Good Neighbours is a band born out of a small town in East London. The duo is made up of Oli Fox and Scott Verrill and first began making music together out of the desire to create something positive from their love for music. The UK duo had an urge to rekindle the excitement of the early 2000s music scene, and apply the ideas of friendship, life and optimism to a cinematic approach to music.
After releasing their breakout debut single Home, it became the most streamed debut single globally from a new artist in 2024. The first viral success of the year amassing over 350 million streams led to their first ever North American Tour. Following the upcoming release for their debut album EP Good Neighbours.
Good Neighbours apply Nostalgia and connection to their emotive indie influences, creating a euphoric dreamscape of sound and vision. During this past Wednesday’s show, the band created an inclusive atmosphere. Fans were jumping back-and-forth as the band and audience serenaded each other. The familial feel left fans “homesick”, thinking of loved ones and enjoying the positive side of life.
Since their ascension, Good Neighbours have wasted no time capturing our attention and refreshing us with a new outlook on alternative indie rock, as their debut single charted throughout Europe. Thus, most left the show looking forward to what was next for the innovative British duo as they continue their North American Tour.
Soaring to spectacular heights for two nights in Saratoga Springs, indie-improv groove sensation Goose delivered a pair of performances that felt more like a homecoming celebration than rock concerts. After playing to their largest ever crowd (at the time) during their debut at SPAC last year, this time around, the colorful band decided to bet on themselves and make a weekend out of it.
Playing four sets over two consecutive nights, the Norwalk, Connecticut-based band showcased just how far they’ve come from their humble beginnings. Not too long ago, Goose was cutting their teeth at smaller venues like Albany’s former Parish Public House and Putnam Den. Now, they’re packing out massive venues and headlining some of the biggest festivals on the circuit. It’s been a meteoric rise that underscores the band’s extraordinary talent and their magnetic draw for fans.
Goose performing in Saratoga Springs on 9/6/2024
Since their ascent in the pandemic era, Goose’s fan base has exploded, thanks to their intoxicating blend of groove-based improvisation, catchy melodies, heartfelt vocals and relentless touring. For the family and friends who have supported them since the early days, this SPAC run was a full-circle moment—an intimate celebration amidst their ever-growing fame. In just a few short years, Goose has gone from playing bar gigs to headlining stages like Red Rocks and major festivals such as Bonnaroo and Peach Fest. Their rise has been both organic and rapid, fueled by the band’s tight-knit musicianship and a growing, fervent fanbase.
Live streams during the pandemic introduced their genre-bending sound to a global audience, which quickly transformed them into one of the most exciting acts on the modern jam and indie circuits. Luckily for fans, despite their growing fame, the band continues to maintain their down-to-earth, hardworking ethos and have continued serving up plenty of free high-quality content and live streams to keep casual fans and new ones interested. Whatever the secret to their success is, it’s clearly working, as evidenced by the massive applause the band received while walking out on the Broadview Stage at SPAC on Friday, September 6th.
Kicking off the festivities with a nod to the OG-honkers in the audience, multi-instrumentalist Peter Anspach strapped on his guitar for one of the few times of the night and led the band through “Elizabeth,” a song that was first played in Saratoga Springs in 2018 to a mostly empty Putnam Place down the street. Now performing it on the big stage at SPAC, you somehow always knew this is where Goose was destined to be. Their signature sonic sound has been arena and amphitheater-ready from the very start. Keeping it old school, Goose then unleashed a pair of longtime favorites next with their version of the Wood Brother’s “Atlas,” followed by “Turned Clouds,” the opening track from the bands 2016 debut album Moon Cabin.
The Great Handini: Multi-instrumentalist Peter Anspach performing with Goose at SPAC on 9/6/2024.
At the core of Goose’s sonic magic is the unspoken chemistry between the band members, each with their own signature style and endearing nicknames. Primary vocalist and axeman Rick Mitarotonda, or simply “Snakes,” leads the charge with his soulful vocals and dexterous guitar work. The always smiling Peter Anspach, affectionately known as “Handini,” handles keys and rhythm guitar, adding a layer of infectious good-natured energy. Trevor Weekz, or “Tweekz” holding down the bass, is the quiet powerhouse of the group, while percussionist and multi-instrumentalist Jeff Jeff Arevalo helps bring the rhythm to life with a cool confidence in the back.
Making his SPAC debut on drums was the newest member of the band, former Swimmer timekeeper Cotter Ellis who joined the band early in 2024. Injecting fresh energy into the band’s live performances, Ellis’ dynamic drumming has found a seamless place in Goose’s sound, adding new textures to their already eclectic mix of indie rock, funk, and improvisational jams. On Friday, Goose would really open things up for improvisation on the fourth song of the night, “Borne.” Taking the hypnotic track for an impressive 17-minute joyride, you knew exactly what Mitarotonda meant when he crooned out the lyrics, “I’m not tired / I’m not worn at all / I’ve just started / Now I’m shown around / Just what we were born to be.”
Rick Mitarotonda shredding his custom guitar, the Empress, at SPAC on 9/6/24.
Serving up a sweet treat to the many Grateful Deadheads in the crowd was a surprise bust-out of the Monroe Brother’s “Rosa Lee McFall,” a song Jerry Garcia often played with his side projects. This was the first time Goose has dusted it off in 76 shows. Switching gears to a more contemplative vibe next, Mitarotonda had complete command of the audience as he serenaded SPAC with the introspective “Bob Don” before Peter would take over on an impressive 18-minute version of “Pancakes,” a song he wrote with his band Great Blue before joining Goose. Taking on new life in recent years, the Anspach-penned tune has since become a staple of the Goose live show, becoming both a fan favorite while simultaneously paying homage to his early roots. The high octane jam sent the crowd into intermission buzzing with excitement for what was still yet to come.
Goose performing in Saratoga Springs on 9/6/2024.
Opening the second set with the longest jam of the night, “Arrow” has long been a major improvisation vehicle for Goose. Featuring some of Rick’s most heartfelt singing of the weekend, Goose went reaching for the stratosphere on this one and found it, yielding an unforgettable 26-minute journey of pure musical bliss. Following it up with the first “Everything Must Go” since their hometown Westville Music Bowl summer tour closer, this stellar version clocked in as the fourth longest version of the song the band has ever played. Locked in and firing on all cylinders, the energy in the pavilion was through the roof.
A key ingredient in Goose’s captivating live experience is the mesmerizing stage lighting, expertly crafted by lighting director Andrew Goode. Goode’s use of vibrant colors, synchronized patterns, and dramatic builds complements the music’s improvisational nature, elevating each song to a visual feast. His lighting design doesn’t just illuminate the stage, it creates an immersive, otherworldly atmosphere that draws fans deeper into the performance. The interplay between Goose’s jams and Goode’s lighting transforms each concert into a multi-sensory experience that lingers in the minds of fans long after the final note.
Lighting director Andrew Goode mesmerized in Saratoga Springs.
Following another nod to Great Blue, “Jeff Engborg” was played for the first time since October of 2023. But the biggest bust-out of the weekend came next when Goose dipped into a beautiful, soul-wrenching cover of Tom Waite’s “Christmas Card From a Hooker in Minneapolis.” Played for the first time in a staggering 254 shows, Goose last covered it during their now-legendary Swanzey, NH drive-in show in October of 2022. There’s a sticker on one of Peter’s keyboards that says, “Phone Down, Eyes Up, Heart Open,” but on “Hooker,” I simply couldn’t resist taking my phone out. I had been chasing that one for a while, and in that moment, it was everything I needed and I didn’t want it to end.
The only thing that could top it was the song that got me hooked on Goose in the first place and as Rick crooned out the final words, “I’ll be eligible for parole come Valentine’s Day,” you could faintly hear the buttery-smooth transition into exactly what I was craving– a nice, dank 15-minute “Arcadia.” Hell yes. With time left for just one more, Rick would offer a nod to his previous band Vasudo as “Hot Love & the Lazy Poet” was chosen as the lone encore. As the band walked off stage to a howling ovation, you knew all the people you told about Goose years ago are finally starting to get it. Goose is special. This band is the real thing.
To my friends that inexplicably turned down miracles, I hate to beat a dead horse, but you simply missed out. For anyone lucky enough to catch Goose live, whether it’s their first or fiftieth show, it’s an experience that stays with you—a reminder that great music, like the fans that support it, is always evolving.
Watch pro-shot video of Goose performing “Big Modern!” on Night 2 at SPAC
Creating good vibes and blowing minds and returning to SPAC for Night 2 on Saturday, Goose would do it yet again. Opening up with a unique “indie-groove” arrangement of “Atlas Dogs” for the first time in 133 shows, the band also surprised folks with their cover of The National’s “Bloodbuzz Ohio.” After debuting the massive new track “Big Modern!” at the tour opener six days earlier in New Jersey, SPAC fans would get the second version ever played, this one coming in at nearly half the length of its predecessor at only 18 minutes. A beautifully performed “This Old Man’s Boat” made the hairs on your neck stand up, while the OG fan favorite “Hot Tea” had the entire place on their feet and dancing up a storm.
Saratoga Bust Out: Goose played the “indie groove” version of “Atlas Dogs” for the first time in 133 shows on 9/7/2024.
One thing that sets Goose apart is their deep connection with their fans. With the audience as much a part of the show as the band itself, the SPAC crowd was an eclectic mix of fans, from dedicated “poster collectors” lining up early for limited-edition artwork to first-timers eager to experience the Goose magic. The atmosphere was energetic yet laid-back, with people dancing freely, sharing stories of past shows, and reveling in the moment.
With a veritable and organic pre-party and post-party scene emerging around the band, there was plenty of excellent music to be heard outside of SPAC all weekend too, notably with sets by the Prince-Bowie supergroup Annie in the Water and Grateful Dead cover band The Wheel. Prior to the show on Saturday, members of Goose would hit the links for a good cause, teaming up with the Western Sun Foundation for “Goose on the Green” to help raise money for local charities. And while it was all smiles before showtime, when the band came out for the final set of the run, they put their game faces on and were all about getting down to some serious improvisational business.
Goose opened their 4th and final set at SPAC with a 25-minute rendition of “Hungersite” on 9/7/2024.
Kicking it off with a huge 25-minute rendition of “Hungersite,” the ‘wow’ factor was off the charts. Weaving their way through multiple tension and release peaks and even flirting with some type II jamming, the song’s massive crescendos made SPAC come unglued. Diving deep into their roots once again, Goose would show more love to Vasudo with “Give It Time,” a song that seems to be in steady rotation since Cotter Ellis took over on drums. After cracking the 20-minute mark on the always epic “Drive,” the song that had everyone talking afterwards was the cover of Nina Simone’s “Sinnerman.” Played for the first time in 87 shows, Peter would describe it as “one of the craziest dance parties he’s ever seen,” with even the lawn getting down. Closing out the triumphant SPAC run with a 2-song encore, “So Ready” gave way to just the second ever performance of “Zalt.”
Watch pro-shot video of Goose performing “Drive” on Night 2 at SPAC
After the show, the question on everyone’s mind loomed large. Will Goose follow in the footsteps of their jam band elders like Phish, Tedeski Trucks Band and Dave Mathews and make Saratoga Springs an annual stop on their touring schedule? After two mind altering, life affirming nights that showcased their unique ability to weave intricate jams with fan-favorite songs and positive energy, one thing is clear—they’re a band that thrives on the live experience. From their early days in the club scene to headlining the biggest stages in the world, Goose is a testament to the power of grassroots success. Their story is still unfolding, but if these shows at SPAC are any indication, the best is yet to come. Up next, the band plays three nights at Chicago’s Salt Shed before heading to the West Coast for the remainder of September. Until then, keep and eye on the bands Youtube channel for tons of free music and full-show performances. We’ll be watching and can’t wait to see what these guys do next!
The band formed in 2013 in El Paso, Texas and are made up of lead vocalist and electric guitarist Greg Gonzalez , drummer Jacob Tomsky, and bassist Randall Miller. The band explores a celestial soundscape using a unique approach to the dream pop genre.
The trio blew up internationally in 2016 when their first debut EP “I.” launched. Their music enters an ethereal and dreamlike haze that’s soothing and romantic. Best known for top hits “Apocalypse,” “Cry,” “Nothing’s Gonna Hurt You Baby” and “K.” Their songs include riffs of the guitar, a steady drum beat and synthesized swells which creates a sound you could almost fall asleep to.
Their lyrical composition is drawn heavily from Greg’s personal memories and allude a cinematic and emotive response. Each song describes moments of romance and the feeling of falling in love. Similar to a black and white melancholic film with a lingering sadness that reminds us of our past.
Cigarettes After Sex beautifully allows their audience to connect with them on a deeper more personal level. The atmosphere of the show was full of people who could relate to one another emotionally and connect to another’s experience.
The band continues to amaze their fans and fulfill the hope to bring forward ethereal, imaginary and a calming space to soothe their audience. As of recently, the ambient band released their third studio album “X’s” this past July including three singles Tejano Blue, Dark Vacay and Baby Blue Movie. While they continue to bewitch listeners with lust and longing, the band conquered a night to remember.
Considered the pre-cursor to the 2024 VMAs at UBS Arena, the free, family-friendly event took place on Sunday, September 8 from 12 noon to 5pm at Domino Park in Williamsburg. What better way to ring in one of music’s biggest nights than a beautiful late summer afternoon of celebration along the Brooklyn waterfront? And this year’s Moon Person goes to…the second-annual VMAs Block Party!
Jordan Adetunji (Left), Knox (Middle), and Lola Brooke (Right) perform at the 2nd-annual MTV VMAs Block Party at Domino Park in Brooklyn, New York.
Hosted by MTV’s Dometi Pongo and WCBS’ Alecia Reid, the second annual VMAs Block Party kicked off one of music’s biggest weeks and featured live performances from artists like Jordan Adetunji, Knox and Lola Brooke, in addition to and all-day DJ Set by DJ CherishTheLuv.
Jordan Adetunji took to the stage to perform some of his recent cuts and finished his set with smash-hit “Kehlani” that sent the crowd into a frenzy.
Knox took the stage with the energy and passion that have come to define his music. His set, featuring fan favorites like “Sneakers,” “LoveLetter,” and “NotThe1975,” showcased his skill in blending catchy melodies with heartfelt lyrics.
Lola Brooke sure knows how to keep the energy going! The rapper took the stage on Sept. 8 at Domino Park, and had the crowd going crazy for her performance which rounded out the VMAs Block Party.
The event also featured MTV VMA Moon Person Photo Opp, MTV VMA Free Swag Station, The Rolling Stones x MTV Pop-up Shop, BK Whopper Whopper Remix Photo Opper, MTV Mental Health is Health ASKtivation, and Mr. Flower Fantastic MTV Topiary Moon Person for all participants to enjoy.
The day was a celebration of music’s ability to bring people together, with Jordan Adetunji, Knox, and Lola Brooke, each showcasing their individual talents while also highlighting the shared human experiences that their songs explore.
Megan Thee Stallion will take the reins for music’s biggest night on Wednesday, September 11, 2024 at 8:00pm ET. Before you get comfy on the couch to cheer on your favorite musicians, check out what you missed in the gallery below.
Amidst a backdrop of New York Harbor and skyscrapers, Joe Russos Almost Dead (JRAD) returned home with an impressive declaration. The New York originals hit the stage at 6:15pm sharp on Friday, September 6 and Saturday, September 7 for back to back sell out shows to no surprise. It was another day at the office for the quintet, as this show marked their second visit to The Rooftop at Pier 17.
“Gotta Serve Somebody”, rang out to kick the weekend off. The audience would agree in saying Mr. Dylan would be proud. Tom Hamilton (Guitar and Vocals) came out swinging, delivering an electrifying solo that made the floor shake. Marco Benevento (Keys, Synth, and Vocals) as usual had infectiously positive energy as he laughed on, smiling from ear to ear like a mad scientist watching a creation thrive and prosper.
With classics “Music Never Stopped”, “Estimated Prophet”, and “New Speedway Boogie”, the audience got their classic dead fill well before the first set ended. The second set featured several bust-outs including “Foolish Heart” and “Alice D Millionaire”. Closing with fireworks both figuratively and literally, the band encored with Them’s “Gloria”, the perfect cliffhanger to end the evening on. Scott Metzger (Guitar and Vocals) stood out here, as he did at many other points during the two nights. Masterful precision on the fret board, raw, powerfully passionate vocals, and great respect for the material of which he is deservingly trusted with.
After an outstanding first set on night two, attendees were gifted a special treat – a sit in featuring Lee Ranaldo, formerly of Sonic Youth. At first, only accompanied by the band leader Joe Russo (Drums, Percussion, and Vocals), rain began trickling in as the duo embarked upon a tribute to Ned Lagins, “Seastones”. A composition of deep ambient space as Mr. Ranaldo alternated between a synth pick up rig, xylophones, and using what seemed like a violin bow on his guitar. The rest of the group joined the stage not long after. With rain coming down harder, the band nor the audience paid it any mind, as it all seemed quite fitting. They gracefully transitioned into “Dark Star,” with Lee taking lead on vocals. JRAD’s guest proved no stranger to Grateful Dead aura, seamlessly joining the fold, elevating the show to an unanticipated but greatly appreciated height.
With the bar set very high, the rest of set two featured numerous heavy hitters in the famous catalog of music. The arrival of “Terrapin Station” was an important stop of the evening before the audience would erupt once more. The iconic piano melody played masterfully by Benevento, Pink Floyd classic, “Pigs (Three Different Ones)” was up next. Ha-ha’ing all unison, the endeavor unfolding could make one take notice as to what makes JRAD the epic force it continues to be.
In a world where Grateful Dead cover bands are in abundance, there are the ones that stand out and the ones that don’t. JRAD is in a league entirely of their own. Touring around the country quite frequently, they leave no stone unturned, both in musical style and energy. Led by Russo, whose ability behind a drum and percussion kit could make one’s jaw drop, him and his bandmates function like co-pilots, flying and landing an epic plane.
One faux farewell later and with Mr. Ronaldo back on stage, “Morning Dew” was the closing designated number. As the band played on, the audience took it all in one last time in almost complete silence. Going out with a strong force of momentum, they bid their audience goodnight. While the band must have been rightfully exhausted, the same could not be said about the audience. The house appropriately played “This Must Be The Place” from The Talking Heads to which the concert venue became a dance floor. Their tour will resume nationwide in early October.
Joe Russos Almost Dead – Rooftop at Pier 17 – September 6, 2024
Set 1: Gotta Serve Somebody, The Music Never Stopped, Estimated Prophet, New Speedway Boogie, Hot Lanta, Shakedown Street
Set 2: New Minglewood Blues, Foolish Heart, Brown-Eyed Women, Alice D. Millionarie, Feel Like A Stranger, Atlantic City, Casey Jones, Playing In The Band
Encore: Gloria
Joe Russos Almost Dead – Rooftop at Pier 17 – September 7, 2024
Set 1: My Brother Esau, Rueben and Cherise, Let It Grow, Help on the Way, Slipknot! , Fire and Brimstone, Cumberland Blues
Set 2: Seastones, Dark Star, Where’s Sly? Lady With A Fan, Terrapin Station, Greatest Story Ever Told, Pigs (Three Different Ones), Jack Straw
Jazz guitar virtuosos Frank Vignola and Pasquale Grasso put on a spectacular performance of their arrangements and improvisations of jazz standards and their own individual compositions, delivered with incredible musicianship and warm performance skills to a full house at Caffe Lena in Saratoga Springs on Friday, August 30th. Though it was a repeat appearance for Vignola, it was Pasquale’s first appearance at Caffe Lena and, most likely, not his last.
Vignola and Pasquale are not a standing duo but teamed up for this performance, as they have on several occasions in the past and will later this year and into next year at various US venues.Vignola is one of the most highly respected and internationally sought after guitarists in multiple genres, having played with countless jazz artists and artists in other types of music as diverse as Madonna, Ringo Starr and Donald Fagan. He has appeared at prestigious venues including New York’s Lincoln Center, the Blue Note, and Birdland where he performs regularly
Grasso, who Pat Metheny called “The best guitar player I’ve heard in maybe my entire life”, has a style which is truly his own, stemming from influences as divergent as John Scofield, Charlie Parker, Bill Frissel and classical music and shaped in part by the nuances of jazz piano on guitar. Grasso, now in his thirties, moved to New York from Italy fifteen years ago and has been thrilling the jazz world ever since. He plays primarily at jazz clubs in New York City, either solo or with his trio or quartet.
Vignola delivered his virtuosity with his longtime companion, a 1950s Gibson L7 hollow body archtop with McCarty P90 pickups, played through a Fender Princeton Reverb tube amp. Grasso took the opportunity to introduce the audience to his brand new custom made Trenier hollow body jazz guitar with its single TK Smith “Charlie Christian”- bar type pickup, which he played through a stellar 1940s Gibson EH185 tube amp.
Rather than performing from a set list for either of their two sets, the two took turns deciding what the pair would play as the night progressed, with occasional exchanges of “What do you what to play? I don’t know, what would you like to do?” followed by one laying down a few notes to intro a piece with the other joining in with chord comping harmonizing the melody played by the other, with the pair often “switching” roles. Their selections included “Segment” and “Billy’s Bounce” by Charlie Parker in a posthumous homage to Parker’s August 29 birthdate; the jazz standard “Body and Soul”; “Monks Dream”, “Blue Monk” and “Evidence” by jazz pianist Thelonius Monk; “Stardust” played as a tribute to “straight ahead” jazz guitarist Russel/ Malone who passed away unexpectedly in Japan a few weeks ago; and a number of Pasquale Grasso’s original compositions.
Frank Vignola
There are few things in music as enjoyable as players improvising together at a level where each brings out a musical invitation and challenge to the other to weave their contribution into the other’s and this was a prime example, song after song, of just that level of virtuosity. And it was apparent from both their facial expressions and their musical interweaving that the two performers were enjoying each other’s contribution at least as much as the audience was. It was truly a “dance of two guitars”. Gazing around the room at the people in the audience made it clear that they were transfixed on every passage delivered in the intimate setting that is part of the historic charm and the ambiance of Caffe Lena.
Pasquale Grasso
At times the pair would trade four or eight bar melody or chord melody solos back and forth, with each one’s contribution complementing the other’s, and with facial expressions making it apparent how much they enjoyed what they were doing. Whether they were delivering what seemed to be melody runs of 32nd notes with absolute clarity and well placed clear spaces in the mix interchanged with chord solos or chord harmonies that visited the entire span of the guitar’s fingerboard; or more ballad-like slower tempo masterpieces, Vignola and Grasso truly delivered a master class in jazz guitar.
Long time Caffe Lena house live sound engineer Joe Deuel did his usual excellent job presenting their sound to the room, micing intentionally set low volumes of the two amps into the house’s live sound, balancing and EQing them with perfection.
Frank VignolaFrank VignolaFrank VIgnolaFrank VignolaPasquale GrassoPasquale GrassoPasquale GrassoPasquale Grasso
On Wednesday, September 4, guitar virtuoso John 5 delivered an unforgettable performance at Albany’s Empire Underground. The venue switched from the larger Empire Live to take advantage of the superior acoustics for a live album recording. This more intimate setting gave fans an up-close experience with one of rock’s most iconic guitarists, making for an immersive show that fans will not soon forget.
For over 30 years, John 5 has been a highly-touted guitarist, known for his work with acts like Rob Zombie, Marilyn Manson, and Mötley Crüe, while also maintaining a prolific solo career.
The night kicked off with Albany’s own Tom Atkins Band, who brought their local flair to the stage. Los Angeles’ Turning Jane was next up, setting the tone with their dynamic performances.
John 5’s set at Empire Underground showcased his unmatched versatility, effortlessly blending genres and switching stringed instruments.
As the night came to a close, the crowd was left buzzing from John 5’s electrifying performance. With a live album soon to follow, fans can look forward to reliving the magic of the night. The combination of an intimate setting, stellar opening acts, and the possibility of a live recording made this show a standout.
On Saturday, August 31, Porter Robinson took the stage at Forest Hills Stadium for the New York stop on his worldwide SMILE! 😀 tour.
Hot off the release of his latest album, SMILE! :D, Robinson was joined by an incredible four-piece band consisting of keys, drums, guitar, and a dual bassist and backup vocalist. Regardless of whether the band was propped up on the mini stage behind him, or if they joined him on top of the enormous LED screen center stage, they were a stellar support system for Robinson’s infectious energy.
The seats of Forest Hills Stadium were filled with an endearing and incredibly excited crowd, with many dressed in the pink and black motifs of the album. The rest were adorned in bright, colorful gear resembling his other two albums. Others held signs, fans, or sparklers, occasionally bringing the party out of the pit and into the stands. No matter what album Robinson was playing from, the crowd sang along as they danced and jumped around together in disjointed harmony.
Robinson opened the tour with a full rendition of his latest album, which, unlike his previous work, resembled that of a rock band. The rest of his show went along in his own Eras-Tour-style fashion, dedicating sections of the evening to his albums with special announcements before each one.
When Robinson was wrapped up with SMILE! 😀, the enormous LED screen adorned with colorful graphics and lyrics in bright, sparkly fonts would transform into a billboard, with each album’s title and years stretching across the screen.
After the announcements, Porter Robinson played each of his albums in their entirety. It was endearing to see him look back on all of his work with such passion and admiration but also to see his evolution as an artist. His mixing of music styles from alternative and electronic genres had definitely changed over the years, and it was clear that he intends to continue this steady growth in the future. It was refreshing to see, not only because artists with his acclaim and style tend to be stagnant, but because the passion and thought put into his work is clear.
The show’s energy seemed neverending, with a crowd that wanted to keep the party going long after the concert’s end. During his set, he brought out special guest Frost Children, who collaborated with him on his song “Mona Lisa,” and even invited his bassist to perform vocals on his older tracks, particularly from Nurture and Worlds.
Porter Robinson ended the show with an encore of “Shelter” and “Cheerleader,” two of his biggest hits and the most explosive performances of the night. The crowd welcomed him back on stage with resounding cheers and applause, chanting, “One more time!” as he walked off stage. With the end of “Cheerleader” came flashing pink lights and an explosion of paper confetti, blowing away in the wind and getting in the crowd’s hair as they made their exit.
The rest of Porter Robinson’s tour continues through the end of 2024 and into 2025, spanning across five continents and over 20 countries. Robinson’s next show will take him to Atlanta, Georgia, on September 5. More dates in South America are yet to be announced.
For the full list of tour dates, merchandise, and music, fans can visit here.
Setlist:
(SMILE! :D) Knock Yourself Out XD, Perfect Pinterest Garden, Kitsune Maison Freestyle, Year of the Cup, Easier to Love You, Is There Really No Happiness?, Mona Lisa (with Frost Children), Everything To Me, Russian Rouhttps://www.youtube.com/watch?v=lzMkFIw8ETMlette.
(Nurture) Wind Tempos, Musician, Something Comforting, Everything Goes On, Unfold, Get Your Wish, Trying to Feel Alive / Look at the Sky
(Worlds) Sea of Voices / Sad Machine, Divinity, Fresh Static Snow, Hollowheart, Language, Goodbye to a World, Sad Machine
Some early evening power outages on night two of Tedeschi Trucks Band (TTB) at Saratoga Performing Arts Center (SPAC) were no match for the electrifying blues of Susan Tedeschi’s voice and her husband Derek Trucks’ nuclear-in-scale slide guitar talents.
The lights went out in the middle of rootsy singer songwriter Margo Price’s set and briefly delayed the start of boogie-rock legends Little Feat, but the Tedeschi Trucks Band’s two hour-plus set, which ran the gamut of American musical traditions, went off without the slightest technical difficulty on Saturday, August 31.
This, the second of two SPAC shows on the Deuces Wild Tour, leaned heavily on the blues with a good measure of going-to-church gospel as well. TTB’s 14-song set, which showcased each of its 12 members’ musical personalities, kicked off with a trio of originals: “High & Mighty” set the tone for the evening featuring Tedeschi’s whiskey-smooth vocals and the first helping of a Derek Trucks slide solo. “Ain’t That Something”, a standout cut off of 2022’s epic “I Am The Moon” put keyboardist/vocalist Gabe Dixon and his blue-eyed soul vocals into the spotlight, but it was Tedeschi who stole the moment with an incredible overdriven solo.
“Hear My Dear” reached a rocking crescendo when Tedeschi and a trio of background vocalists continued to sing the chorus as Trucks lit into a fiery solo that imitated the human voice, lifting the sound of the three singing voices exponentially until it sounded every bit as strong as a massive choir.
In their cover of Bob Dylan’s “Meet Me In The Morning”, Trucks channeled the slide guitar sound of Elmore James and then he ditched the slide for more traditional fingerstyle playing, and B.B. King’s tone in “Part of Me”, reminding the audience that he’s far more than just a “slide guitarist”. Kebbi Williams’ ska-inspired sax solo also indicated that in TTB, you might well start a song in one genre and end in another depending on who has the next solo.
Vocalist extraordinaire Mike Mattison has long been a foil for the fretwork of Derek Trucks, dating back to the Derek Trucks Band days. His star turn on a gospelized Prince’s “1999” (almost unrecognizable to these ears until I caught the iconic lyrics) was a perfect tune for the last day in August – summer concert season is winding down, but TTB is still partying like it’s 1999.
On “Idle Wind”, Trucks transformed yet again. On his most inventive slide solo of the night he was in turn John Coltrane and Ali Akhbar Khan, alternating lines that sounded like the cry of a horn with runs that are far more often heard in Indian ragas than amphitheater blues rock.
A friend and I were recently discussing the incredible ability Trucks has of “interrupting the narrative” in TTB’s relatively conventional original songs. In what could almost pass as an adult contemporary number, the band builds dynamic energy behind Trucks and he launches into a litany of dirty blues, free jazz, a child crying, a saxophone wailing, a bird in flight – sometimes all within a few measures.
While it can sometimes feel like the songwriting is merely a vehicle for one of the finest touring live bands on the planet to launch into a succession of solos, TTB’s greatest gift may be in choosing its cover songs. They have it down to a science. Coming out of a lengthy drum solo, the band played five covers dovetailed incredibly well together. Powerhouse vocalist Alecia Chakour channeled her inner Aretha for “Ain’t Fair”. Then, The Allman Brothers Band’s “Dreams” featured excellent vocals by Dixon and Tedeschi and was a chance for a card-carrying former Allman Brothers Band member in Trucks to channel his childhood idol Duane Allman in yet another attack of the guitar tone clone.
Trucks exited the stage and his wife led a stripped down TTB in a bluesy mashup of John Prine’s “Angel From Montgomery” into the Garcia/Hunter classic “Sugaree”. A friend in the crowd made a valid point – is there any Upstate New York music fan who doesn’t like the songs “Dreams”, “Angel From Montgomery”, and “Sugaree”? We certainly like our Allmans, Prine, and Dead in these parts, so credit to TTBs setlist researchers for the construction of that portion of the set.
With Joe Tex’s 1967 soul hit “Show Me” the horn section was finally turned loose, as was vocalist Mark Rivers, who, had he been a musician in the 1960s, may well have been a Stax legend. At this point, TTB was in full soul revue mode, a-la the great Ray Charles bands of the 50s and 60s.
Perhaps in a nod to the whole “Mad Dogs and Englishmen” Joe Cocker tour similarities, TTB encored with Leon Russell’s “Stranger In A Strange Land”. Joined on stage by Margo Price & The Price Tags, Tedeschi and Price alternated verses triumphantly as the night came to a close and I found myself wandering through the relatively empty, but beautiful park, hoping TTB and company had indeed put me back “on the human track”.
Living legends Little Feat wasted no time firing off a succession of stone cold classics in their set, even if they were delayed by short power outage. Keyboardist Bill Payne lit into the familiar riff of “Fat Man In The Bathtub” as though he was firing a starter’s pistol, and the hits kept on coming. The atmospherically spooky “Spanish Moon” established Lowell George stand-in Scott Sharrard as a remarkable talent. Sharrard nails both George’s unusual vocal cadence and his thin slide guitar tone. A member since 2020, Sharrard’s youth seems to buoy the veterans of the band in the same way Mayer and Oteil inject life into Bobby and Mickey.
“Willin’” was a wave your lighter singalong of the first order, and while that was the moment a lot of the crowd was waiting for it was a new tune, “Mellow Down Easy” that brought down the house in what was the biggest audience reaction to anything all night.
The song is off of Little Feat’s new record Sam’s Place which is named both for percussionist Sam Clayton (who sings all the songs on the record) and Sam Phillips, the famous owner of Sun Studios in Memphis, where the Feat recorded the LP. Clayton’s Howlin’ Wolf-inspired vocals encouraged the crowd, but it was the incendiary harmonica playing of special guest Michael LoBue that worked the crowd into a frenzy and out of their seats.
Just when you thought it couldn’t get much better, Tedeschi and Trucks walked out on stage and the band kicked off “Dixie Chicken”. Hearing Trucks play such an iconic riff was all a music nerd such as myself could ask for – I could have left right after it and gone home a happy man. I deserved nothing more. But hearing Susan Tedeschi sing a verse of “Dixie Chicken” was icing on the…chicken, I guess. Fred Tackett’s chunky sounding Fender was a nice pairing with Sharrard’s smooth-as-butter Gibson sound. The guitar feast was bountiful and I was thankful the group served up “Feats Don’t Fail Me Now” in supergroup formation as well. There’s always something special about watching legends and torchbearers working together to make a crowd of thousands boogie.
Margo Price kicked off the music marathon with an 11-song set that ran the gamut in styles from Americana to bluesy psychedelia, outlaw country to Nashville honky tonk.
Price broke news early in the set that she and her band The Price Tags are set to return to Saratoga Springs as they will be joining the Farm Aid lineup on September 21. Until Saturday, Price had not officially been announced as part of the lineup, even though she has a history as a Farm Aid board member and has worked as a collaborator with Willie Nelson.
Price is an excellent frontwoman with a powerful voice that reminds me at times of both Loretta Lynn and Emmylou Harris. She’s joined by a crack band of Nashville talent, particularly her husband Jeremy Ivey who plays rhythm guitar and harmonica, keyboardist Micah Hulscher who had some of the finest B3 playing of the night, and Telecaster-master Jamie Davis.
“Been to the Mountain” from her album Strays and “Four Years of Chances” from Midwest Farmer’s Daughter were early set highlights for both the musicianship of the tight band and for the clever wordplay in Price’s lyrics.
An excellent take on the Grateful Dead-influenced “Tennessee Song” gave way to the very bluesy “Don’t Wake Up”, but the highlight of the set was a rousing “Change of Heart” into the traditional “God’s Gonna Cut You Down”. Just as Davis ripped into his solo, the power went out, making this writer wonder just what kind of God would choose guitaris-interruptus as a way to go all Old Testament on us? It got a little spooky Unsolved Mysteries at SPAC for a few minutes there. The lights came back on, but Price’s mic kept going in and out. Instead of getting frustrated, she hopped into the first row and led the crowd in a tambourine clap-along until the scurrying sound dudes fixed the problem and Price and company finished their fine opening set.
The 5 pm rain, and probably the whole end of summer Labor Day weekend thing, certainly seemed to limit the attendance on Saturday, but those that showed up saw the very best value menu you’re going to get at SPAC. And when I left my seat to go out to the lawn, it was crowded, but not oversold. It was comfortable and people were having fun. Nearly five hours of bluesy music was the perfect way to end August.
And since a new school year is just around the corner, it has me hopeful that new generations will keep hearing the music of The Allman Brothers, or Little Feat, or Susan Tedeschi and Margo Price. The crowd skewed a bit older for sure, with one man a few rows ahead of me raising his cane in the air and swaying it during the TTB encore like a baton.
But, what gives me hope is that TTB hasn’t taken a contract as The Late Show band (they certainly would be a great one). They’re a touring unit of the first order and they hit the road hard, proselytizing the blues and the American rock n’ soul standard songbook at every show. They’re using their powers for good and I sincerely hope they keep coming back to SPAC every summer to spread the gospel.
Saturday August 31 Tedeschi Trucks Band Setlist: High & Mighty, Ain’t That Something, Hear My Dear, Meet Me In the Morning (Bob Dylan cover), Part of Me, 1999 (Prince Cover), Idle Wind, Ain’t Fair (Aretha Franklin Cover), Dreams (Allman Brothers Cover), Angel From Montgomery (John Prine Cover) > Sugaree,(Grateful Dead Cover), Show Me (Joe Tex Cover), Just Won’t Burn, Made Up Mind Encore: Stranger In A Strange Land (Leon Russell cover w/ Margo Price & The Price Tags)
Little Feat Setlist: Fat Man In The Bathtub, All That You Dream, Spanish Moon, Willin’, Mellow Down Easy (w/ Michael “The Bull” LoBue on harmonica), Dixie Chicken (w/ Susan Tedeschi and Derek Trucks), Feats Don’t Fail Me Now (w/Susan Tedeschi and Derek Trucks)
Saturday August 31Margo Price & The Price Tags Setlist: All The Tired Horses (Bob Dylan Cover), Been To The Mountain, About To Find Out, Four Years of Chances, Never Say Die, Tennessee Song, Don’t Wake Me Up, Change of Heart > God’s Gonna Cut You Down (cut short by power outage), County Road, Do Right By Me, A Little Pain
Friday August 30 Tedeschi Trucks Band Setlist: Anyhow, I’ve Got a Feeling (The Beatles cover), Circles ‘Round the Sun, Let Me Get By, Tangled Up in Blue (Bob Dylan cover, TTB live debut), Do I Look Worried, I Feel So Bad (Chuck Willis cover), Smoke Ring Halo (The Wood Brothers cover), I Want More > Beck’s Bolero (Jeff Beck cover), I Walked on Guilded Splinters (Dr. John cover), Keep On Growing (Derek and the Dominos cover, with Anders Beck) > That Did It (Bobby “Blue” Bland cover), Bound for Glory Encore: Don’t Think Twice, It’s All Right (Bob Dylan cover, with Margo Price), Let’s Go Get Stoned (The Coasters cover, with Margo Price)
Labor Day weekend, a noteable bootleg and a weird ramble about women’s rights. What connection do these three things have? They’re all elements of the one and only time Frank Zappa performed at Saratoga Performing Arts Center (SPAC), on Saturday, September 1, 1984.
Zappa’s lone performance at SPAC was the final show of the first leg of the band’s North American tour before heading to Europe a week later for 28 shows stretching into mid-October. Just over a week after returning home, the band picked back up in the Northeast at Worcester Palladium in Massachusetts, with shows in NYC on Halloween at Felt Forum (now the Theater at Madison Square Garden) and the SUNY Stony Brook gym a few days later.
Snaking through the mid-Atlantic, this tour returned again to New York, with a November 16 show at SUNY Buffalo’s Alumni Arena, a whopping eight shows for Zappa heads across the Empire State, and a monster tour altogether with more than 100 shows in the calendar year.
Starting the tour on July 17, 1984 with six consecutive nights at the Palace Theater in Los Angeles, Zappa and his band would play four more shows in California that month, then head east through Arizona, New Mexico, Colorado and the Midwest, arriving in the Eastern Time Zone on August 12 in Cuyahoga Falls, OH. After a day off and show in Toronto at Canadian National Exhibition Grandstand, the band played Jones Beach on August 16.
Now if you were really into Zappa at the time, you could have caught multiple shows in New York this month, starting at Jones Beach, then The Pier in NYC, the NYS Fair in Syracuse and the Mid-Hudson Civic Center in Poughkeepsie, all in a 13-day span, with time to rinse and rest before the tour closer at SPAC on September 1. Not to mention the shows later that fall downstate and in Buffalo.
Among Zappa fans is a bootleg known as Kreega Bondola, which features a recording of Frank Zappa on September 1, 1984 at SPAC is one of the more widely circulated Zappa shows. This is thanks to the supposed soundboard source and first generation copy the recording stemmed from.
The name of the bootleg refers to a call from Tarzan, “kreeg-ah bundolo” which translates to “Beware! Kill!,” which would be the 1984 alternate name of “Let’s Move to Cleveland,” which also had pen names of “Canard du Jour,” and “(So) Young and Monde.” There is also a 14-minute version of “Kreega Bondola” which may explain how it became the title of the bootleg.
Additionally, songs from the SPAC performance, as well as the band’s December 23, 1984 show at Universal Amphitheater in Universal City (Los Angeles), California, were featured on the unofficial bootleg, All You Need is Glove, released in 1985.
With a lineup that was only found in the North America tour of 1984, the band included Frank Zappa (guitar, vocals), Ike Willis (guitar, vocals), Ray White (guitar, vocals), Scott Thunes (bass, vocals), Chad Wackerman (drums), Alan Zavod (keyboards) and Bobby Martin (keyboards, sax). Napoleon Murphy Brock had been on tour with the band from mid July until August 1, but was sidelined with stomach flu and missed the remainder of the US tour.
photo by Steve Schapiro
As a bootleg, Kreega Bondola was an entry level Zappa live performance for many of the day, offering a little something for everyone.
If you’re a casual Zappa fan or looking to wade into the waters, you’ll find “Carolina Hard-Core Ecstasy,” “I’m The Slime,” “Keep It Greasey,” and “Muffin Man” spread throughout the two hour concert. Add in Zappa’s guitar going toe-to-toe-to-toe with Ray White and Ike Willis on a shredding version of “Let’s Move to Cleveland” and you’re waist deep in live Zappa.
For the serious Zappa heads out there, there are 24 songs spread across the show and encore, pulled from no less than 13 Zappa studio albums and records, a wide net cast across an audience that would only see Frank this one time at SPAC.
Opening with “Heavy Duty Judy” and “Carolina Hard-Core Ecstasy” – a pair of Zappa and Captain Beefheart tunes – a seven minute “Advance Romance” followed, along “I’m The Slime” and the anti-MTV message that went along with it. Highlights include a short “What’s New in Baltimore?,” “Lucille,” “Teenage Wind” and “Sharleena,” and the stellar aforementioned version of “Let’s Move to Clevland.”
A pair of songs, “Cocaine Decisions” and “Nig Biz,” which were often played in succession, offered a message that outweighed the music. The first was Frank’s critical take on cocaine use/abuse and the decisions that come from those who use the drug, which also highlighted drummer Chad Wackerman’s use of electronic drums for toms (at Frank’s suggestion) along with standard snare, bass drum and cymbals. The latter is a hot take on the music industry, with the protagonist, a musician under contract with a record company, being made to feel like a slave, turning to drugs in order to be accepted. Both songs were critical of the music industry and factored in Frank’s sharp wit and words as he channeled personal views and experience into the message.
Then there is the encore break. Before closing the night, Frank received a letter on stage from a fan, reading it aloud for what is labeled as “Women’s Movement Rap” on the Kreega Bondola bootleg. The note made light of Frank’s attitudes towards women, to which Frank replied “Let me tell you something about women’s movement, there is only one good women’s movement,” leading to Frank referencing sex as the women’s movement which he is most deeply involved. And it doesn’t get less ‘weird’ by today’s standards as he keeps on going. (listen here)
The “Women’s Movement Rap” has been described by others as “possibly the dumbest thing Frank ever said on stage,” and that is likely true for the outspoken musician, but with songs “He’s So Gay,” “Bobby Brown,” “Crew Slut” and “Be In My Video” all part of this evening’s show, let alone live rotation, it was par for the course in 1984.
Closing the show post-‘rap’ were a smooth segue between “Camarillo Brillo,” “Muffin Man” and “Illinois Enema Bandit,” the latter of which stretches out for more than eight minutes, bringing the only Frank Zappa show at SPAC to a triumphant close. A unique show for sure in a heavy touring year for the workhorse composer and his band. Download the show here or listen below.
Frank Zappa – Saratoga Performing Arts Center (SPAC), Saratoga Springs, NY Saturday, September 1, 1984
Setlist: Heavy Duty Judy, Carolina Hard-Core Ecstasy, Advance Romance, I’m The Slime, Be In My Video, What’s New In Baltimore?, Lucille Has Messed My Mind Up, Ride My Face To Chicago, Teenage Wind, Truck Driver Divorce, Cocaine Decisions, Nig Biz, Sharleena, Keep It Greasey, Honey Don’t You Want A Man Like Me?, Carol You Fool, Chana In De Bushwop, Let’s Move To Cleveland, He’s So Gay, Bobby Brown, Crew Slut Encore: (women’s movement rap), Camarillo Brillo, Muffin Man, The Illinois Enema Bandit
