There are cover bands and tribute bands, and then there are bands who take the tribute to another level. One of those bands is Dark Star Orchestra, who recreate classic Grateful Dead shows in their entirety, as they were once performed. Enter Reprise, a band that does for Phish what DSO does for the Dead – but with the added bonus of not only playing a classic Phish show from the town/area they’re playing in, they also make it a point to have the show be as accurate as possible to the original performance, in terms of song length, antics, commentary, and even interplay between band members and crew.
Photo by Chris Bobillo
On Saturday, November 2 at Lark Hall in Albany, Reprise – Cal Kehoe (Pink Talking Fish – guitar), Scott Chasolen (The Machine, Ulu – keys), Chris DeAngelis (Kung Fu, The Breakfast, RAQ, The Machine – bass) and Adrian Tramontano (Twiddle, Kung Fu, The Breakfast, RAQ, Marble Eyes, Mihali – drums) – brought to life one of Albany’s classic Phish shows, calling back to December 13, 1997, the Fall 1997 tour closer.
Photo by Chris Bobillo
For me, this was not only my first Reprise show, but they were recreating the first Phish show I ever saw live. While my memories from that show are limited to “Sample in a Jar,” “Good Times Bad Times,” the lights going out during “Hood” and the cacophony of ‘bringing the Dude’ during “Mike’s Song,” I have relistened to that show more times than I can count. The tour closer stands out in one of Phish’s greatest tours, and begged for regular relistening to see what I missed that night when I was still a noob.
The show is chock full of jams, some rarities and new songs (for 1997) and some silliness that you only find at a Phish show when the band is dialed in and wrapping up a tour. I know this show by ear, and without looking at the setlist, let the show play out as it originally did just under 27 years ago, seeing what surprises were in store, but more importantly, how well Reprise did their homework on the recreation of the improvisation within the show.
To that end, as students of this particular show, they nailed the assignment with flying colors. The “Ya Mar” was played to nearly the same length as the original 18+ minute jumping off point for the show, including the end of the jam that never really ended the song proper. A good chunk of the first set beyond that may appear on paper to be pedestrian, but the tempo of the “Theme From the Bottom” ending, the 11-minute “Vultures,” and the thrilling “Tube” that gave way to a set closing ball of energy in “Good Times Bad Times” gave an ebb and flow to the show that lines up with the original show, no complaints registered.
Photo by Chris Bobillo
The second set opening with “NICU” kept that free-flowing vibe going out of setbreak (were these the same length of time as well? A good question for manager Tom Marshall.) and into “Punch You in the Eye,” which never lets down but especially never in the second set. With dancing in “The Landlady” from Kehoe and DeAngelis, the full recreation is there, all the way down to the sudden intro of a ’97 “Ghost,” which is the jam of the night in both cases, overlooked for the “Mike’s” that follows, but still worthy of inspection.
Then again, that “Mike’s Song” is one of the odder things to catch at your first show, especially having no idea who this ‘Dude’ was they were suggesting to bring to the stage. The weirdness that Phish, and now Reprise, feed to fans amid an improv-vehicle is the launching point for the most furious part of this jam. By the time the weird returned in “Catapult,” wrapped up in a “Weekapaug Groove,” the set had flowed with the same ‘final show of the tour, all jams must go!’ intensity, wrapping up with a “Harry Hood” that saw the lights turned off, only a disco ball illuminating patrons and the stage.
photo by Pete Mason
The encore of “My Soul” paired with the sentimental “Squirming Coil” closed the night as Kehoe, DeAngelis and Tramontano walked off stage to cheers while Chasolen closed the song on piano, before departing the stage to cheers from a dedicated audience who hung on for every note of the show.
The only way this could have been more accurate (beyond the setbreak timing) is if an oddball opening act – ala J. Willis Pratt and Bionic, who opened for Phish this evening in 1997 – were to have performed ahead of Reprise.
Even though you can never go back and see your first show a second time, no matter how many times you relisten, Reprise offers the next best thing – four top notch musicians who do their homework, nail the songs and jams and master the interplay of Phish with self-assured panache.
Reprise plays Northampton, MA on December 19, 2024, recreating a classic show from the area. Tickets and more info here.
Setlist via Phish.net
Reprise – Lark Hall, Albany – Saturday, November 2, 2024 – recreating Saturday, December 13, 1997
Set 1: Ya Mar[1] > Axilla[2] > Theme From the Bottom, Ginseng Sullivan, Strange Design, Sample in a Jar, Vultures, Tube, Good Times Bad Times Set 2: NICU > Punch You in the Eye > Ghost > Mike’s Song[3] -> Llama, When the Circus Comes, Weekapaug Groove -> Catapult -> Weekapaug Groove, Harry Hood Encore: My Soul, The Squirming Coil [1] Unfinished. [2] Contained Axilla II ending. [3] Chants to “Bring in the Dude.”
Ya Mar was unfinished. Mikeâs Song included Foxy Lady quotes from Fish and some memorable vocal interplay from the band that included a chant to âBring in the Dude.â During Hood, Trey asked Chris Kuroda to turn off the lights for a Blackout Jam and the audience responded with a shower of green glowsticks. The opening act was J. Willis Pratt & We’re Bionic.
Brooklyn based rock unit The Giraffes have released their eighth album Cigarette, accompanied by an adventurously witty music video for the track “Million Year Old Song.”
Formed in 1996, The Giraffes have developed a unique sound self-described as “a hedonistic soundtrack”- it’s loud, dangerous, funny, complex, and unapologetically themselves. Mostly recognized for their trademark metal-tinged scuzz-rock, The Giraffes craft a unique blend of heavy rock, punk and post-punk, surf, and any array of other sounds that strike their fancy.
Comprised of lead singer Aaron Lazar, guitarist Damien Paris, drummer Andrew Totolos, and bassist Hannah Moorhead, the unit has made a name for themselves as one of the most unbridled acts to grace Brooklyn’s stages and beyond with their fierce musicality, fun-loving attitude, and dedicated fanbase.
In addition to their local draw, The Giraffes have toured alongside acts like Eagles of Death Metal, Local-H, The Vacation, and Skeleton Key. They’ve also performed alongside and in support of names including but not limited to Interpol, Fishbone, Yeah Yeah Yeah’s, and The Strokes– not to mention having scored various festival slots across the globe on the stages of SXSW, Bonnaroo, Amsterjam, and more.
Debuting with ‘Fransquilt’, The Giraffes have created quite the history for themselves. Now five years, seven albums, and countless achievements later, the band is back with their latest release, Cigarette.
Described as a “hypnotic hard-edged psychedelic rock score for our current age of decay and disappointment, fear and fury, idiocy and hope,” Cigarette delivers the same sharp grit and dexterity fans know and love while simultaneously taking new risks with excitingly adventurous composition and subject matter.
Recorded and engineered by Andrew Totolos, mixed by Grammy nominated producer Francisco Botero at the iconic Studio G Brooklyn and James Dellatacoma at Orange Music Sound Studio, Cigarette is a triumphant return for the band- especially as bassist Moorhead has joined the lineup in songwriting and backing vocals, allowing the group to settle the line-up and hone in on songwriting even further.
The final single released for Cigarette comes in the form of “Million Year Old Song,” which tackles both the nostalgia held by older generations for the relentless liveliness of being in your 20s and the dire state of today’s world in a fascinating blend of rebellious rock and roll nihilism- hence the phrase “a million year old song in twenty year old lungs.”
“I wanted to not be a total old man stuck looking back at my youth so I imagined someone my kid’s age hitting 20 and what the world will look like for them for the second verse. This protagonist has the power of youth but in a much more dire world. I believe that the animating spirit of “rock n roll” or whatever is that self-destructive imperative for fun at all costs. Interesting to think of what that will look like later on down the line. The song remains the same – just the world changes.”
– Aaron Lazar
Alongside “Million Year Old Song” came the release of its official music video, which pushes the song’s core concepts to the extreme in an over-the-top absurdist critique and deception of modern America. Between American flag get-ups, thrashes in pools (also red, white, and blue) filled with dollar bills and skeletons, and what can only be described as a cinema-worthy blood bath involving subs and giraffe masks, the music video created and directed by Damien Paris is an absolute must-watch.
The full seven-track album Cigarette by The Giraffes is out now, and the track list is below. To find out more about The Giraffes and keep up with their latest endeavors, check out their official website here.
TRACK LIST
1. Baby Pictures 2. Pipes 3. Limping Horse 4. Dead Bird 5. Million Year Old Song 6. The Shot 7. Lazarus
On Thursday, October 24th, The Magic Beans and Squeaky Feet graced the stage at Lark Hall in Albany, unofficially kicking off an exciting “Phish weekend” with a vibrant and inspired set that encapsulated their unique blend of funk, rock, and psychedelic sounds.
Performing to a rowdy crowd of enthusiastic music lovers, the show was a testament to the Beans’ growth as a band and their deep connection to the jam band community as a whole. Serving up a thrilling journey through their ever-expanding discography, the evening played out like a fairytale for those looking to dance the night away.
The Magic Beans kicked off a storybook weekend in Albany on 10/24/2024.
Kicking off the story proper with a lively opening performance was Squeaky Feet. Planting the seeds for the memorable night with their energetic, prog-rock inspired grooves and dynamic on-stage presence, the Denver, CO based band also brought along some local pride in the form of guitarist Colin Shore, who formerly played in Albany underground favorite Mister F. Joined on guitar by Greg King, bassist Jimmy Finnegan, drummer Kevin D’Angelo and keyboard player Brian Keller, Squeaky Feet commanded your attention from the very first note of “Hyrule Temple.”
Local Pride: Guitarist Colin Shore performing with Squeaky Feet in Albany 10/24/24.
Locked in and firing on all cylinders, the band really opened things up for exploration on a 16-minute version of “Never Break.” Displaying all kinds of technical skills and chops for days, the near 20 minute “Pantomime,” the opening track from the bands 2023 debut album Cause For Alarm, would reveal itself as the centerpiece of the set. Seamlessly shifting from patient, multilayered improvisation to segments of infectious trance fusion, to triumphant, soaring peak solos that made it all but impossible to stand still, Squeaky Feet played like a well-oiled machine that really listens to what each other is doing.
Paying homage to their biggest musical influence, one of the most memorable highlights was the bands lengthy tease of Umphrey’s McGee’s “Booth Love” sandwiched inside a sprawling, 20 minute set closing “Premonition.” Drawing in the listener, then peppering them with an explosion of sound and skill, Squeaky Feet showed exactly why they are an emerging force to be reckoned with.
Squeaky Feet opening for The Magic Beans at Lark Hall 10/24/24.
After a brief intermission, it was finally time for the Capital Region return of The Magic Beans. Steadily making a name for themselves on the national circuit since their formation in 2010, the Beans have long shown an appreciation for the Albany area, likely due to the fact bassist Chis Duffy grew up in nearby Guilderland. Along with Duffy, The Magic Beans are comprised of charismatic lead guitarist/vocalist Scott Hachey, keyboard wizard Casey Russell, and drummer Cody Wales.
Blasting off with a 16 minute “Kid Rocket” opening jam, The Magic Beans quickly established their intentions to take Lark Hall to the stratosphere. The laid back, synth-heavy flow of RevHall would seamlessly transition into a lengthy “Handshake or Hug” jam, showcasing the bands’ ability to weave together diverse influences into an engaging musical journey.
The Magic Beans performing at Lark Hall Albany on 10/24/2024.
From here, Scott Hachey would switch out his electric guitar for an acoustic one on the foot-stomping, country tinged “Footprints in the Rain,” before taking the audience on a jazz odyssey through “Do Your Thing.” With the energy in the room growing and the dance floor widening out, perhaps the most impressive sequences of music would come next as a funky 13-minute rendition of “Night Games” would beautifully segue into a standout version of “Dr. Bubbleman,” before returning to the last verse of “Night Games” to complete one hell of an epic jam-sandwich. The crowd was particularly energized during this part of the show, losing their minds to the pulsating rhythms and infectious grooves The Magic Beans have become known for.
Circle of Life: Magic Beans bassist Chris Duffy grew up in Guilderland, NY..
One of the most unexpected highlights of the night was a surprise cover of “Circle of Life” from The Lion King soundtrack. Channeling his inner Elton John, this song was particularly potent for bassist Chris Duffy who sang it. Growing up just one town away, the storybook night felt like a homecoming of sorts for the man with the mohawk, coming full circle after more than a decade of touring with the Beans. Infused with their signature flair, the beloved Disney classic was transformed into a danceable anthem that had the audience singing along to every word, bridging the gap between nostalgia and modern psychedelia.
Scott Hachey and Casey Russell performing with the Magic Beans in Albany, NY 10/24/24.
Keeping the positive, life affirming vibes alive, the Magic Beans would offer up the title track of their 2019 album “Off Leash” next, taking the crowd on a spirited, 16-minute funk-fueled ride and ultimately confirming that “This is the part where you feel good.” Saving up perhaps the grooviest tune of the night for last, a stellar version of “Handcuffs” achieved a massive climax that left fans with their jaws on the floor and fully appreciative of the Beans’ undeniable talents.
While it seemed like the show was just about over based on the venue’s weeknight curfew, the adoration for the band was real and sustained and could not be denied. Answering the call for more, The Magic Beans would return to the stage for one last flight to the cosmos with an otherworldly “Space Cadet” to complete the mission and send fans into Phish wondering how any band could top this fantastically fun and inspired performance. The perfect start to an unforgettable weekend in Albany.
Magic Beans | October 24, 2025 | Lark Hall | Albany, NY
Setlist: Kid Rocket, Rev Hall > Handshake, Footprints, Do Your Thing, Night Games > Dr. Bubbleman > Night Games, Circle of Life, Off Leash, Handcuffs
Encore: Space Cadet
Squeaky Feet | October 24, 2025 | Lark Hall | Albany, NY
Setlist: Hyrule Temple, Never Break, Pantomime, Premonition
Powerful vocals, expressive dance, rousing instrumentals, moving testimonials, and stunning views of the city lights in Columbus Circle were in store for attendees of Josh Groban’s “Find Your Light” benefit concert for arts education. The annual fundraiser at Jazz at Lincoln Center raised $1.35 million to support arts programs across the country during its 20th anniversary event on October 29th.
Sara Bareilles, Jojo Levesque, Lin-Manuel Miranda, Renée Fleming, Josh Groban, Dr. Vivek Murthy, and Misty Copeland. Photo by Roy Rochlin/Getty Images
After a social cocktail hour, patrons flooded the Appel Room in the iconic Jazz at Lincoln Center venue for a star-studded lineup of performances. Throughout the night, the audience witnessed a reflection of the wide array of programs that received the Find Your Light Foundation’s support through the variety of song and dance on the setlist. From Jojo’s energetic delivery of Chaka Khan’s “Through the Fire” to Matthew Whitaker’s jazz piano improvisation to contemporary dance choreographed by MOVE|NYC| to accompany Josh Groban’s live “Somewhere Over the Rainbow”, there was truly something for everyone during the benefit.
Matthew Whitacre. Photo by Roy Rochlin/Getty Images
The concert not only raised money for music, dance, and theater programs, but it also recognized the work of two advocates in arts education. The awards segment was initiated with a beautifully harmonized rendition of Joni Mitchell’s “Both Sides Now” sung by Sara Barielles and Josh Groban. The song, originally recorded by the duo during the Covid-19 pandemic, was dedicated to the first award recipient of the night: U.S. Surgeon General Dr. Vivek Murthy. For his advocacy of the arts as it relates to medicine and world health, Dr. Murthy received the “Arts for Healing Award”. To celebrate the accolade, Dr. Murthy joined the band and treated the Find Your Light audience to a demonstration of the mridangam, a drum instrument commonly found in Carnatic music.
The arts are not optional
Dr. Vivek Murthy
Dr. Vivek Murthy. Photo by Roy Rochlin/Getty Images
For the second award introduction of the night, Angel Blue’s masterclass-level vocal delivery of Puccini’s “Vissi D’arte” soared through the room as she sang the aria without a microphone. The sonic landscape of the piece provided the perfect opportunity for Josh Groban to acknowledge the second honoree. Renée Fleming accepted the “Find Your Light Award” for her notable contributions to the expansion and advocacy in music across the wide range of genres in which she has sung and joined Groban for a performance of Leonard Cohen’s well-known “Hallelujah”.
Renée Fleming. Photo by Roy Rochlin/Getty Images
At the end of our lives, the last thing that remains is music memory
Renée Fleming
Groban closed the event alongside a choir of representatives from Broadway Bound Kids and the Stuttering Association for the Young, two organizations that were highlighted earlier in the evening. The ensemble’s uplifting “Bridge Over Troubled Water” left patrons feeling proud of the work they had done to support the arts and hopeful about the advances that are now possible through the funds raised during the benefit. Thanks to the work of Josh Groban and countless others behind the scenes, students across America may, too, find their light.
Josh Groban auctions the prop razor from his recent Broadway bow as the title character in Sondheim’s “Sweeney Todd”. Photo by Roy Rochlin/Getty Images
“Keep Marching On”- the closing number’s titular command that beautifully presented the recurring theme of the evening at the “No Matter What We Sing Out For Freedom” concert on October 28 at the NYU Skirball Center.
Presented by the New York Civil Liberties Union and the American Civil Liberties Union, the production featured an uplifting setlist sung by a who’s who of Broadway greats. The event also celebrated this year’s recipient of the Michael Friedman Freedom Award: Busy Philipps.
Sara Bareilles, Busy Philipps, and Katie Couric. Photo provided by NYCLU.
As the house lights went down to begin the concert, the NYCLU and ACLU sought to conjure the positive energy and love that was synonymous with Gavin Creel, the Broadway actor and civil rights advocate who passed away in September at the age of 48. Creel opened the show via a video of his 2011 “Sing Out For Freedom” performance of his original song “Noise”. The cautious optimism and hope expressed in his act would continue throughout the evening.
Sara Bareilles. Photo provided by NYCLU.
As the show went on, host Katie Couric introduced musical performances from Jasmine Amy Rogers, Jenna Bainbridge, Sara Bareilles, Ally Bonino, Nadia Dandashi, Eden Espinosa, J Harrison Ghee, The Good Liars, Hawley Gould, Christine Heesun Huang, Alex Newell, Liana Stamper, and Monica Nulia Ramirez. Following Bareilles’ stirring rendition of Kate Bush’s “This Woman’s Work”, she introduced her close friend and Girls 5eva costar Busy Philipps to receive the Michael Friedman Freedom Award.
Honoree Busy Philipps. Photo provided by NYCLU.
The Freedom Award, inaugurated in 2017 to recognize the work of people or organizations as humanitarians and activists, was presented to Busy Philipps on behalf of her advocacy and support for women’s rights. For all of her work in the civil rights realm, Busy Philipps joined an impressive roster of Freedom Award recipients including Shaina Taub, Harry Belafonte, and Alan Cumming.
Busy is the definition of ‘put your money where your mouth Is
Sara Bareilles
As the United States rapidly approaches Election Day, the speakers and musicians of the NYCLU and ACLU “No Matter What We Sing Out For Freedom” concert shared a message of simultaneous hope and urgency to make their voices heard.
J. Harrison Ghee. Photo provided by NYCLU.
Through music and speeches, audiences were motivated to take full advantage of their right to vote and make change. However, the organizations’ work will not end on November 5th. Katie Couric summarized the mission best when she exclaimed “whatever happens, we stand for freedom”. Regardless of what the next chapter holds, these organizations will in fact keep marching on.
K-Pop global sensation SEVENTEEN delivered two unforgettable nights of captivating performances, stunning costume changes, and lighthearted antics to New York’s own UBS Arena as a part of their SEVENTEEN [RIGHT HERE] World Tour, celebrating the group’s accomplishments and current endeavors alongside their international fanbase.
Photo: PLEDIS Entertainment
Since their last US tour in 2022, 13 piece K-Pop powerhouse SEVENTEEN has seen a skyrocketing level of success. The first Korean Pop act to headline Lollapalooza Berlin and perform on Glastonbury’s iconic Pyramid Stage, the group is no stranger to making and breaking records- they are, after all, the group responsible for the best selling K-Pop album of all time at more than six million sales with their release FML.
Currently embarking on their SEVENTEEN [RIGHT HERE] World Tour, the group looks back on what they have accomplished thus far and forwards into the exciting future ahead of them as they span venues across the United States and Asia- including New York’s very own UBS Arena in Belmont.
This tour’s two nights in Belmont marks the group’s fourth visit to the New York area, especially exciting for SEVENTEEN member and New York native Vernon who has noted that his memories of the city are especially precious as they are tied to touring with his group and being able to return to his birthplace time and time again thanks to the group’s global fanbase.
October 25 marked the first of two nights SEVENTEEN was to spend in New York, and the anticipation for the night could be felt well before the show had commenced- as all seasoned K-Pop fans will tell you, the concert truly begins hours prior. The closer to the venue, the more it was possible to pick out fellow Carats- that is to say SEVENTEEN fans (named in reference to the carats that make a diamond shine)- decked out in elaborate, fabulously curated, and sometimes even handmade outfits alongside positively glowing faces as they anticipated the show to come.
The themes for the night’s outfits were rather distinct- the first party donning seventeen’s signature color palette of pink, blue, and white, the second dressed in black and pops of sparkling red in reference to the group’s recent release “Maestro,” and the third subtle- or not so subtle- nods to fanbase favorite moments and inside jokes, including but not limited to member Hoshi’s passion for tigers and iconic “Horangae” claw pose and the now infamous black, red, and white jacket worn by two competitors on group-forming competition show Boys Planet where they performed SEVENTEEN’s “HOT”.
Outfits are only the beginning of the concert necessities, however. Carats carrying both official and custom pickets depicting the fan’s favorite member or a celebratory slogan, the group’s official light stick either freshly purchased or bedazzled to the gods, paper banners from fan projects with encouraging messages written in Korean for the members to see, and homemade goods for any and everyone lovingly referred to as “freebies” filled the halls of UBS, the merchandise and food lines a fanbase mixer and the concourse a runway.
Inside the Arena, the pre-concert sparkle was in full effect. Carats were excitedly syncing their light sticks for the corresponding light show to come, posing for photos, and exchanging even more freebies (I was gifted an adorable custom SEVENTEEN at UBS Arena photo card from a lovely blue t-shirt and face glitter clad duo as they made their rounds), singing along to the music videos playing and most noticeably- dancing.
Photo: PLEDIS Entertainment
For the uninitiated, dance is its whole own beast in K-Pop. Almost every single release comes with corresponding choreography that some fans will learn to the point of recording in fully produced videos or forming a group dedicated to covering their favorite artists’ moves.
SEVENTEEN in particular shines on the dance floor. The group’s dedicated performance unit includes members Hoshi, Jun, The8, and Dino, though it truly isn’t difficult to describe the entire group as a set of all-rounders- that is, artists who have mastered the dancing, singing, and rapping aspects of their career.
Just prior to the SEVENTEEN [RIGHT HERE] tour kicking off, it was announced that members Jun and Jeonghan would not be participating. As of September 26, Jeonghan began his mandatory South Korean military service, and Jun is currently exploring acting opportunities in China. While heartbroken, fans took the loss in stride, their presences felt in the arena throughout the night with pre-recorded vocals playing during their parts and accompanying visuals depicting the group as the full roster of thirteen. The two were sorely missed but present all the same.
As SEVENTEEN took the stage, the energy was electric. Wonwoo sang the opening line to “Fear” as the ring of backup dancers around him collapsed to the ground, the production leaning into full-on theatrics right off of the bat.
The red screen behind those on stage already split down the middle to reveal the remainder of the members stood upon a pyramid of stairs, their silhouettes a striking visual. By the time the full group had united on the main stage, fireworks had been set off and lasers were in full effect, setting an exciting precedent for the rest of the evening.
Captivating performances of “Fearless”, “MAESTRO”, “ASH”, and “CRUSH” followed with intermittent VCR interludes paired with an introductory ment from each member that established a communal excitement for the remainder of the show.
Photo: PLEDIS Entertainment
The first section of the night was concluded with a VCR that allowed for the first of many costume changes, which led directly into a series of unit songs that allowed each set of members show off their specialized skillset. First up was the hip-hop/rap line comprised of S.Coups, Wonwoo, Mingyu, and Vernon with “Water” and “MONSTER”, the former featuring an absolutely addictive bit of choreography in the final chorus and the latter feeling perfectly timed for a show just over a week prior to Halloween.
Photo: PLEDIS Entertainment
Once “MONSTER” wrapped, it was time for the performance/dance line to shine. Members Hoshi, The8, and Dino took the stage to perform the effortlessly smooth track “Rain” that emphasized the trio’s fluidity and body control and “Lilili Yabbay”, named after the verbal counts the dancers used to memorize the track’s choreography.
Photo: PLEDIS Entertainment
The vocal line- Woozi, Joshua, DK, and Seungkwan, took the stage after to perform “Candy” and “Cheers to youth”, the former perfect for a waltz in the rain and the latter a glitteringly nostalgic track that opened with corresponding confetti cannons and featured various polaroid photos of the members throughout the years behind them- a lovely testament to how far the group has come and yet another heartwarming nod to Jun and Jeonghan.
Introducing the next stage was a VCR depicting the group playing ping pong, showering one another in feathers during a pillow fight, and generally just enjoying one another’s company over a warm, homely backdrop. A metallic time machine-like structure delivered the group back on stage where they resumed their activities: lounging on bean bags, attempting a badminton rally, and playing basketball, the group’s familial rapport on full display.
The following performance of “Oh My!” was intermittently paused to allow the members to tease one another, attempt a shot at the basketball hoop, and generally just mess about on stage. It was almost surreal to observe their banter live after seeing the same rappport on their web variety series GOING SEVENTEEN, which in turn proved that yes, they are genuinely that silly in person.
In a dramatic turn of events just prior to the final chorus, the members turned to the time machine only to find it had malfunctioned… and dropped them in the middle of the jungle. Various dancers emerged from the stage in inflatable costumes and engaged the members in an over-the-top dance battle that had the audience at the edge of their seats between bouts of laughter.
SEVENTEEN has made it clear that they don’t take themselves too seriously, and it’s no wonder why- they don’t feel the need to. The sillier moments like an inflatable costume dance battle are counterbalanced with their flawless performance and sharpened skills that speak for themselves in a way that culminates in an air of effortless entertainment. The group knows they’re talented, and because of this have no qualms leaning into the silly and absurd.
“Oh My!” was followed by a series of lighthearted tracks including personal favorite “Snap Shoot” and the ever-vibrant “God of Music,” closing out the third section of the show.
Other tracks performed after a costume change into a palette of effortlessly stylish neutrals include the group’s recent release “LOVE, MONEY, FAME” in collaboration with DJ Khaled, the strikingly impactful “MARCH” that had pyrotechnics for days, and arguably one of the group’s most successful releases, “Super”.
As is tradition for most if not all concerts, the end of “Super” marked the point in which the artist would make a casual goodbye and the audience would put on an act of pretending there isn’t an encore to be anticipated ahead of them- however, SEVENTEEN’s encore comes with terms and conditions. In order to determine the encore stage’s length, fans must first prove themselves through the power of dance.
Cheers were heard throughout the stadium as the cameras panned from one fan to the next, dancing their hearts out to other fan favorite tracks absent from the set list, and lo and behold, the members re-appeared in their final outfits of the evening to perform “Adore U”.
Photo: PLEDIS Entertainment
Now came time for the time-honored SEVENTEEN tradition that every Carat dreams of experiencing at least once in their life. The real end of the show comes in the form of “VERY NICE”, or “AJU NICE” as it’s colloquially known, a track released on SEVENTEEN’s first album repackage. “AJU NICE” is iconic, “AJU NICE” is eternal, and “AJU NICE” is never ending- literally. The beginning of the song is a standard performance, the chorus exciting and bright, and then the members pivot to a dance battle with an audience member or pass the mic off to a fan near the barricade to sing a line or two, and plot twist- you’re right back in “AJU NICE”.
All of this to say night one in New York wrapped with a total of eight “AJU NICE”s that felt so complete as a conclusion there was no need for the pretense of elongated will-they-won’t-they departures, as SEVENTEEN had left everything out on the floor, just as Carats had from their seats- something “AJU NICE” made sure of. The perfect bow on the evening, night one of SEVENTEEN in New York had come to a close.
Photo: PLEDIS Entertainment
An absolute tour-de-force in live performance, SEVENTEEN is not a group to be overlooked regardless of whether or not you’ve ventured into the K-Pop world before. Perfectly balancing precise skills and unbelievable vocals with incredibly down to earth attitudes and a clear, genuine love for bringing their music to the stage, SEVENTEEN is a refreshing class act that knows they’re talented and isn’t afraid to be themselves all the same.
Setlist: Intro + Fear / Intro + Fearless / MAESTRO / Prelude + ASH / CRUSH / Water / MONSTER / Rain / Lilili Yabbay / Candy / Cheers to youth / Intro + Oh My! / Snap Shoot / God of Music / HOME / Intro + LOVE, MONEY, FAME (feat. DJ Khaled) (English Ver.) / MARCH / SUPER / Adore U / ’bout you / Campfire / VERY NICE
On a crisp fall day full of anticipation for Phish’s return to Albany, a mist hung over the pre-show festivities with the news of the passing of Grateful Dead bassist Phil Lesh. The chatter of whether this would be noted or honored by Phish – when, and how – was debated by fans gathered around South Pearl from Beaver St. to Hudson Ave.
photo by Conor McMahon
Those conversations were quickly put to rest with the opening notes of “Box of Rain,” Phish’s first ever performance of the Lesh and Robert Hunter penned tune, and the first time for the four members to cover the Grateful Dead in more than 26 years (not including Bob Weir’s 2016 Nashville sit-in)
And with that, the show was off and running. Following the emotional “Box of Rain,” Phish dropped “The Moma Dance” into a traditional second slot, followed by a boisterous “Free.” The flow was set early with this trio of tunes as the first three-night Phish run in Albany was underway.
photo by Conor McMahon
A mellowing “Dirt” gave way to “Wolfman’s Brother,” which Lesh notably performed a stellar version with Phish in April 1999 at the Warfield Theatre in San Francisco. “No Man in No Man’s Land” and a deep “Theme From the Bottom” filled in next, with “Steam” and “Sand” closing the first set.
Setlist art by Coventry Phish
The second set began just before 10pm with a nearly 10 minute “Blaze On” (9:59 to be exact), giving way to the one of the biggest jams of the night in “Piper,” with a “Carol of the Bells” tease in “Piper” bringing Christmas a little early to the Capital Region.
photo by Conor McMahon
Segueing from a steady “Piper” jam into “Light,” the second set vehicle of “Tweezer” kept the improv-heavy set flowing, dipping into “The Wedge,” and a pair of songs perfect for Halloween, “The Howling” and “Monsters.” And while “Backwards Down the Numberline” could have closed the set, a fan on the rail very likely influenced the closing rocker found in “Carini.”
photo by Conor McMahon
An encore that kept the show rolling close to midnight began with “Sleeping Monkey,” the first in more than two years. Just when you think they’d wrap things up with “Tweezer Reprise,” the opening riffs of “Ghost” appeared, pushing the expected encore into the realm of the unexpected, finally seguing into “Tweeprise,” just as Freddie Freeman ended Game 1 of the World Series with a grand slam. Not the ending Yankees fans wanted, but a celebration nonetheless for Phish fans in Albany or home on the couch.
photo by Conor McMahon
Phish continues their run on Saturday night. Get the scoop on what to do before and after the shows here.
Box of Rain made its Phish debut after the passing of Phil Lesh earlier in the day. Carol of the Bells was teased in Piper. Mike teased the bass line from Shakedown Street in The Howling. This show was a benefit for Divided Sky Foundation.
Phish – MVP Arena, Albany, NY – Saturday, October 26, 2024
Set 1: Possum, Sigma Oasis > Back on the Train, Nothing, Stash, Bouncing Around the Room, Tube > Bathtub Gin, More
Set 2: Prince Caspian > Down with Disease[1] > Ruby Waves > Fuego > What’s the Use? > Golden Age > Lonely Trip, Harry Hood
Encore: Golgi Apparatus > Slave to the Traffic Light
[1] Unfinished.
Trey teased Rainy Day Women #12 & 35 during Back on the Train and In Memory of Elizabeth Reed during Stash. Nothing was played for the first time since June 1, 2022 (118 shows). Down With Disease was unfinished. Page teased The Little Drummer Boy at the end of Harry Hood. This show was a benefit for Divided Sky Foundation.
Phish – MVP Arena, Albany, NY – Sunday, October 27, 2024
Set 1: Heavy Things, What’s Going Through Your Mind, Access Me, My Friend, My Friend, My Sweet One, Limb By Limb, Mountains in the Mist, Kill Devil Falls, Walls of the Cave
Set 2: Everything’s Right > Chalk Dust Torture, Mercury, Wading in the Velvet Sea, Most Events Aren’t Planned
Encore: Gotta Jibboo, Waste > Bug > Character Zero
Access Me was played for the first time since August 31, 2019 (185 show gap). Trey teased We’re Off to See the Wizard during Limb By Limb. Stash was teased during Chalk Dust Torture. This show was a benefit for Divided Sky Foundation.
As the red velvet curtain parted at TV Eye on Friday, October 18, McKenzie Iazetta of Trophy Wife stepped up to her microphone to cheers from the audience. The band’s lead singer wore a red and white polka dot dress with a skirt showing the tattoos down her legs, ending in frilly white socks and black velvet Mary Janes. She exerted complete control over the audience, standing like a pouty doll come to life with her hair glowing and eyes glinting in the stage lights as she strummed their opening song, “I Will Be Here.” Alongside her were bandmates Christian Pace on bass, Michael Martelli on drums, and Rowan Martin on guitar.
A month ago, a song called “Keep It” came across my Spotify Discover Weekly playlist. I had never heard of Trophy Wife, but the single’s cover caught my attention and I gave it a listen. I was instantly captured by the song’s vocals, which hover on the edge of breaking while constantly building in intensity. The drums have a raw, heavy sound like they’re pounding against the aluminum door of someone’s garage. The song builds and builds and builds from a cry to a wail as it asks the listener, “Do you want someone else to make it better?”
Trophy Wife followed this incredible single with two others leading up to the release of their first album, Get Ugly. The final single, “Swamp Song,” is another heavy hitter. Opening with the screeching frustration of amp feedback and pumping drums, giving way to sweeter vocals. It’s a bittersweetness that turns quickly to frustration and anger, with the song’s chorus introducing off-kilter guitar chords before cutting out everything in favor of croaking vocals.
“The Shame” is Trophy Wife’s most shoegaze-y offering on the album. It opens with a wistful guitar twang that conjures summer days. Then, as the drums grow more frenetic, we enter the first chorus, a breakdown that feels like heaving sobs with its all-encompassing distorted tone.
Behind it all is fantastic production across the entire album. The mix doesn’t leave any element behind, knowing exactly when to shift focus between instrumentation and vocals, allowing the totality of its emotional impact to reach the listener. This is a band punching way above their weight.
Trophy Wife’s drama and tone make them a unique act to witness. McKenzie Iazzetta’s vocal control is the key to that drama, riding the line between breaking and keeping it all together. They combine incredible technical skill with a captivating stage presence, ensuring their strong fanbase will only continue to grow.
Setlist: I Will Be Here, Magnet, Spit, Pedestal, The Shame, Beer n TV, Swamp Song, Keep It, Kicked, Again
Justin Timberlake and The Tennessee Kids rolled into Buffalo on October 21st and performed at the KeyBank Center for a night filled with dancing and singing.
NEW YORK, NEW YORK – OCTOBER 07: Justin Timberlake performs on stage during the ‘Forget Tomorrow’ World Tour at Barclays Center on October 07, 2024 in New York City. (Photo by Kevin Mazur/Getty Images for Live Nation)
DJ Andrew Hypes kicked off the evening, energizing the crowd with a mix of songs that had everyone singing and dancing. He played hits like “Don’t Stop Believing,” “This Is How We Do It,” and classic *NSYNC tracks to get everyone excited for Justin.
As soon as Justin Timberlake took the stage at the sold-out KeyBank Center, the arena erupted with excitement. The intro for “Memphis” began playing, accompanied by a video montage of Justin and soundbites playing in the background of Justin’s career. The montage culminated in Justin singing a portion of “Memphis.” When he reached the line, “I’m everything you thought I was, it was everything I thought I was,” he rose to the center stage alongside The Tennessee Kids. He quickly transitioned into “No Angels.” From the get-go, Justin showcased his impressive dance moves and maintained constant engagement with the audience throughout the show, utilizing the entire stage.
About 30 minutes into the performance, after singing “Cry Me A River,” Justin took a moment to read some signs held by fans and interact with the crowd. He even took a selfie with a fan’s phone while wearing a Bills hat. The energy in the arena was electric, thanks to Justin, The Tennessee Kids, and the enthusiastic audience.
NEW YORK, NEW YORK – OCTOBER 07: Justin Timberlake performs on stage during the ‘Forget Tomorrow’ World Tour at Barclays Center on October 07, 2024 in New York City. (Photo by Kevin Mazur/Getty Images for Live Nation)
At the halfway point of the show, Justin and The Tennessee Kids moved to the B stage to connect with fans at the back of the arena. They performed several songs, including “Suit and Tie,” “Until The End of Time,” an acoustic version of “Selfish,” and “What Goes Around…Comes Around.” Justin then made his way back to the main stage, performing “Can’t Stop The Feeling” on his way and ending the set with “Rock Your Body” and “Sexy Back.”
NEW YORK, NEW YORK – OCTOBER 07: Justin Timberlake performs on stage during the ‘Forget Tomorrow’ World Tour at Barclays Center on October 07, 2024 in New York City. (Photo by Kevin Mazur/Getty Images for Live Nation)
One notable absence from this Buffalo show was the floating platform/wall that Justin had at previous performances, which displayed graphics throughout the concert. During the encore song “Mirrors,” he typically would be strapped into some wires and appear atop this floating platform. However, the lack of this feature did not hinder his performance in Buffalo at all; you would never have known if you weren’t aware of its presence at other shows.
NEW YORK, NEW YORK – OCTOBER 07: Justin Timberlake performs on stage during the ‘Forget Tomorrow’ World Tour at Barclays Center on October 07, 2024 in New York City. (Photo by Kevin Mazur/Getty Images for Live Nation)
Neil Young, Joni Mitchell, The Band, The Guess Who, Leonard Cohen, and Alanis Morissette. Rush, Justin Bieber, Drake, and The Weeknd. Where would the world of rock and pop be without the contributions of these great artists?
Many music lovers don’t realize that the stars above have Canadian roots. And even fewer realize that one of New York City’s most popular and longest-running music venues, Webster Hall, was also the brainchild of folks from up North, the Ballinger Brothers. The story of how they rose from a hardscrabble youth on a remote farm in Ontario to reign supreme in the NYC nightlife scene for a quarter of a century is the subject of Party Boys, a rollercoaster ride of a memoir by Lon Ballinger.
Lon Ballinger and his brothers Steve, Peter, and Buster created not only Webster Hall but a legion of Canadian venues where over 40 million people danced, laughed, listened to great music, and, in many cases, connected with the loves of their lives.
The Ballinger Brothers grew up poor on a family farm with a beloved but overbearing mother and an alcoholic father, a psychologically damaged war veteran who would (figuratively) head out for a packet of cigarettes and never return. Their nightclub empire, which first revolutionized the industry in Canada and then NYC, would spring from Lon’s impulse buy of a pizza oven and open his town’s first pizza parlor in October 1973. As with many of their ventures, they would turn it into a success, cash out, and move on to another enterprise. After the pizzeria came a laundromat, which financed their first foray into nightlife.
Lon and his brother’s inspiration to get into the disco biz came from two unlikely sources. The first was the classic television show, I Love Lucy, and its portrayal of the nightclub run by Lucy’s bandleader husband, Ricky Ricardo. The second is when they detoured from a planned road trip to Mexico to New Orleans (to drop off a hitchhiker they picked up who was carting 400 hits of purple microdot acid to Mardi Gras) and then San Padre Island, where they saw their first big-time disco.
With monies from the sale of their laundromat and Lon’s earnings from his sideline in real estate, the brothers opened their first club, Ballinger’s Danceteria, a cavernous two-level musical funhouse in Cambridge, Ontario on Halloween 1979. Here they would learn the hard lessons about what made a club prosper: booking great acts like James Brown, The Band and homegrown stars-to-be like Brian Adams and Loverboy; the value of having professional security and the golden rule of nightlife — treat the ladies right and the men will follow.
Ballinger’s would be one of the first clubs to feature giant video screens, leading to the creation of their own weekly TV series, Canamerica Dance. Ultimately, they would depart Ontario for the big city, Toronto, creating the country’s largest club, the 200,000 square foot Big Bop in 1986, followed by smaller satellites, The Boom Boom Room and Rockit. They also had an outlandish idea that never got off the ground due to the recession of the late ‘80s, The Judicial Museum of Canada. The latter was slated to be housed in a circa-1850 courthouse, Canada’s oldest, serving as a combination dance and music venue with a museum dedicated to the history of the country’s legal system and crimes.
Lon, what the hell were you and your brothers smoking?
The big-dreaming Ballinger Brothers were seriously over-leveraged when the financial crisis hit, with $5 million in renovation and real estate loans. When they realized there was no way to rescue their Canadian club empire, they turned their sites on New York, taking over the site of The Ritz, which, at that time, was a shell of its former self, much like the city itself.
The brothers’ experiences operating Webster Hall are the heart of the memoir. It would take three years of negotiations with the community board, liquor commission, and their landlord before they had approval to open the four-level nightspot in October 1992. Ballinger’s book includes plenty of juicy tales of navigating a plethora of dicey issues with the Mob, the Hell’s Angels, crooked politicos, and, of course, troublesome VIP guests (I’m talkin’ to you Bill Murray, Mark Wahlberg, Hillary Clinton, Bobby Flay and Rudy Giuliani!). Lon also proudly proclaims Webster Hall’s role as an early promoter of hip-hop and EDM culture by giving gigs to aspiring stars and via their venture, Webster Hall Records, which notched 30 chart-topping dance releases. There are also rosy memories of artists like Lady Gaga, Moby, and Ed Sheeran, who honed their craft in early career performances on the venue’s multiple stages. Lon also discusses their early embrace of the digital realm. Webster Hall pioneered online ticket sales and what may have had the first website ever created for a nightclub. He also humorously relates how the site’s domain was hijacked and later reclaimed after a legal battle with a porn purveyor.
Some of the book’s best parts are Lon’s memories of fantastic events during the brothers’ 25-year run at Webster Hall. Prince is called “the greatest talent ever to grace our stage” thanks to a 2005 performance with a 35-piece orchestra, a milestone witnessed by an invite-only audience of 350. Also fondly remembered are Madonna’s Pajama Party for the release of Bedtime Stories in 1995, Bill Clinton’s Presidential Announcement Party in 1996 (where the Commander-in-Chief “made eyes” at one of his brother’s wives), and Paul Simon’s live recording in 2011, where another genius joined him, David Byrne. From 1992 – 2017, Webster Hall hosted nearly 30 million people and showcased 10,000 musical acts.
Ballinger’s book also includes many tales of the cut-throat side of the Big Apple’s nightclub business, namely their longtime battles with another promoter and sometimes partner, Bowery Presents. In 2016, the Ballinger Brothers agreed to sell the venue to a Russian oligarch and entertainment mogul, Mikhail Prokhorov, owner of the Brooklyn Nets and Barclays Center, for $45 million. Like many stories and experiences here, that would be an event full of surprises and drama. The Ballingers would hand over the keys to their kingdom in the wee hours of August 17, 2017, after a final wild night featuring a performance by Skrillex, an EDM artist whose fame they helped foster.
Lon’s book concludes with a valuable bonus section: “Lon’s Practical Advice for Running the Best Business in Your World.” Here, he provides 30 pages of his hard-earned wisdom on what it takes to succeed in any business – from building good relationships with your community, customers, and partners to advice on branding, marketing, insurance, taxes, and lawyers (be wary of the latter).
After selling Webster Hall, Lon Ballinger and his wife moved to the Hudson Valley, where they bought and refurbished The Stewart House in Athens, a breathtaking boutique hotel on the Hudson River. They now operate this hospitality gem, hosting their friends and guests at the beautiful and historical 1883 Stewart House Hotel.
Bio: Sal Cataldi is a musician, writer and former entertainment publicist living in the Hudson Valley and NYC. He is leader of the band Spaghetti Eastern Music and member of the ensembles Guitars A Go Go, Vapor Vespers and spaceheater. He is also the host of “Reading In Funktamental” on WGXC 90.7 FM/Wave Farm, a monthly/Apple Podcast show where he speaks to the authors of the books on music he reviews here at NYSMusic.com
