall were about to get even more Fungky.
Chris Meier sits in with Quantum Cosmic at Lark Hall 1/25/2024.
Barreling their way towards Nectars in Burlington, VT, the road to get there saw Fungkshui work their way through New York by way of gigs at Snug Harbor in New Paltz, an unannounced acoustic set at The Eleven and finally, their fiery headlining set in Albany. Kicking things into gear with a technically proficient and impressive “Meat Salad” >“Ready To Go” > “Power Out” jam sandwich, it was immediately evident what all the fuss over this band is about. Part punk, part prog and overflowing with all kinds of primal groove, there is no denying the twin ax attack and chemistry of guitarists Jack Reed and Max Vitale. Along with the luscious locks of Jon Scheps on the low end, drummer Bobby Reilly and the band’s most recent addition of Dan Hogan on keys, Fungkshui took the Lark Hall stage by sheer force.
Fungkshui performing at Lark Hall in Albany 1/25/2024.
Feeling confident and comfortable in the surroundings, Fungkshui would take the opportunity to debut a new song called “Run It” before getting down and dirty on “Barefoot Blues” and the playful “Dan Dan The Waterman.” One of the true highlights of the night came when the band invited Annie in the Water/Quantum Cosmic keyboardist Matt Richards out for some dueling piano action on Dan Hogan’s well-lit rig. Catharsis through collaboration shining through disco ball lights and huge smiles beaming from the faces of everyone on stage, it was the kind of magic musical moment that makes Lark Hall such a special place to see a show.
Matt Richards sits in with Fungkshui in Albany 1/25/2024.
An unexpected guilty pleasure came next in the form of Alice DeeJay’s “Better Off Alone,” which had the whole room dancing around each other in circles. After successfully showing their hand, Fungkshui would then “Ante Up” and “Fade Away” before going deep into the night with one last party jam, “That’ll Do.”
Matt Richards sits in with Fungkshui in Albany 1/25/2024.
With such a formidable relationship already forming between the band and the venue, you almost can’t help but feel optimistic there will be many more magical Fungkshui moments on Lark for years to come. Fresh off the release of their first full length album “Ready to Go,” it’s clear this band is just that. Buckle up in 2024, Fungkshui is about to blast off, and what can I say, I’m totally here for it.
Watch fan shot footage of Fungkshui performing “That’ll Do” in the video clip below:
Fungkshui | January 25, 2024 | Lark Hall | Albany
Setlist: Meat Salad > Ready To Go > Power Out, Run it•, Barefoot Blues > Dan Dan The Water Man, Didn’t Know Anything, Better Off Alone*, Ante Up, Fades Away, That’ll Do
*= Alice DeeJay Cover •= Original Song Debut
Quantum Cosmic | January 25, 2024 | Lark Hall | Albany, NY
PEAK has dropped the third installment in their ongoing live series, with Hot Clips Volume 3, released on January 5.
Culled from performances in 2023, Hot Clips Volume 3 features some of the band’s favorite recent performances. Specifically, this album shows what the band – Jeremy Hilliard (guitar and vocals), Johnny Young (keys and vocals), Josh T. Carter (bass and vocals), Kito Bovenschulte (drums), Nate Searing (drums on “Idyllwild Flower”) – are looking for in a jam of group interaction, transcendent moments that come naturally and without force, and happen organically.
Mixed and Mastered by Johnny Young and Jeremy Hilliard and engineered by Michelle Young, the songs range from older PEAK staples to unreleased tracks appearing on the next studio album. Covers on the album include a reimagined version of Woody Guthrie’s “Pastures of Plenty,” and a stretched-out take on the Led Zeppelin classic “The Song Remains the Same.”
Hot Clips Volume 3 Tracklist:
Vanishing Skies, 5.17.23, Nectar’s, Burlington, VT One Lifetime Isn’t Enough, 9.8.23, The Wescott Theatre, Syracuse, NY Little Miss Mary Merry-Go-Round, 5.17.23, Nectar’s, Burlington, VT It’s Easy To Give Up (Don’t Give Up Too Easy), 7.16.23, Park City Music Hall, Bridgeport, CT Run Me Down, 9.8.23, The Wescott Theatre, Syracuse, NY Pastures Of Plenty, 5.17.23, Nectar’s, Burlington, VT The Song Remains the Same, 9.8.23, The Wescott Theatre, Syracuse, NY Idyllwild Flower, 8.11.23, Yasgur Road Reunion, Bethel, NY It Ain’t Over ’til the Credits Roll, 9.8.23, The Wescott Theatre, Syracuse, NY
PEAK Spring 2024 Tour Dates
1.28.24 Amherst, MA, The Drake, supporting Midnight North TICKETS
2.1.24 Hartford, CT, Infinity Hall, supporting Midnight North TICKETS
2.2.24 Fairfield, CT, Stage One at FTC, supporting Midnight North TICKETS
2.29.24 Burlington, VT, Nectar’s, supporting Midnight North TICKETS
3.8.24 Baltimore, MD, 8 x10, supporting Unkle Kunkel’s Big Gram Band
4.4.24 Syracuse, NY, Funk and Waffles, w/ Spunj and Small Batch
Today marks the anniversary of the final show of one of the earliest Grateful Dead side projects. Lead guitarist Jerry Garcia along with Howard Wales delivered one last live interpretation of their jazz-rock fusion album Hooteroll to an audience at the University of Buffalo on this day in 1972. Wales, an avant-garde keyboard player, helped compose all songs on the album which was released the previous year.
The Buffalo gig ended a string of shows played at smaller venues in the Northeast, including one at Syracuse University the week before. While Jerry Garcia may have been the main draw, this tour is also renowned for introducing many to The Mahavishnu Orchestra for the first time, a burgeoning live act with the great Jon McLaughlin on guitar who opened the shows and, according to some bystanders, blew the main act off the stage sometimes.
But Garcia and Wales would get the final word each night with extended takes on Hooteroll, playing alongside Jerry Love on drums, Jimmy Vincent on guitar, and Roger Troy (aka Jellyroll) on bass and vocals, with the group announced as “Howard Wales and Friends.” Unfortunately, no known recordings of tonight’s performance exist, but this excellent one from the show three nights before in Boston paints a clear picture of what transpired at these shows, with the band immediately launching into the frenzied, organ-driven jam “Southside Strut,” the first track of the album, then going off from there.
The music never comes to a complete stop as the band weaves in and out of different tempos and arrangements, although mixing up the songs from the order in which they appear on the album. A section called “Outer Space Regions” completely lives up to its billing before a soul-heavy “Carry Me Back” with Jellyroll on vocals re-energizes everything. Another selection from the album, “DC 502” surrounds a verified “Drums” section as well later on. See Youtube for a full setlist. The entire show is essentially a long, enjoyable 90-minute jam that covers all of Hooteroll and then some.
Photo: Gordon James
Before being played in Buffalo and the Northeast, the seeds of Hooteroll were planted in San Francisco, as Garcia and Wales wound up performing at Monday night jam sessions at The Matrix. This would also be where Jerry met bassist John Kahn for the first time, marking the beginning of their long time partnership. For Jerry, the appeal of this outfit was the ability to play in a more relaxed context than Dead shows. Wales was a serious musician, and Jerry had to work hard to keep up with him, which he would say did more for his ear than anyone else he played with.
Howard didn’t have tunings or anything, he just played. Sometimes he would do these things that were so outside that you just couldn’t – unless you knew where it was going, you had no idea where to start. Sometimes they’d turn out to be just these things like four-bar blues turnarounds, relatively simple musical things, but they were so extended the way he’d play them – ‘God, what is this?’
~ Jerry Garcia, 1991 Interview
With the Hooteroll tour now concluded, Garcia would next turn his attention to a string of shows with another longtime collaborator, Merl Saunders, back home in the San Francisco area.
The Town Ballroom in Buffalo was set ablaze with raw energy and pulsating rhythms on January 23, as four powerhouse bands – Avoid, Counterparts, The Devil Wears Prada, and Fit For A King – took to the stage for a sold-out show on a rainy Tuesday night. Fans from across the city gathered in anticipation of a night that promised to be nothing short of epic, and they were not disappointed.
Fit For a King
Kicking off the evening with a relentless onslaught of hardcore energy, Avoid, got to work getting the crowd but the first thing that stood out before the music got underwear was the singer repping a local city hero, #17, Josh Allen from the Buffalo Bills with his Jersey.
Avoid
Going up next with a relentless onslaught of hardcore energy, Counterparts wasted no time in setting the tone for the night. Hailing from Ontario, Canada, the band delivered a blistering set that had the crowd moshing and screaming along to every word. With their signature blend of melodic hooks and ferocious breakdowns, Counterparts proved why they are considered one of the most exciting acts in the hardcore scene today.
Next up was metalcore stalwarts The Devil Wears Prada, who took the stage by storm with their electrifying stage presence and infectious energy. Drawing from their extensive catalog of hits spanning over a decade, the band treated fans to a set filled with fan favorites and new material alike. From the haunting melodies of “Sacrifice” to the crushing heaviness of “Danger: Wildman,” The Devil Wears Prada delivered a performance that left the crowd in awe.
The Devil Wears Prada
Closing out the night at Town Ballroom were metalcore juggernauts Fit For A King, who wasted no time in unleashing a sonic assault that left the audience reeling. With their bone-crushing riffs and anthemic choruses, the band commanded the stage with authority, inciting mass sing-alongs and frenzied circle pits throughout their set. Tracks “Tower of Pain” and “When Everything Means Nothing” hit with visceral intensity, showcasing the band’s undeniable skill and musicianship.
But beyond just the music, what truly made the night special was the palpable sense of camaraderie between the bands and their fans. From the shared shouts of the famous Buffalo chant “Let’s go Buffalo!” to the sweaty embraces in the pit, it was clear that this was more than just a concert – it was a community coming together to celebrate the power of music.
Between gamblers playing slot machines and Black Jack, fans crowded into the sold-out Great Cedar Showroom at Foxwoods Casino for the veteran rock band Extreme. The band is on the Thicker Than Blood Tour, supporting their new record, Six. This is the second show for the band after the tour kicked off at the Bergan Performing Arts Center in Englewood, New Jersey.
Extreme was founded in 1985 in Malden, Massachusetts and is made up of Gary Cherone on lead vocals, Nuno Bettencourt on guitar, Pat Badger on the bass guitar and Kevin Figueiredo on the drums.
Prior to Extreme taking the stage, the New York City native band, Living Colour warmed up the crowd for a 45-minute set. Like Extreme, Living Colour was founded in the mid-1980s and has produced classic hits like “Cult of Personality,” and “Glamour Boys.”
Living Colour is comprised of guitarist Vernon Reid, Doug Wimbish on the bass guitar, and Will Calhoun from the Bronx, on drums with fellow New Yorker, Corey Glover on lead vocals.
For the entire 45 minutes, Living Colour produced a powerful and memorable set that included eight songs. During the last song of the band’s performance, as they blasted into the aforementioned “Cult of Personality,” Glover hopped off the stage and walked into the crowd while belting out the lyrics to the song. The crowd erupted as Glover walked up and down each section of the theater, stopping for photos with fans and high-fiving concertgoers. Living Colour did a phenomenal job getting the crowd ready for Extreme.
As the clock ticked to 9 p.m., the houselights dimmed as the Extreme banner raised behind Figueiredo’s drum kit. With the blue spotlights on them, the band jumped right into “It (‘s a Monster)” off of the band’s most successful record, 1990’s Extreme II: Pornograffitti.
Throughout the entirety of the band’s set, they incorporated music from their entire discography starting with their self-titled debut record up until their most recent record. While storming through each song, Figueiredo was a man possessed on the drums. His kit didn’t stand a chance as he belted away throughout each song providing chest-thumping beats.
Fans who came to the show on the chilly Friday night were certainly in for a treat as Extreme played for two whole hours. At one point of the set, Figueiredo brought out a mini drum kit as the band embarked on a mini, two-song acoustic set that featured the beautiful ballads “Other Side of the Rainbow,” and “Hole Hearted.”
Even during the band’s acoustic set, there was still so much energy. Throughout the night Cherone slithered and stretched his way around the stage as Badger plucked at his bass guitar during Bettencourt’s shredding solos. It’s widely known that one of Bettencourt’s heroes was the late Eddie Van Halen and Bettencourt paid homage by playing the intro to Van Halen’s “Women In Love…” while saying “Happy Birthday Eddie.”
It was extremely impressive how each band member was able to work off one another and how they each complimented the other. The band’s stage presence and their comradery were visible from the stage and the smiles they had and the laughs they shared were heartwarming.
Each song that Extreme played was magical in its own way and it felt like the band was taking you on a career-spanning journey throughout the show. In between songs the band interacted with fans, joked around and overall gave the fans their money’s worth.
As the doors flew up at the end of the show and the sound of chips hitting poker tables and slot machines rang in the halls, fans left happy and smiles were shared all around as one of the most hard-working bands in rock and roll right now performed another mind-blowing show.
Living Colour Setlist: Middle Man, Leave It Alone, Ignorance Is Bliss, Open Letter (to a Landlord), White Lines (Don’t Do It)/Apache/The Message, Glamour Boys, Love Rears Its Ugly Head, Cult of Personality
ExtremeSetlist: It (‘s a Monster), Decadence Dance, #Rebel, Rest In Peace, Hip Today, Teacher’s Pet/Flesh ‘n’ Blood/Wind Me Up/Kid Ego, Play With Me, Other Side of the Rainbow, Hole Hearted, Drum Solo/Money Maker, Cupid’s Dead, Am I Ever Gonna Change, Thicker Than Blood, Midnight Express, Hurrican, More Than Words, Banshee, Take Us Alive/That’s All Right, Flight of the Bumblebee, Women In Love… (intro) Get The Funk Out, Small Town Beautiful/Song for Love, Rise
If there’s one thing musicians should have in order to appeal to a large audience, it is musical diversity. Elephant Back maintains their own unique sounds whilst having dynamic, ranging styles. The two latest albums by the duo showcase exactly that. The Black Album and The White Album have their own categories of sound, and one is not like the other.
Dave and Sarah of Elephant Back in 2023
Starting with The White Album, the initial track “Home,” is reminiscent of an Appalachian Folk song, mixed with Lumineers-esque soaring indie vocals. The opening track sets the tone and vibe of this album, preparing the listener for folky, indie, emotional odes to love and life-changes. The song “W.T.F.I.C.??” has a spunky indie-pop feel, but simultaneously shows clear Beatles influence in the chords and bass licks.
A great way to describe some of the songs on The White Album would be campfire-song. Songs you can gather around with your friends. Songs where you can pull out a guitar and sing, sitting on some grass just vibing together. The album’s closing track, “Move Me” is quite touching and did, in fact, move me to tears. With the album consisting of six main tracks and one hidden track, the record comes out to less than a half hour of music, yet in these 25 minutes, the band achieves great range and emotional depth.
Continuing onto Elephant Back’s The Black Album, it is a blatantly stark contrast from The White Album. This album’s opening track, “A Lot To Do” immediately grasps the listener with its 60s-style surf rock. The next song, “Bad Love” rings with clear indie-rock/alternative sound, reminiscent of bands like The White Stripes or Arctic Monkeys.
Each track on the album has its own distinct sound, while still tying in a common style. With elements of grunge, indie-rock, surf-rock, and pop-punk, this album is dynamic in its sound and its influences. Upon listening, you can really hear specific influences in each song. For some, Nirvana or Soundgarden can be heard, for others you can hear The Smashing Pumpkins or Blink-182.
On January 18, night one of John Vincent III’s sold out double-header at the Bowery Ballroom, family, friends, and loyal fans who’ve waited nearly five years for a performance from Vincent packed the 600 occupant venue. John Vincent III and his band opened their mini-tour of five stops in New York City in celebration of their newest record, Songs For The Canyon.
Photograph by Shauna Hilferty
Celebrating the close-knit musical nature of New York, he sourced two local performers to open the evening: AYLA and Noah Pope, two impressive lyricists and advocates of acoustic simplicity. AYLA is an East Village native who pulled in a crowd of her own. With her teal guitar and dream-state poetry, she was the warmest icebreaker. Noah Pope, fresh to the city from Nashville, followed suit with a kind demeanor and unique vocal offering. His soft and cloudy voice designed for folk music and a knack for the harmonica proved him a surefire crowd favorite.
Photograph by Shauna Hilferty
In between sets, the audience conversed quietly and showed off their new merchandise emulating Vincent’s newest record, Songs For The Canyon (2023). Their excitement for John Vincent III was genuine, like that of a supportive friend. The tight quarters enabled friendships to form, strangers packed shoulder to shoulder spoke to one another, their smiles lingering.
When the Bowery lights dimmed, John Vinent III made his way onto stage solo to take a seat in front of the rustic piano. On the finger-stained keys he played the show into motion. Following his intro, his band made their way on stage to take their places behind their respective instruments. A drumset, an electric guitar, an acoustic guitar, and a bass.
Photograph by Shauna Hilferty
John Vincent III’s stage presence was calm. No amount of high energy compensation was needed to enhance his performance. The poetry did all the heavy lifting. Each song would be introduced by title, maybe a slight anecdote was given of its origin, and the band would deliver folk-brilliance. Second song on the setlist, “City Rain,” third song “Lover of Mine,” an audience safehold.
Photograph by Shauna Hilferty
“I don’t really know what this song is about… I guess getting excited about the unknown I suppose.” Vincent introduced his fourth song of the evening, “Slow Song.” It’s one of the wonders of music when a song’s “meaning” is not dependent on the literacy of lyrics, but can be tangibly understood through the direction of a melody and the culmination of instrumental sounds.
Photograph by Shauna Hilferty
The audience absorbed everything Vincent had to say, studying up at him eager to know more about his writing, his stories. While his music didn’t warrant an explosion of energetic dance, it offered a more reflective service. Crowd members gently swayed, held themselves and others, and listened with their noses tipped upwards towards the stage trying to hear and uncover the sheet draped over each lyric.
The set turned acoustic, and the band sat back as John Vincent strummed solo on his guitar etched with a hummingbird design. The crowd yewed and softly sang along.
Photograph by Shauna Hilferty
After an earnest ode to New York City, Vincent thanked his friends and family who made it to night one of their Bowery double-header. The Ohio born and raised, Texas and Los Angeles living traveler pulled in people from all across the country.
Songs For The Canyon, their newest release, is an excellent revival record. Vincent’s lyricism remains tethered to the idea of transience. Each song offers the experience of leaving and coming back while meditating on the people, presence, and life collected along the way. While physical travel is a large player in Vincent’s modality of storytelling, equally is severe isolation. How one can be isolated in time and space through the disablement of thought and attachment – his lyrics break down this paradoxical phenomenon.
Photograph by Shauna Hilferty
The stage lights hued a warm golden orange, like that of a sunset afterglow. This energy perfectly matched the soulful, fire crackle, smoked ambiance of their sound. As the stretch of the show came towards its close, John Vincent III exchanged I love you’s with fans who tossed the words up to him on stage from all corners of the venue.
He closed out the set with one of his most socially acclaimed songs “Next To You,”, with Vincent saying “This is a song I am very grateful for, and without it I don’t think some of you would be here.” The audience harmonized with him, and the ballroom hummed.
After the band left the stage, it wasn’t long before they returned for an encore – the modern day icing on the cake for concerts. People just can’t get enough, and artists never want the plate to clear. The three song finale was intimate. The band brought out stools and played each song acoustically, raw. Their hit, “In My Sheets” warranted a gutty singalong, and a memorable lyric change.
