On Thursday, May 2, PEAK took the stage at Brooklyn Bowl along side guitarist Ryan Liatsis and P(X3) for a night full of funk, riffed-out blues-rock and music to fuel the soul.
PEAK, a Brooklyn based band consists of guitarist and vocalist Jeremy Hilliard, keyboardist and vocalist Johnny Young, bassist Josh T. Carter and drummer Kito Bovenschulte. The group captivated their audience with melodic songwriting along with psychedelic funk groove that makes your body move. They took on a life of their own as some of the best musicians in the NYC improv rock scene with moody blues-rock and created an atmosphere for their danceable improvisations.
Brooklyn Bowl welcomed fans with an open floor to dance, as fans had an intimate engagement throughout the night with the New York jam band. Quick controlled snare, dominant guitar riffs, upbeat blend of melodies and synthesized sounds from keyboard combined to create PEAK’s ambience of psychedelic, funk variables of rock and roll, a musical narrative that let good-timey clash with poetic guitar.
By the end of the night, the crowd was in their groove and connected with the band, looking forward to their future music endeavors. After this show, PEAK will be on their way to Burlington, Vermont at Nectars on May 4th and 5th. Shortly after, the band will head to Newmarket, New Hampshire to perform at The Stone Church on May 16th.
PEAKSetlist: Forsythia Fills the Wilderness, Little Miss Mary Merry- Go- Round, Woody Guthrie with Ryan Liatsis, Daddy Donât Live in that New York City No More, When the Night Comes Calling You, Pastures of Plenty, It Ainât Over âtil the Credits Roll, Run Me Down
Prof is a Minnesota rapper and founder of the independent label Stophouse Music Group. He is most known for his witty lyricism, a personal favorite being “I moved further from the bank so I could laugh longer” from his raunchy hit “Tarzan.” Prof brought his Gallery Tour and a number of hits to Racket in Manhattan on April 29. Prof has made numerous stops in New York over the years, slowly growing his fanbase, though, by his own admission, not as quickly as he has grown in other markets.
Futuristic opened the show, jumping around the stage with his videographer. His performance felt deserving of its own show, which is convenient because he will return to New York next month for his own headliner tour. He also debuted a new song with a Prof feature that will be released next week. The second opener, Grip, was equally impressive and invited some fans to rap with him onstage. Grip first introduced a fan he had run into and become friends with after rapping Eminem’s verse from Grip’s song “Walkthrough!” Though the fan was obviously nervous and had some trouble with the mic, he got the crowd hyped and made the song extra special with his excitement.
To start Prof’s set, his DJ, Willie Wonka, came out first onto an empty stage adorned with cardboard cutouts of marble statues, ancient (plastic) urns, Greek columns, and crates full of artifacts. He began “casing” the stage like an art museum while donning a ski mask and carrying a duffle bag and flashlight. After Wonka finally gave the all-clear, Prof burst out onto the stage with “Feed the Dogs” and more energy than most people have in their entire lives. A gallery is an ironic concept for Prof, who feels more like a bull in a china shop in most settings.
Prof wore a mathcing teal ski mask and windbreaker combo, pink flamingo socks, and white driving shoes. He has a stage presence like no other and immediately began mean-mugging the crowd while whipping bottled water all over the audience and stage and waving his trusty white towel. After two songs, Prof slowly removed the mask, his face twisted in horror at his own reveal.
Later when Wonka came out from behind his DJ table to twerk for the audience for the second time that night, Prof used that same towel to slap Wonka’s butt. Prof is not one to focus on his birthday as much as his music. That didn’t stop his crew and the team at Racket from bringing out a huge sheet cake on stage with dozens of candles for him. The audience joined in, singing “Happy Birthday” before Prof eventually moved into his next song.
Now, Prof continues his tour down south and ends with a show back home in Minneapolis. Hopefully, Profâs success across North America translates into bigger shows in NYC. He puts on a great show, and it would be even better to share it with a huge crowd.
The Total Mortgage Arena in Bridgeport, Connecticut, is not known for its concerts. The arena typically hosts the American Hockey League’s Bridgeport Islanders and is overshadowed by the Hartford Healthcare Amphitheater which sits steps away from the entrance. During the summer months, the Amphitheater gets all the big names like Neil Young, Queens of the Stone Age, Santana and Ghost. But, once or twice a year the Total Mortgage Arena gets one or two “big hitters” in the music sphere to balance it out.
This year, the Rock and Roll Hall of Fame band Journey closed out their “Freedom” tour in Bridgeport ahead of their run of stadium shows with Def Leppard beginning in the summer. Journey’s tour is in support of their new record, Freedom, which was released back in 2022. Fans packed the arena ahead of the 7:30 p.m. start time and the anticipation was high. The last time the band was in the area was last March in the state capital of Hartford at the XL Center.
Photo Credit: Mike Savoia
The Los Angeles native band Toto was again brought out on the road with Journey as their support act. On the first leg of the “Freedom” tour, Toto was also opening for Journey so fans who missed the show last year finally got to see it in a slightly smaller, more intimate venue. As fans were still filing into the arena and finding their seats, the band plugged in their instruments and started with their first song of the night, “Girl Goodbye,” off of their debut self-titled record. Toto played a total of nine songs that had the entire audience dancing and singing along.
Toto has seven band members and brings so much power and energy to the band’s live performances. The band features Warren Ham on percussion and saxophone, Steve Maggiora on the keyboards and Shannon Forrest – who has recorded with the likes of Taylor Swift, and Willie Nelson – on the drums. Joining those three is John Pierce from Huey Lewis and the News on bass, and Greg Phillinganes on keyboard. For those who don’t know Phillinganes, his extensive career consists of touring with the likes of Stevie Wonder and was the musical director for Michael Jackson. The final two and arguably biggest stars of the band is Steve Lukather on guitar who was heavily involved in Jackson’s Thriller album and played on Oliva Newton-John’s Physicalalbum. Lastly on vocals is Joseph Williams who was the adult singing voice for Simba in Disney’s The Lion King.
Photo Credit: Mike Savoia
Toto was an excellent opener for Journey, even if Lukather once screamed “Pittsburg!” instead of Bridgeport. They did a great job readying the crowd for the heavy hitters in the rock and roll sphere. Once the clock struck 9 p.m. the house lights dimmed and lead guitarist Neal Schon appeared on stage with guitar in hand. Immediately after, the rest of the band jumped on stage and jumped into “Only the Young.” The one noticeable thing between Journey and Toto was the excellent vocals and how strong they sounded as a band. It’s not very often that bands from the 80s still sound like they did when they debut but both of these bands still do.
Joining Schon in Journey is Jonathan Cain on piano and guitar, Deen Castronovo on drums, Jason Derlatka on keyboards, Todd Jensen on the bass with Arnel Pineda on lead vocals. Pineda has been in the band for 17 years now after Schon saw him singing on YouTube and asked him to audition.
Photo Credit: Mike Savoia
From the very beginning of the show, it was clear just how energetic the band was. Pineda from the jump was running, dancing and jumping all around the stage. Multiple times throughout the show, he would go up to the front of the crowd and interact with fans in the first few rows. He even hopped off the stage during one song and ran through the crowd high fiving the audience.
Journey delivered all of their greatest hits at this show. Early on they played the smash hit “Don’t Stop Believin’” off of 1981’s Escape. Their powerful set included other hits like “Stone in Love,” “Faithfully,” and “Separate Ways (Worlds Apart).” At the start of each song, it brought a thunderous cheer from the jam-packed arena.
Photo Credit: Mike Savoia
The band was able to feed off the lively energy from the crowd. From the moment the doors opened, a recognizable buzz ran through the building. During “Lovin, Touchin’, Squeezin’,” two fans tossed a banner that said “The Journey Junkies” to Pineda to signify their love for the classic rock group. During “Open Arms,” strangers and friends embraced each other while other fans in the first few rows took out their lighters and lit them just like in the band’s golden years.
After Cain thanked the service men and women for protecting the country and the band returned to the stage, he was wearing a Bridgeport Islanders hockey jersey that got a cheer from the audience. The band – now in the home stretch of the show – started “Wheel in the Sky.” Pineda again took to the crowd and jumped in front of the guard rail separating the first row from the stage to embrace more fans.
Photo Credit: Mike Savoia
While confetti and streamers were shot from the stage at the end of the last song, “Any Way You Want It,” fans were all cheering and applauding for the band as they will not be returning to the state on their next tour. Journey put on an amazing show and did not miss one fan-favorite tune. If you haven’t had the opportunity to see them yet, you must as they make one stop at Citi Field in Queens, New York. Journey is a band that continues to put on amazing shows and it’s clear why they pack stadiums across the globe. Their energy is unmatched and the fans’ appreciation in response to their hard work and dedication.
Toto setlist: Girl Goodbye, Hold the Line, 99, Dying on My Feet, I’ll Be Over You, Home of the Brave, With a Little Help From My Friends, Rosanna, Africa
Journey setlist: Only the Young, Stone in Love, Keep on Runnin’, Don’t Stop Believin’, Lights, Send Her My Love, Who’s Crying Now, Just the Same Way, Escape, Let it Rain, Lovin, Touchin’, Squeezin’, Open Arms, Faithfully, Girl Can’t Help It, Wheel in the Sky, Separate Ways (Worlds Apart), Be Good to Yourself, Any Way You Want It
Daniel Lopatin has relentlessly pushed boundaries with his musical projects under an array of pseudonyms throughout his career. Most notably and recently, under the familiar moniker Oneohtrix Point Never, Lopatin returned home to a sold-out Brooklyn Paramount at the tail end of the Again2 Live 2024 Tour. The city’s newest live music venue packed in early as fans were eager to witness the unique bill of experimental electronic music and stand-up comedy.
Oneohtrix Point Never, Brooklyn Paramount, 4/26/2024. Photo by Joseph Buscarello
Experimentalists Pedagogy (Eli Keszler and Nate Boyce) started off the show. The duo performed a singular piece of music featuring a blend of abstract guitar and synths backed by a complex and ever-evolving drum pattern. The middle spot on the bill went to stand-up comedian andSaturday Night Live regular Sarah Squirm. A sharp contrast from where the night began, Sarah Squirm left the audience aching with laughter at her body horror comedy and Oneohtrix Point Never impersonation.
Pedagogy, Brooklyn Paramount, 4/26/2024. Photo by Joseph BuscarelloSarah Squirm, Brooklyn Paramount, 4/26/2024. Photo by Joseph Buscarello
The buzz from this new Oneohtrix Point Never (OPN) live show was already circulating and became even louder after his appearance at Coachella earlier in April. The new production features live-projected visuals from a puppet on stage. Described in press notes as a “miniature”, the diorama-like apparatus predominately featured a mini OPN figure behind familiar DJ decks, complete with stage lighting and effects. Puppeteer and audio-visual artist Freeka filmed the miniature from up close on an iPhone and live-projected the imagery onto a large LED screen at the back of the stage. The effect was truly mesmerizing to watch as the show went on and the visuals evolved along the way.
Oneohtrix Point Never, Brooklyn Paramount, 4/26/2024. Photo by Joseph Buscarello
Typically at a concert, the goal of the production is to make the artist seem larger than life. In this case, OPN shrunk down to a tiny scale, dominated by the hands of the puppet master, pulling the audience deep into this miniature virtual reality. Even in a room as vast as Brooklyn Paramount, the effect was not lost on the viewers. Freeka and his set-up was right at the front of the stage, giving the crowd a clear view of his hands as they manipulated the puppetry. OPN was pushed further back, blending directly into the projected virtual reality.
The show at Brooklyn Paramount leaned heavily into Oneohtrix Point Never’s recent LP, Again; released late last year on Warp Records. The night kicked off with the title track, before diving deep into most of OPN’s back catalog, including “We’ll Take It” from 2018’s excellent Age Of. At one point during the show, fellow indie artist and collaborator Kurt Vile put his head in the puppet box behind Freeka’s guitar playing hands. The last third of the main set featured a mixed run of tracks from Again before the short break. During the encore, fans were given a treat as OPN collaborator and cellist Mabe Fratti added strings to the mix for the last few songs including “Sleep Dealer” from the iconic 2011 LP Replica.
Oneohtrix Point Never, Brooklyn Paramount, 4/26/2024. Photo by Joseph Buscarello
The Again2 tour is wrapping up this week with a final show on April 29th in Montreal. It’s unclear if Oneohtrix Point Never will continue to perform in a miniature virtual reality world, or if this spectacle will be confined to the recent run of shows. Stay tuned to see where the enigmatic artist goes from here and check out our full photo gallery from Brooklyn Paramount below.
The Driver Era is a dynamic sibling duo comprising Ross and Rocky Lynch, born from the talents honed during their time in their sibling band R5. Hailing from LA, the Lynch brothers have cultivated a unique sound that blends elements of alt-rock and pop. This all results in a captivating discography that resonates with audiences worldwide.
Since their start as The Driver Era, Ross and Rocky have embarked on a creative journey of artistic exploration. With a passion for pushing musical boundaries and a commitment to authenticity, they captivated listeners with their electrifying live performances.
The Driver Era made a triumphant return to NY at The Capitol Theatre in Port Chester. This marks a highly-anticipated follow-up to their electrifying show at Pier 17 in NYC the previous summer. Amidst a backdrop of euphoric energy, Ross and Rocky delivered a spellbinding performance that left the audience spellbound.
The Show
From the opening notes of “OMG” to the encore of “A Kiss,” The Driver Era unleashed irresistible hooks that had the crowd roaring from start to finish. The Lynch brothers showcased their dynamic stage presence and undeniable chemistry, commanding the stage with effortless charisma and boundless energy.
Throughout the night, the band treated fans to hits, including “Feel You Now,” “Scared of Heights,” and “Afterglow”. Special moments such as Riker Lynch bringing out his wife to dance during one of the songs added a touch of intimacy to the performance. Rydel Lynch’s presence in the photo pit served as a testament to the band’s close family dynamic as well.
The audience was fully immersed in the experience, with many fans sporting pink cowboy hats and waving handmade signs. One sign read “I’ll trade my hat for your shirt”, demonstrating audience dedication. The electric atmosphere reached a high when two fans threw their bras on stage during “Preacher Man,” a testament to the band’s magnetic appeal.
As the night started to close, The Driver Era left the crowd wanting more. They decided to end the show with a euphoric encore performance of “Heart of Mine” and “A Kiss.” With their infectious energy and undeniable talent, The Driver Era proved once again why they are a force to be reckoned with in the world of music.
Setlist: OMG, Feel You Now, Heaven Angel, Scared of Heights, End of Your Life, Afterglow, Low, Rumors, On My Own (from Teen Beach Movie), Get Off My Phone, Cray Z Babe E, Take Me Away, Giveuwhatuwant, Malibu, Nobody Knows, Fantasy, Preacher Man
April 20 saw year three of the Buffalo Blues and Roots festival at Buffalo RiverWorks. With help from Three Chords Bourbon, Ray Barry and Barry Entertainment has brought some strong Chicago-esque blues to Buffalo’s waterfront on April 20.
Starting in 2022, Barry Entertainment has taken on the daunting task of organizing a full day of music, arts vendors, and bourbon tasting. Over this time they have welcomed international stars, Grammy award winners, and local talents to Buffalo. Vanessa Collier, Selwyn Birchwood, and Colin James to name a few. Pair theses with rising names and local talent and you now have the Buffalo Blues and Roots Festival.
Like previous years, Three Chord Bourbon, from nearby Clarence, was named sponsor of this event, and offered up some sample of their goods. 2024 saw a Kentucky Straight Bourbon on display, along with a blended bourbon and Rye Whiskey. The straight bourbon was a nice offering subtle notes and smooth finish that left the consumer ready for more. The chatter heard around the tasting table was very positive, and seemed as though the Kentucky straight was the fans choice.
Starting of the day was Diane Kallay. Originally from the Western NY area, Kallay has earned regional recognition over the years, winning accolades for Best Female Blues Vocalist, as well earning nominations for Best Acoustic Duo (for Kinship, with her brother), and Best Female Vocalist. Her vocal range, and ability to cover multiple genres with relative ease has led to sharing the limelight with such acts as .38 Special and The Marshall Tucker Band.
On this night, though, Kallay performed a beautiful set along with Barry Arbogast, Paul Beringer, Sal Marino, Keith Spurlock, and Michael Mietlicki. A nice mix of sultry blues and gentle roots to welcome music fans as they entered the venue.
Next up was Rusty Fisher. If you enjoy classic blues guitar riffs, you need to check out Rusty. Unlike 2023, where he sat in for a couple acts, Fisher had his own set time this year and made it count. Teaming up well known Western New Yorkers Dan Shurtleff (of The Growlers) and Nate Coffey, he took the stage for about an hour and did nothing but amaze the growing crowd. Lucky for locals, he is out and about often. He can be found at Fanatics Pub & Pizza on June 16th, among other venues that kick ass. Riffs, licks, and shredding seem to be the way of life for Rusty.
Planned accordingly or pure coincidence, Shurtleff was able to remain on stage with his drum set as he is the guy for The Growlers (Facebook). With the incomparable John Lewandowski leading the charge on harmonica, Shurtleff sits comfortably at the drums and does his thing. For the third year in a row, Lewandowski and the rest of the team shook the stage and got fans yearning for more. Seeing them last year for the first time was a treat. 2024 has me looking for more of their shows.
Joining the band on stage was local star Pat Harrington. Growing up about 45 minutes north of Buffalo, Harrington joined Victor Wainwright and The Train in 2016 and has provided a fresh youthful explosion to the band that Wainwright was seeking. Well known around the Buffalo area, Harrington has taken the blues world by storm and is has been heralded as one of the best young blues guitarists. As the night goes, Harrington would continue to join in and jam with everyone.
Pat Harrington – Buffalo Blues and Roots FestivalPat Harrington
As the show progresses, it seems like the next act couldn’t possibly top the previous. Enter Scott Celani and his band. Covering early music from Black Crowes, the Buffalo native and 2021 inductee to the Buffalo Music Hall of Fame came out rocking a Buffalo Bills cap, black leather jacket and aviator sunglasses, ready to play the part. I can assure you he excelled. As John Popper said “Scott has some pipes!” Not as raspy as Chris Robinson, Celani for sure has what it takes for these covers, and it was on full display as he paraded around nailing every note.
Following the amazing faux Black Crowes show, a handful of the musicians called an audible and took the stage for a little tribute to the late Dickey Betts. On stage were Ray Barry, Pat Harrington, Guy Nirelli, Dan Shurtleff, Eric Weinholtz, and Dave Thurman. An amazing tribute to a musical legend that the fans and musicians will never forget
Next up, Patti Parks. Another member of Buffalo Music Hall of Fame, Parks delivered a soulful set, donned in a black and red dress and fedora style hat. High energy and smooth vocals are on full display as Parks proves her worth better than a Buffalo Sabres coach.
Following the dynamite set from Parks, Miller and The Other Sinners hit the stage for the third year in a row. David Miller has nothing to prove to Western NY. He and his Sinners have made a name for themselves at this event as well as others from Buffalo to Syracuse. Some would say he is a household name, and rightfully so. He has shared the stage with names such as Tedeschi, Bonamassa, Vaughn, and Copeland. In doing so, David Miller has paid his dues earned his keep. While Buffalo is not a hotbed for Southern Soul, Miller makes an exception and delivers a world class set. New album for 2024 Thieves in The Breadline includes “Better Times Better Days” which was written pre-Covid and hits on the affect of social media on our lives.
Based out of Central NY, Tas Cru is a blues-roots songwriter/musician, with a splash of funk thrown into the mix. Take your standard blues jam and kick it up a notch, you wind up with Tas Cru. Soft, subtle lyrics and quick fingers on the guitar are only part of what makes him special. Amid a couple samples of Three Chords Bourbon, Cru flawlessly floats around and interacting with the crowd, he jokes around quips of his time touring, which all turn out to be segways into the next song. Such stories as about a young man saying he should be paid more for helping out. Cru’s response was “welcome to the blues, kid”.
Rounding out the 9-hour jam session, Victor Wainwright came out to crowd that was the loudest it had been all day. The headlining act of the Buffalo Blues and Roots Festival was at the end of an intense leg of their tour, including back-to-back shows at the aforementioned Fanatics Pub, in Lima, NY. Regardless of that, Wainwright and his Train of musicians, including hometown favorite Pat Harrington, were full of energy as if they had downed a couple red bulls backstage. Playing the ivories and swaying on his stool, ala Ray Charles, Wainright had a story for everything. He talked about getting his musical inspiration from older Disney movies, although he came from a musical family. The music for movies like The Jungle Book were what got Victor into the blues and roots scene. His parents were happy, though, that he was still into music of some sort. Subsequently, he and the band broke out into a very jubilant version of “I Wanna be Like You”, which the crowd really took in.
Grammy nominated and winner of Blues Music Awards for Piano Player of the Year (3x) and BB King Entertainer of The Year, Victor Wainwright is a name you will hear often and if you ever have the chance, you need to go see the show. Truly amazing and inspiring for all ages.
The blues and roots don’t always have to be the classic sounds of Elmore James or Cab Calloway. One song from Miller and The Other Sinners or Victor Wainwright will convince you of that. Still blues and roots, but with some modern flare and ingenuity, the artists on stage today make the genre much more marketable to the new generation.
Year three of Buffalo Blues and Roots didn’t see as many visitors as the first two years, but when you are going against a big show at the Highmark Stadium and numerous 420 events around town, you are bound to see a decline. Craft vendors, bourbon tasting and nine hours of outstanding music for a respectable price tag, one would be foolish not to check it out. Despite that, organizer Ray Barry said next year is in the works, and I will be there. In addition to this festival, Barry Entertainment (Facebook) organizes other events in and around the Buffalo area, please go check them out.
Rusty Fisher Band
The GrowlersThe GrowlersThe GrowlersThe GrowlersThe GrowlersThe GrowlersDiane KallayRay Barry/Barry EntertainmentScott CelaniPatti Parks BandPatti Parks BandPatti Parks BandPatti Parks BandPatti Parks BandPatti Parks BandPatti Parks BandPatti Parks BandVictor Wainwright and the Train
A hefty double-bill of old-school metal stomped into a packed Empire Live in Albany on April 26 – Queensryche and Armored Saint. Both acts have long legacies of gigs in the Albany area: Seattle’s Queensryche first came through the area promoting their debut e.p., opening for Twisted Sister in Scotia in 1983, and have played the area fairly regularly for 40+ years, most recently warming up Judas Priest at the MVP Arena in 2022.
photo by Mark Kurtzner
L.A. metal heroes Armored Saint first played the region in early January 1985 – again, in Scotia – warming up for Metallica and WASP and promoting their debut LP ‘March of the Saint’. So there’s some history here, and Albany showed up for this gig – the venue was sold out, and vintage metal tees and battle vests were on display for a great Friday night of heaviness.
Happily, there wasn’t a long, agonizing wait through a half-dozen opening bands – Armored Saint hit the stage at 8 p.m. sharp, walking on stage to an intro tape of Judas Priest’s classic “Delivering the Goods”, and proceeded to deliver the goods with a crushing 50-minute set of headbanging gloriousness. As vocalist John Bush pointed out early on, although Saint were a regular visitor to the Albany region through the late 80s (mostly at the long-departed temple of metal, Saratoga Winners in Latham), it has been almost 33 years since the band has been here. The last gig this band played hereabouts was at Winners in October 1991, with Wrathchild America. Soon after, the band went dormant when Bush joined New York’s Anthrax, and since they reunited early this century, they have not been back to their Albany stomping grounds of yore. They more than made up for their absence this Friday night.
photo by Mark Kurtzner
Saint kicked off proceedings with the hammering “End of the Attention Span”, an ode to the damage done by small screens, social media and on-demand culture, taken from the killer newest AS record, ‘Punching the Sky’. Unlike Queensryche, who were playing an album-specific vintage set, Saint covered their entire discography this night, launching immediately thereafter into a steamrolling “Raising Fear”, title track of their underrated 1987 third record. Next up were a pair of songs from Saint’s (arguably) most-acclaimed LP, 1991’s Symbol of Salvation, the propulsive “Tribal Dance” (during which drummer Gonzo Sandoval earned his wage admirably), and a soaring “Last Train Home”, with the audience roaring the chorus back to Bush and the band. The title track of their 40-year-old (!) debut LP, March of the Saint, followed, which spawned headbanging and more vocal crowd participation, and the excellent “Left Hook From Right Field” (from 2010’s La Raza) was a cool surprise – the Saint have been mixing up setlists on this run with Queensryche, and while killer second record Delirious Nomad was sadly unrepresented this night, “Left Hook” was one that hasn’t been played every show, a great choice.
Next up was “Standing on the Shoulders of Giants”, another standout from newest LP Punching the Sky, which saw guitarists Jeff Duncan and Phil Sandoval unleashing some Thin Lizzy-esque guitar harmonies. Saint, in contrast to the headliners, is pretty much the same guys who have been with the band since back in the day. Bush, the Sandoval brothers and bassist Joey Vera have been in the band since their inception, and guitarist Jeff Duncan has been with the band since 1988. Only guitarist Dave Prichard, who sadly passed in 1990 from leukemia, is missing from the lineup that recorded their debut EP in 1983.
photo by Mark Kurtzner
Other than Bush talking about how many years it had been since the band played Albany, the band kept the stage banter to a minimum and used their time for music, hammering out each song into the next. “Win Hands Down”, the roaring title track from their 2015 LP, came next, into another crowd favorite, “Can U Deliver” (again from the ‘84 debut), with the band wrapping up with a blasting, high-velocity “Reign of Fire” (again from Symbol of Salvation). When this band’s debut hit the streets in 1984, the slogan was “Saints Will Conquer” – and they did so in heroic fashion this night.
Unlike Saint, who have always led the charge for traditional, real old-school metal, Queensryche have historically cast a wider net, dipping their toes into prog-metal, concept albums (including 1988’s legendary ‘Operation: Mindcrime’), and mainstream success (1990’s ‘Empire’), and over the years leaning fairly far away from their trad-metal beginnings. But not tonight – this was a old-school, early Queensryche set, with the band playing their debut self-titled 1983 EP, and 1984 debut album ‘The Warning’ back-to-back and in order.
That debut EP was a monumental beginning for this band – in 1983, every metalhead on the planet seemed to own and love that record, including this writer as a 15-year-old, and you cannot deny the quality of those 4 songs, which the band opened their set with this night: the legendary “Queen of the Reich” began proceedings, arguably the most well-known song of the night, into the raging “Nightrider” and “Blinded”, both long-ignored deep tracks in the band’s catalog, but truly excellent, hammering real metal. “The Lady Wore Black” is more epic, and more indicative of what was to come for Queensryche after 1983, and sounded great.
photo by Mark Kurtzner
The rest of the set was debut LP The Warning, soup-to-nuts, in order, from “Warning” through “Roads to Madness”. The band played it flawlessly. While Armored Saint’s lineup is fairly unchanged from days of old, three of the five band members who recorded the music from these early Queensryche records are no longer with the band: only guitarist Michael Wilton and bassist Eddie Jackson remain from the ‘classic’ lineup, but vocalist Todd La Torre (who had been with the band for 12 years now) is able to replicate former singer Geoff Tate’s vocals on these early songs with uncanny accuracy. In all honesty, my personal enthusiasm for ‘The Warning’ is nowhere near the nostalgic appeal I feel for the debut EP, but the band nailed it and there was a percentage of the crowd who were all-in for every single moment.
The band didn’t deviate from the stalwart, old-school vibe for the encore, trotting out “The Prophecy”, an EP-era deep track that never made the record, but eventually saw light on ‘The Decline of Western Civilization – Part II’ soundtrack a few years later, a great choice. It was only the final track, “Empire”, that post-dated 1984. And to their credit, the band kept the set-list old-school and metal instead of taking the easy route for the encore and playing crowd-pleaser hit singles like “Silent Lucidity” or “Jet City Woman” (or something from ‘Mindcrime’) – no doubt some of the more casual fans would have preferred that, tonight was about the old-school. All hail both bands, but game, set and match went to the Saint.
photo by John Moorephoto by John Moorephoto by Mark Kurtznerphoto by Mark Kurtznerphoto by Mark Kurtznerphoto by Mark Kurtznerphoto by Mark Kurtznerphoto by Mark Kurtznerphoto by Mark Kurtzner
Respected blues and roots music songwriter and performer Joe Louis Walker from the Hudson Valley of New York brought his diverse blues driven songs, incredible musicianship and warm performance skills to a packed house at Caffe Lena in Saratoga Springs on Sunday, April 21.
Joe Louis Walker – photo by carlrubinomusicphotographer.com
Walker did two sets of his original contemporary blues, R&B and rock, infused with a hint of gospel, from “Run Me Down”, which he opened the show with, to “Too Drunk To Drive Drunk”, which he did as an encore and said emanated from when he and a friend were in a bar and the friend looked at someone and said “that guy’s too drunk to drive drunk”, delivering a truly energetic show throughout to a highly appreciative crowd.
He interspersed his performance with crowd-pleasing stories about what brought him to write some of the songs he performed and what they mean to him, such as “Don’t Walk Away” which he wrote for his wife, and “The Blues Comin’ On” which he wrote with Dion of Dion and the Belmonts.
At the end of his show Walker credited those he referred to as the creators of rock ‘n roll, of which he said there could not be a better mousetrap, and launched into a rock ‘n roll tribute performance that included an instrumental medley of measures from multiple chart topping rock songs that spanned decades and brought the crowd to its feet.
Weaving passages of musical tension and release into each song on his triple humbucking pickup electric guitar and with his melodic larger-than-life singing of his well-crafted lyrics, he delivered a performance that owned the room at Caffe Lena, giving the audience a clear understanding of what lies behind his being an inductee of the Blues Hall of Fame, his Grammy for Contemporary Blues for “Everyone Wants A Piece”, his multiple M. C. Handy awards, and his place as a featured performer at countless blues festivals.
Joe Louis Walker was backed up with stellar performances by Scott Milici on keys and backing vocals, Geoff Murfitt on electric bass and John Medeiros Jr on drums, all of whom also played on his Weight Of The World album.
Scot Milici, Keys & Vocals, Joe Louis Walker – photo by carlrubinomusicphotographer.comGeoff Murfitt, Bass, Joe Louis Walker – photo by carlrubinomusicphotographer.comJohn Medeiros Jr, Drums, Joe Louis Walker – photo by carlrubinomusicphotographer.com
The show was part of his 2024 tour covering locations as wide-spread as New York, California and Morocco, with performances at the New Orleans Jazz and Heritage Festival on April 26 and in the Netherlands at the Holland International Blues Festival. He will next appear in New York State at the Full Moon Resort in Big Indian on June 26th. The tour is also in support of his 2023 album “Weight Of The World” which was recorded in a studio outside of Woodstock, NY.
During the show Walker, who has played at Caffe Lena before, mentioned how much he felt honored to play in the same place that legends like Bob Dylan had, and after the show he said he truly enjoyed performing in this special place with such an appreciative audience.
Joe Louis Walker – photo by carlrubinomusicphotographer.comJoe Louis Walker – photo by carlrubinomusicphotographer.comJoe Louis Walker – photo by carlrubinomusicphotographer.comJoe Louis Walker – photo by carlrubinomusicphotographer.comJoe Louis Walker – photo by carlrubinomusicphotographer.com
Spafford returned to New York City’s Brooklyn Bowl last weekend for a “holiday” performance on April 20 with a show full of cover songs and some exquisitely jammed out originals. This three-set show marked the end of a short run of shows in the Northeast for the band, who are back in action after a scary accident on tour last month in Ohio. Spafford certainly showed no signs of being worse for the wear and made it an enjoyable 4/20 for all involved.
A late arriving crowd to the Bowl walked into a soundtrack mix of classic rock hits on the PA atop a bed of pin strikes and gutter balls. Pre-show music included a nice live version of “In Memory Of Elizabeth Reed” as a nod to the recently departed Dickey Betts. Spafford then took the stage and started things off with the appropriately titled “I Can’t Find My Vape,” a newer, funky instrumental tune in the vein of Herbie Hancock.
The crux of the first set, however, was the next two songs, starting with a near 30-minute “Comfortable.” The song started out exactly as such, with a nice comfortable groove to it, before an intense guitar solo from Brain Moss ushered in another loose but explorative jam with strong psychedelic undertones. Certainly no strangers to extended jamming, the band showed off their musical prowess early and took the sound down to near ambient levels before building it back up to a triumphant finish.
This was followed up “The Postman,” another original but a much more composition-based song off their 2018 release For Amusement Only. The now firmly entrenched keyboardist Corey Schechtman shined on all of them – piano, synthesizer, and organ – as Spafford doled out some more legitimate funk to the Brooklyn Bowl audience through a thick, oozing jam that slowly escalated in pace. The opening set then came to a close with an old school original, the reggae-tinged “Diana” that culminated with another provocative Moss guitar solo.
Spafford then let all the covers out in the second set and wasted no time in doing so. Drummer Nick Tkachyk began things with a simple, lone, up tempo drum beat and the band then immediately launched into their take of Stone Temple Pilots’ “Plush.” With its faster pace and underlying organ fills, it’s certainly a more joyous take on the dour alt rock classic. True to their nature, Spafford stretched out the ending and molded it into a massive jam that maintained upbeat and completely danceable. This eventually led to bassist Jordan Fairless taking over the mic to lead the way on a take of Porno for Pyros’ “Pets,” another regular in the Stafford stable of cover songs.
Another jam that smoothly shifted from mellow to breakneck then served as the springboard for a leap into another signature cover song, Tears For Fears’ “Mad World.” Schechtman on piano alongside some furious rhythm guitar from Moss served as the fuel for yet another ebullient interpretation of a glum pop hit from yesteryear. Spafford then shifted from musical influences to modern day and segued right into a newer cover song they’ve made their own, Demi Lovato’s “Anyone.” Moss did the heartfelt, introspective lyrics about prayer justice all while the song never lost its peppy undercarriage. To close out the second set at Brooklyn Bowl, Spafford once again delved into the alternative music playbook with a pair of Green Day covers. Fairless returned to lead vocals for their their techno-like cover of “Brain Stew” which was parlayed right into a jazzed up take on “Jaded,” both making their live Spafford debut.
The third set began with a not-so-subtle nod to the holiday at end with a quote from the movie Reefer Madness played over the PA and Spafford followed in tow with an entertaining cover of Sublime’s “Smoke Two Joints,” a song they first debuted last year on 4/20. It paid homage to the original at first and then turned into a sprawling, exploratory jam that reached several veritable peaks before rounding back into form.
With the holiday formalities out of the way, the third set was then dominated by the other extended jam of the evening, a 30-minute “Dirtbag” that served as testament to the band’s musical dexterity. Starting with a rollicking funk jam, it soon devolved into total silence before being resuscitated by some triumphant guitar fills from Moss. The multi-textured song also has elements of progressive rock, acid jazz and, of course, jam band, really allowing band the show off their full skill set.
Spafford then closed out another successful appearance at Brooklyn Bowl with one last flurry of cover songs, starting with Pink Floyd’s “Run Like Hell.” It’s not quite as hectic as The Disco Biscuits’ take on it, but thanks to some looping synthesizer sounds produced by Schechtman and more metronome-like precision from Tkachyk on drums, it eventually produced an incredibly lively jam that funneled right into “Cantaloupe Island,” some actual Herbie Hancock. After some heartfelt thanks from Moss, Spafford paid one last respect to the date and sent folks on their way with an honest cover of Tom Petty’s “You Don’t Know How It Feels” and its joint smoking instructions.
As a reminder, Spafford has several upcoming shows in New York including one on June 12 at Rochesterâs Water Street Music Hall. Three days later, Spafford is set to play Colony in Woodstock and then the band wraps up their time in NY (for now) with a stop on Long Island at The Stephen Talkhouse in Amagansett on June 17. Tickets for all Summer Tour dates are on sale at spafford.net.
Spafford Brooklyn Bowl – New York, NY 4/20/24
Set 1: Can’t Find My Vape, Comfortable > The Postman, Diana
Set 2: Plush > Pets->Mad World->Anyone, Brain Stew->Jaded
Set 3: Smoke Two Joints > Dirtbath, Run Like Hell->Cantaloupe Island
Danielle Nicole and her band, Kevin Burt, Big Medicine and Soulful Femme put on a fantastic night of blues at Retro Live in Plattsburgh on Saturday, April 20.
Danielle Nicole headlined the show as part of her 2024 tour throughout the US and overseas and in support of the recent release of “The Love You Bleed”. Nicole wrote all but four of the songs on that project and co-wrote the remaining four with Brandon Miller. The album hit number one on the Billboard, iTunes and Spotify charts. Nicole performed cuts from both her new release and prior albums.
Kevin Burt photo by Carl Rubino
With a powerful voice, skillful musicianship, and dynamic stage presence she gave the packed crowd just what it came for – blues that reaches your core. Switching between two four string electric bass guitars, and together with Brandon Miller on electric guitar and vocals and Go-Go Ray drums, she blew the roof off the place, bringing the diverse crowd to enthusiastic dancing and cheering.
Grammy nominated in Contemporary Blues, inducted into the Kansas City Hall of Fame, recipient of multiple Blues Music Award, and charted on the Billboard Blues Charts, it’s no surprise that she has logged over 10 million streams on Spotify.
Nicole’s set included a stellar guitar solo by Brandon Miller alternating between fingerpicking and flatpicking on a Les Paul and a killer drum solo by Go-Go Ray, both of which found the audience screaming with excitement.
Danielle Nicole photo by Carl Rubino
Kevin Burt and his band Big Medicine preceded Nicole’s performance with an excellent set comprised of Burt’s own songs and covers of songs by Bill Withers and well-known blues artists. Burt is a triple first-place winner of the International Blues Challenge and nominee for Best Acoustic Artist at the Blues Music Awards.
With his big voice, excellent guitar skills, blues harp and warm stage presence, Burt delivered a compelling performance of blues and soul music, backed by guitarist Ken Valdez. He performed in support of his newly released album, Thank You Brother Bill, A Tribute To Bill Withers, with all but Burt’s song “Thank You Brother Bill” being performances of some of Wither’s most recognized, and not so well known, songs, which reached the top of the Billboard charts.
Danielle Nicole photo by Carl Rubino
Between songs, Burt touched the hearts of his audience when he spoke of his recent experience teaching music in a local school when it went into an active shooter lockdown, as well as his work to bring music to young people and musical instruments to youth who cannot afford them.
Soulful Femme, a duo consisting of Stevee Wellons on vocals and Cheryl Rinovato on guitar, opened the show with a captivating mixture of Rinovato’s skilled guitar playing and Wellons’ vocals.
Drawing upon influences as varied as Jimi Hendrix and Marvin Gaye the pair presented a unique sound with elements of blues, rock and soul. The pair performed in support of both their current East Coast Tour thorough May and their recent album release ATTITUDE, with all but one of the songs written by Wellons and by Rinovato.
Danielle Nicole with Brandon Miller photo by Carl Rubino
Following Danielle Nicole’s set, she and her band were joined on stage by Kevin Burt and his guitar player Ken Valdez, where the combined forces did a fantastic rendition of Bill Withers’ “Use Me Up”, sung by Burt with guitars by Valdez and Brandon Miller.
The event was put together by Plattsburgh Blues & Jazz, a non-profit organization which brings world class blues and jazz musicians to the Plattsburgh region of Northeastern New York, hosted at Retro Live, a relatively new, and up and coming music venue that is very much a regional North Country jewel.
