Category: Show Reviews

Kitchen Dwellers Cook Up Two Nights of Jam-Filled Bluegrass at Brooklyn Bowl

On March 30, the Bozeman, Montana-based Kitchen Dwellers capped off a pair of impressive shows at Brooklyn Bowl, proving that jamgrass is thriving nationwide on their cross-country L.F.G Tour.

Going into Saturday night, the crowd was eager with anticipation; Friday’s show saw a sit-in from opener Cris Jacobs and encored with a thrilling cover of “The ‘59 Sound” by New Jersey rock band the Gaslight Anthem.

Photos by Taylor Weinberg

Saturday’s opener, Yam Yam, gave a jazz-funk-infused performance, setting the tone with a high-energy psychedelic kick-off to the night. Jason Mescia’s saxophone playing was a welcome standout surprise, a sound not typical for a night of bluegrass. The Kitchen Dwellers opened with unmistakable bluegrass energy on “Wind Bitten” from their latest album, Seven Devils, before dipping into their back catalog with “Broken Cage.” Shawn Swain showcased impressive talent on the mandolin during the instrumental “Whitewater.” Bassist Joe Funk, banjo player Torrin Daniels, and guitarist Max Davies then shared vocals to harmonize over Willie Nelson’s “Bloody Mary Morning.“

Photos by Taylor Weinberg

The band’s rock and roll inspiration showed in Torrin Daniels’ impassioned vocals on “Shadows.” Performed today, the 2019 song’s lyrics and delivery could be seen as an early sign to come of the rising folk-rock resurgence seen in artists like Noah Kahan and Zach Bryan. The band would turn back to a more bluegrass sound with a “Muir Made” sandwich, slotted around “Unwind” which offered a tease of the heavier jamming in the second set.

Photos by Taylor Weinberg

The first set then closed out, aided by a sit-in from Fruition’s guitarist Kellen Asebroek on piano. With the addition, the group performed Elton John’s Love letter to New York “Mona Lisa’s and Mad Hatters,” showing off the band’s ability to take a song and transcendence genre. Asebroek stayed on keys to perform Fruition’s 2016 song “The Meaning,” closing out the set.

Photos by Taylor Weinberg

Performing against the carnival-inspired backdrop at Brooklyn Bowl, the Western quintet easily evoked the feeling of a picture-perfect state fair. The Kitchen Dwellers describe their version of jamgrass as “galactic” and the description is fitting for a show that rides from highway tunes to dark looping jams. The second set opened with “Drowning (… Again)” as the band began to take a more exploratory route and opened up to deeper jamming. The group would nod again to the local crowd performing Justin Townes Earle’s “One More Night In Brooklyn.“

Photos by Taylor Weinberg

The Kitchen Dwellers continued pulling the audience through the edges of bluegrass jamming with “Phaedrus” and “Their Names Are the Trees.” Through the band’s skillful picking, it was easy to see how the worlds of metal and bluegrass share common bonds through a love of shredding guitar. The playing would bring the crowd to an energetic crescendo, with the whole room dancing during “Sundown.”

Photos by Taylor Weinberg

Before starting into their recent single, “The Crow and The Raven,” the band would call the crowd’s attention to their guest, New York City-based director Kayla Arend, a college friend of the group who recently directed the song’s music video.

The band dipped into a dark rhythmic jam rhythm for the title track on “Seven Devils.” Proving to be anything but it’s namesake, “The Living Dread” injected energy into attendees before the band took a brief respite before an encore. A cover of Emmitt-Nershi Band’s “New Country Blues” gave Torrin Daniels a chance to stretch his rock star bravado for a wild-eyed, chest-pounding performance to close-out the night.

Photos by Taylor Weinberg

The Kitchen Dwellers are cooking up a show well worth seeing two nights in a row. With a deep repertoire to pull from and a stadium-worthy light show from Matt Allmond, expect to find the Kitchen Dwellers serving up galactic jamgrass across the country. Kitchen Dwellers are on tour now, you can find out more and purchase tickets through their website. Their latest album Seven Devils is available for streaming.

Photos by Taylor Weinberg

Kitchen Dwellers – Brooklyn Bowl – March 29, 2024

Set 1: Comet > Southern Flavor > Paradise Valley Cabin Pressure > Drop Tine Night Rider’s Lament, Meagher’s Reel > Waterford Son, Woods Lake, Daughter, Daughter [1] > Pretty Daughter [1]

Set 2: Pendulum, Here We Go > Can’t Stop Now, Years of My Life > Sit At My Table, Covered Bridges > Ebenezer’s Winter, What the Night Brings > Covered Bridges

Encore: The ‘59 Sound

[1] With Cris Jacobs and Bryan McDowell

Kitchen Dwellers – Brooklyn Bowl – March 30, 2024

Set 1: Wind Bitten > Broken Cage Whitewater > Bloody Mary Morning, Shadows, Muir Maid > Unwind > Muir Maid, Mona Lisas and Mad Hatters [1] The Meaning [1]

Set 2: Drowning (… Again) > One More Night In Brooklyn > Drowning (… Again), Phaedrus, Their Names Are the Trees > E.M.D. > Sundown, The Crow and the Raven, Prelude > Seven Devils > The Living Dread

Encore: Driftwood > New Country Blues

[1] With Kellen Asebroek

April 5, 2024
Disco Biscuits Unveil ‘Revolution In Motion’ At Webster Hall

To commemorate their first studio release in nearly 13 years, The Disco Biscuits staged a release party at New York City’s famed Webster Hall on March 29. With help from a couple of friends, the band played their new album Revolution In Motion from start to finish over two sets that spanned nearly four hours, much of it without a break between tracks.

Along with their typically incredible light show via Herm Light Designs, and corresponding animation from Blunt Action and Todd Kushnir projected on a screen behind the band, the album came to life and cemented its lore in Disco Biscuits history.

The sold out show had a buzz about it for weeks leading up, with the night having a slight bit of warmth to it in the East Village, ushering fans inside shortly after doors to secure a spot for a night that was years in the making. With the tracks from Revolution in Motion debuting since 2022, fans are well acclimated to the new material, as well as the depths of jamming that can unfold from any of the songs. Therein lies the beauty of what the Disco Biscuits have created in their ninth studio album, and not just the music – the story that intertwines the songs was revealed in full earlier this day, completing Part 1 of Revolution in Motion, with the band saving the day on the alien world Polyfuzia.

The band was joined by three special guests this evening – Erin Boyd added soul with her vocals on “Twisted in the Road” and “Why We Dance,” Matteo ScammellÂ singing alongside guitarist Jon Guttwillig on “Tourists (Rocket Ship)” and “To Be Continued…,” and guitarist Cloud Chord joining for “Tourists (Rocket Ship)” and “Spagaâs Last Stand,” which had keyboardist Aron Magner step out with a keytar for back-to-back playing alongside Cloud Chord. Guests for the Disco Biscuits are infrequent at best, and the three etched their names into Biscuits’ history as well as the fans memories.

In lieu of a song-by-song breakdown of the show, we encourage you to listen to the full show here on Nugs.net. The show is best enjoyed in full from start to finish, taking the story along with the music and explorative trance-fusion jams.

A full summation of the night, however, is best found from Brian Stollery, who offers the following thoughts on the evening that unfolded at Webster Hall.

In the kaleidoscopic carnival that was the Disco Biscuits’ album release show for Revolution in Motion, their first sonic odyssey in 14 years since Otherwise Law Abiding Citizens, the band once again proved themselves as the cosmic jesters at the crossroads of the Grateful Dead’s experimental psychedelia and the pulsating heart of modern analog techno’s transcendental oneness revolution.

Despite the show’s seemingly one-dimensional faÃ§ade, the Biscuits unfurled a rich tapestry of musical textures and ideas, a mÃ©lange of old school anthems and Gen Z deep house reverberations that were so audaciously mediocre they ascended to a peculiar echelon of brilliance, embodying the band’s signature blend of tongue-in-cheek humor and earnest musical exploration.

Among the cacophony, “The Deal” emerged as a transcendent hymn, a bizarre yet profound meditation on business acumen that captures the essence of the Biscuits’ ability to spin mundane realities into psychedelic gold, propelling the audience into a state of intellectual spiritual mayhem, where fun collides with the sublime in a spectacular explosion of sound and fury.

Disco Biscuits – Webster Hall, NYC – March 29, 2024

Set 1: Shocked > The Wormhole > Twisted In The Road > Another Plan Of Attack > Times Square >Freeze
Set 2: Tourists (Rocket Ship) > Spaga’s Last Stand, Who’s In Charge > Space Train > The Deal > One
Chance To Save The World > Why We Dance
Encore: To Be Continued

April 1, 2024
Look Inside Dopapod’s Trapper Keeper at The Williams Center

Funky, jam band powerhouse Dopapod stopped in The Williams Center in Rutherford, NJ on Thursday, March 28. The Jungle Jazz Initiative opened up the night, offering a groovy and entertaining set, fitting in well with Dopapod’s sound.

Dopapod’s first set was only 4 songs, which was full of jams and featured a good representation of their career with newer and older songs. It started out with a danceable “Live In the Dream” followed by a Dopapod classic “Turnin’ Knobs” which featured the electronic, synth heavy peaks. Another catchy classic closed up the set, “Braindead”. The chorus is still ringing in my head.

The band opened up the second set with a very distinguishable “Trapper Keeper”. This was followed by an unexpected “No Quarter” played with ferocity. The rest of the set included newer and older songs that flowed together incredibly well. And suddenly a Dead cover appeared, Dopapod’s homage “Smertha” was played to close up the set.

The band encored with “Landmines”. Dopapod’s sound is unique and is distinguishable in a scene that can at times be homogenous. Their unique style provides a refreshing experience and will continue to gather fans.

Dopapod – The Williams Center for the Arts, Rutherford, NJ – Thursday, March 28, 2024

Set 1: Live in The Dream, Turninâ Knobs, Man or Machine, Braindead
Set 2: Trapper Keeper, No Quarter, Ebb and Flow, My Elephant Vs. Your Elephant, Peter Banning, Sonic, 2 Somebodies, We Are Not Alone, Shmertha
Encore: Landmines

April 1, 2024
Grand Reopening: Brooklyn Paramount Theater Shines Again with Damian and Stephen Marley

After years of eager anticipation, the historic Brooklyn Paramount Theater reopened its doors to music enthusiasts on Wednesday, March 27, with a spectacular concert featuring reggae icons Damian and Stephen Marley. Part of their highly anticipated 2024 Traffic Jam Tour, the event delighted fans with a night of rhythm, melody, and cultural celebration.

A Brief History of the Brooklyn Paramount Theater

Originally opened in 1928, the Brooklyn Paramount Theater stood as a beacon of entertainment in the heart of New York City. With its stunning art deco architecture and state-of-the-art facilities, the theater quickly became a beloved landmark, hosting a plethora of performances ranging from live music acts to film screenings.

Like many historic theaters, the Brooklyn Paramount faced periods of decline and neglect over the years. By the late 1960s, it had ceased operations as a theater and was repurposed for various other uses, including a disco club and a basketball arena. Despite efforts to revive it, the theater remained largely dormant for decades, with its grandeur fading into memory.

The Renovation Project

In recent years, a dedicated group of preservationists and investors embarked on a mission to restore the Brooklyn Paramount Theater to its former glory. Drawing inspiration from its illustrious past, the renovation project aimed to breathe new life into the venue while preserving its historic charm.

Through meticulous restoration efforts guided by archival research and architectural expertise, the theater underwent a remarkable transformation. From refurbishing the ornate faÃ§ade to upgrading its sound and lighting systems, no detail was spared in the quest to revive this cultural gem.

The Grand Reopening Concert

The reopening of the Brooklyn Paramount TheaterSetlist: was a momentous occasion, eagerly awaited by both locals and music enthusiasts from afar. And what better way to kick off this new chapter in the theater’s history than with a performance by two of reggae’s most influential figures?

Damian and Stephen Marley, sons of the legendary Bob Marley, graced the stage alongside their band, offering a mesmerizing display of their musical talent. Set against the backdrop of the newly renovated theater, the duo delighted the audience with a dynamic setlist.

The Music

Damian and Stephen Marley chose songs from their popular collection to create a setlist that pleased both longtime and new fans. They performed tunes about unity, love, and social justice, along with some catchy melodies. Some standout songs from the concert included”Welcome to Jamrock,” “Could You Be Loved,” “Exodus,” “Medication” “The Mission,” and “Rock Stone.” Each song transported the audience on a musical journey, infusing the Brooklyn Paramount Theater with the vibrant spirit of reggae and honoring the legacy of their famous father.

A Night to Remember

As the music ended and applause filled the air, it was obvious that the reopening concert at the Brooklyn Paramount Theatre was a big success. For those in attendance, it wasn’t merely a concert but rather a joyous celebration of culture, community, and the unifying power of music.

Damian and Stephen Marley – Brooklyn Paramount – Wednesday, March 27, 2024

Setlist: Big Youth – Intro, 10,000 Chariots, The Traffic Jam, So Much Trouble in the World, All Night, Pimpa’s Paradise, Still Searchin’, Tight Ship, It Was Written, Cast The First Stone, Jah Army, Medication, The Mission, Love and Inity / Punky Reggae Party, Jamming, Is This Love, Rock Stone, Road To Zion, Welcome to Jamrock, Exodus, Could You Be Loved

March 31, 2024
Ace Frehley And His “Rock Soldiers” Lay Rock and Roll Siege Upon Sony Hall

New York City has been given many nicknames like “the city so nice, they named it twice,” as well as “The Big Apple.” The city at any given moment can hold multiple events at one time. Friday, March. 28 saw country star Zach Bryan play at the Barclays Center in Brooklyn while President Biden hosted a fundraiser which featured former Presidents Barack Obama and Bill Clinton. The fundraiser was only steps away from where former KISS guitarist, Ace Frehley played as he filled up Sony Hall just a month after his newest release, 10,000 Volts.

Frehley has announced 15 dates to his itinerary for 2024. Three of those dates, including the Sony Hall show, are in New York. Frehley is playing at the Rome Capitol Theatre on April. 12 as well as the River Theatre in North Tonawanda on Aug. 21. These tour dates are also in support of his newest release which has been praised very highly by the music community.

Before the rock and roll siege of “The Spaceman,” the New York City natives known as Kore Rozzik warmed up the eager crowd. Kore Rozzik played seven songs and did their part well at getting the crowd hyped up for classic Kiss and original tunes from Frehley. Kore Rozzik, while a harder style of rock music than Frehley powered through technical difficulties and wonky mic feedback to deliver their brand of metal and hard rock. The fans who knew the band loved them and screamed wildly. It took a few songs for the band to win over fans that weren’t so familiar with them. Once lead singer Kore Rozzik graced the stage in different stage clothes for multiple songs and sprayed the audience with water after their final song, “Spellbound,” the band made multiple fans and left a lasting impression on the rowdy crowd.

Joining Rozzik on stage were Andrei Patorski and Alex Devious on guitars, Matias Sanes on bass and Crow Starbird on the drums.

As the house lights dimmed and one of Frehley’s instrumentals blasted of the speakers, a sudden surge rushed from the back of the general admission audience and pushed the crowd closer to the stage. With what seemed like one quick motion, Frehley and his band blasted into “Shock Me,” off Kiss’ 1977 record, Love Gun. Frehley played 14 total songs that took fans through memory lane of his Kiss days while also sprinkling in a few solo songs including the title track to his newest release. Frehley sported a sparkly jacket that draped over his NASA t-shirt to start the first few songs of the night. Dawning classic Rayban aviators and his classic Les Paul guitar, it was clear that Frehley and the rest of his band were indeed “back in the New York Groove.”

Accompanying Frehley on stage was bassist Ryan Cook, guitarist Jeremy Asbrock and drummer Scot Coogan. This was the same band that played on his record in addition to touring with Frehley across the United States recently.

Like Kore Rozzik, the Frehley band was not only battling the bad feedback from their speakers but at one point in between the band’s rendition of “Rip It Out,” and “Detroit Rock City,” Cook’s bass strap broke and had to be taped back together for the remainder of the show. But, with a calm smile, Cook took the minor setback like a true professional and continued to wave and point into the crowd of fans.

Unlike the last show that Frehley played at the Paramount Hudson Valley back in October, multiple fans put on his classic face paint and rushed to the front of the stage before the band’s set. The entire crowd, which consisted of all ages never left their spot in the general admission and continued to clap, throw up the rock horns and raise their fists to the loud wall of sound in front of them. If you closed your eyes and pictured what a Kiss concert sounded like in the mid-1970s’ when the band was at the height of their powers, without a doubt, it would have sounded something very close to last night’s show.

In classic Frehley showmanship, for the band’s rendition of “New York Groove,” Frehley brought out his classic guitar that lights up. When the special Les Paul guitar made its appearance, the crowd went crazy as they knew exactly what song was coming up. At the beginning note of every song, the crowd gave the band a thunderous cheer. The cheering was so loud at one point that it seemed like the roof was going to cave in.

It was extremely impressive to hear the band play their new material from the aforementioned 10,000 Volts. Despite the band only playing the title track, it was neat to hear the band acknowledge their new record. Throughout the show, fans were yelling for the band to play some of their favorite tunes from the brand-new record. Regardless of Frehley being 72 years old, he still had his skill from the ‘70s on guitar while also having his signature voice on lead vocals.

At the end of the show, when the doors were flung open and the cool New York air filled up the downstairs theater, there was not one unhappy fan in the venue. With Kiss now being retired and the band not playing, Frehley is one of two members still out on the road. With that being said, fans were extremely happy to have their night filled with Kiss tunes and seeing the one and only Spaceman

Kore Rozzik Setlist: Welcome To Rock Hell, I Am Your Savior, Can’t Stop Won’t Stop, Vengeance Overdrive, Mistress, Guilty As Charged, Spellbound

Ace Frehley Setlist: Shock Me, Rocket Ride, 10,000 Volts, Rock Soldiers, Love Gun, Parasite, New York Groove, Rip It Out, Detriot Rock City, Cold Gin, Strange Ways, Shout It Out Loud, Deuce, Rock And Roll All Nite

March 31, 2024
In Focus: Mong Tong at No Fun in Troy

Tuesday nights are usually reserved for a simple McDonalds dinner after I sit through an hour of my daughter’s gymnastics class. This past Tuesday I decided to add the Mong Tong show at No Fun in Troy to the lineup of Tuesday’s to-do list. This turned out to be a welcome addition as I watched 2 men get on the stage, do a quick sound check, and then blindfold themselves before performing a very unique brand of Asian-infused Psychedelic sound.

Mong Tong is a 2 man instrumental group consisting of Taiwanese brothers Hom Yu and Jim Chi and are no strangers to the United States. They’ve performed multiple times in the South By Southwest festivals and have gathered a decent following. This particular appearance at NoFun is the 7th stop of their 9 location US tour with their 9th and final stop being at TV Eye in New York City on March 29th. This tour celebrates their new EP 銘 Epigraphy which dropped on March 8th.

Blindfolded musicians performing music is something everyone should see at least once in their lives. Dressed simply in black pants, white shirts, and red blindfolds, and using an arsenal of electric and electronic gear, the 2 brothers create intricate and complex arrangements that capture the essence of kung-fu movies mixed with punchy beats and well thought out melodies. Staccato guitar arpeggios dance over conga laden drum lines. Traditional Asian instruments and unidentifiable synth sounds mash together in a strange 70s Psychedelic rock jam. All accentuated by the smooth and groovy bass that anyone could get next to.

The duo takes you on a trip though soundscapes that vary from ethereal to hectic to confusing to serene and you’re not sure where its going next. The energy is positive and contagious and while some people are dancing, others are taking in the light show, and others are still amazed at the blindfolded-ness of it all, none are missing out on this one-of-a-kind experience.

With polyrhythmic beats and sampled and non-sampled traditional Chinese instruments it’s safe to say that Mong Tong has few competitors. Since I’m struggling to find a similar band to compare them to I’ll just say I’d classify Mong Tong as Psychedelic Asian Electro-Funk Trip-Hop with a dash of Techno. They’re continuing their tour of the US with shows at the Columbus Theater in Providence, RI on March 28th and at TV Eve in New York City on March 29th. Tuesday to-do lists aren’t the same any more.

March 30, 2024
Matt Maltese Wows the Crowd at Irving Plaza

On Friday, March 22, UK-born singer-songwriter Matt Maltese took the stage at Irving Plaza for his sold-out show as part of his “Touring Just to Tour” NY run. The beautiful stage truly set the vibe of the concert—the lights, the vines, the street lamps—they all created a cozy and whimsical experience that complemented Matt’s soft and buttery vocals.

Matt Maltese — Photographed by Sarah Hyun

Matt Maltese got his start with music in Reading, Berkshire, where as a young kid he took a particular interest in songwriting. Drawing inspiration from the blues and jazz genres, Maltese wrote about heartbreak, falling in love, and the world ending—in a way like no other modern artist. His raw, poetic, and deeply heartfelt lyrics revealed his experiences navigating adolescence and adulthood. Maltese is halfway through his American leg of tour, where he has twelve more dates at venues in Massachusetts to California. He previously played at the Governors Ball Music Festival.

Matt Maltese — Photographed by Sarah Hyun

Prior to Matt’s entrance onto the stage, opener The Army, The Navy, put on a beautiful acoustic show for the crowd of twelve hundred. The pre-show playlist included jazzy background music that excited concertgoers swayed back and forth to. Upon Matt’s entrance, the crowd screamed in excitement. One fan yelled, “Matt you’re so British!,” where he responded with, “Yes, I am very British.”

Matt Maltese — Photographed by Sarah Hyun

During his opening song, “You Deserve an Oscar,” Maltese kept impressive eye contact with the audience as he belted sincere lyrics and beautifully played his piano. Halfway through the show, he played a game with the audience where he asked which out of three statements about his bassist, Jamien, was true—1. He fed his friend’s pet koi fish chips and chili oil, causing them to die; 2. He pretended to be a waiter at a random restaurant in order to get a woman’s number; and 3. He was fired from his ice cream job for using a single spoon to try every flavor there. He later revealed that all three were true.

Jamien Randall Pepper (right) and Madden Klass (left) — Photographed by Sarah Hyun

Towards the end of the show, he played his most well-known song, “As the World Caves In,” singing lyrics like “And here is it, our final night alive / And as the earth runs to the ground / Oh girl it’s you that I lie with / As the atom bomb locks in / Yes it’s you I welcome death with.” Anyone who has listened to Matt Maltese would not deny his true talent in crafting lyrics and melodies.

Matt ended the night with an encore, singing “Strange Time” and “Everyone Adores You (At Least I Do).” Although Matt does not have any New York dates left for this tour, he will likely return during his next run.

Matt Maltese – Irving Plaza – March 22, 2024

Setlist: You Deserve an Oscar, Mother, Irony Would Have It, Curl Up and Die, Hello Black Dog, Little Person, Mystery, Madhouse / Jupiter, Krystal, Krakow, Driving Just to Drive, The Earth is a Very Small Dot, Kiss Me (Sixpence None the Richer Cover), Rom-Com Gone Wrong, Nightclub Love, As the World Caves In / Intolewd

Encore: Strange Time, Everyone Adores You (At Least I Do)

March 26, 2024
Grateful Dead Continue Their First Run at the Knick: March 25, 1990

We continue our look back at one of the more influential and memorable series of shows The Grateful Dead have ever played in the State of New York. On this day in 1990, the Dead continued their first ever run of shows at The Knick in Albany, formally known as Knickerbocker Arena. The three-night run sees the band in peak form and contains so many musical highlights that it was rightly crafted into a three-disc 1996 live release entitled Dozin’ At The Knick. After a brilliant first night, the band shows no letup in this second night that features a prime portion of the second set that’s all featured on the album.

The show begins with a succinct but crisp “Greatest Story Ever Told,” with Jerry Garcia’s signature guitar tone present early and often. The vocal harmonies of Bob Weir and Brent Mydland are on point as the band seems fully engaged from the get-go. “Touch of Grey” then follows in the two-spot, the Dead’s “hit” from their 1987 In The Dark release that introduced the band to so many. Garcia nails all of the vocals and phrasing, in addition to the signature ripping guitar solo, and Mydland joining in on harmonies seems to take this “Grey” to another level. It’s a surprise this wasn’t include for Dozin’ At The Knick selection.

Weir then leads the band through a bluesy cover of “Wang Dang Doodle” before Mydland does the same on one of his signature tunes, “Never Trust A Woman.” Brent’s soulful vocals combined with increasingly powerful runs on the organ make this one of the finer versions ever played, sadly also one of the last as well. The Dead then cue up a classic love song for the Knick, one familiar to Jerry Garcia Band setlists, “Jack-a-Roe.” The tune about doing anything in the name of love, which can be traced back as far as the early 1800s, features story tale-like lyrics and a couple of ripping runs by Garcia on guitar on the band’s modern day take on it.

They follow this up with another cover, this time a wonderful take of the Bob Dylan-penned “When I Paint My Masterpiece.” Weir handles the bluesy vocals with aplomb, which rise in intensity from start to finish, wrapping up a fun three-song section of the first set. This grouping of songs is prominently featured on the first disc of Dozin’ At The Knick and it’s no surprise why.

The band then shifts back into “jam” mode and unleash a 13-minute “Bird Song” that’s one of the highlights of the show. It features a jam that takes off immediately and, fittingly, bounces and flutters around in a way only the Dead can manipulate. Garcia goes through a multitude of guitar filters and the resumption of the composed section seems to come out of nowhere. Seizing this momentum, the first set then ends with a triumphant “Let It Grow” that’s highlighted by some nimble bass lines from Phil Lesh and more explosive runs from Garcia up and down the fretboard. It caps off a first set at the Knick bookended with two Dead originals played to perfection with a fun mix of cover songs thrown in between.

To begin the second set, “Eyes of the World” quietly starts up in a much slower, groovier tempo than most of its predecessors. It’s a pristine version with some nice interplay between Garcia and Lesh throughout and with the instrumental sections between verses executed to perfection as the band seems fully engaged right away after the set break.

As the “Eyes” jam dwindles down to drums-only, so starts the beginning of “Samson of Delilah” in a clean segue. Mydland shines on keys in a jam that starts off strong and never lets up as the Dead treat the Knick crowd to another one of their takes of a traditional arrangement, this one with Biblical roots. From this, the opening chords of “Crazy Fingers” emerge and Garcia reassumes the helm. It’s a slow. deliberate take on this Dead classic and Garcia drops another guitar solo in an accompanying fashion.

As the tempo finally begins to pick up at the end, the Dead execute another fairly seamless segue into another live staple, “Truckin’.” Weir leads the band on vocals on a brief, but jubilant take of this classic number that doesn’t stretch out too far. Instead, a blues-heavy riff soon develops and the Dead immediately launch into a cover of Howlin’ Wolf’s “Spoonful.” This one gets capped off will a full-on, short but sweet “Mind Left Body” outro jam, with Garcia playing through a trumpet-like filter. This was likely a nod to the full-fledged MLB jam that took place just the night before.

This sets the stage for the traditional mid-second set “Drums” -> “Space” section and drummers Mickey Hart and Bill Kreutzmann proceed to go through every percussive tool at their disposal. The “Space” section is highlighted by Garcia and Mydland both noodling maniacally on their respective instruments before Garcia unleashes a trombone-like guitar effect to change the mood and Mydland slowly starts up another one of his signature tunes, “I Will Take You Home,” in a very silky transition.

Once “Home” finishes up, the mood shifts from sentimental to joyous once more as the Dead treat the Knick to their ripping cover of “Goin’ Down The Feeling Bad.” This yields a brief but jubilant jam with Garcia singing the verses energetically, but as it quickly descends in pace, he quickly slides into the opening licks of the always contemplative “Black Peter” and the Dead deliver a poignant version.

To close out the set, they then launch into a cover of Chuck Berry’s “Around and Around” a song they’ve mastered and made their own by now. Weir belts out the vocals that rise in intensity with each passing verse and the Dead give the Knick crowd one last dose of pure rock and roll as only they can. The entire sequence from “Space” to “Around and Around” is seamless and near flawless and prominently featured for all to enjoy on Disc 3 of Dozin’ at the Knick.

To close out night two of the run, the band shows their love for American-based rock once more with a second Dylan cover, this time it’s “Quinn the Eskimo.” This shuts the door on night two at the Knick, with one left to play.

Check out Archive.org for a great recording of the entire show.

Grateful Dead Knickerbocker Arena – Albany, NY 3/25/90

Set 1: Greatest Strory Ever Told > Touch of Grey, Wang Dang Doodle, Never Trust A Woman, Jack-a-Roe, When I Paint My Masterpiece, Let It Grow

Set 2: Eyes of the World > Samson and Delilah, Crazy Fingers > Truckin’ > Spoonful > Drums > Space > I Will Take You Home > Goin; Down The Road Feeling Bad > Black Peter > Around and Around

E: The Might Quinn (Quinn the Eskimo)

View this and more Grateful Dead shows from across the years in New York State with our interactive map below

March 25, 2024
Excision Performs a Double Header in Buffalo

The Dad of dubstep himself, Excision, kicked off his two night event in Buffalo on March 19. Buffalo Riverworks got two shows on the famous Nexus tour which has steam-rolled not only the EDM world, but the mainstream music scene as well due the innovative production quality.

Photo Credit: Maddie McCafferty

Openers Bring the Heat

When Excision stops into town he is a master when it comes to putting on a performance. He brings out the best of the best openers that help curate that energetic environment he is known for. Night one started off high intensity sets from Jkyl & Hyde followed by LAYZ. LAYZ has been a continuing growing force in the bass music scene with her heavy hitting beats and new age sound.

LAYZ, Photo Credit: Maddie McCafferty

Ray Volpe followed up with his set that only continued to fill Riverworks with more energy. Ray Volpe’s highly sought after ID “Laserbeam” is one that immediately gets the crowd raging. Bass music icon Eptic wrapped up the line of openers with his cutting edge baselines and masterwork song structures.

Eptic, Photo Credit: Maddie McCafferty

This stacked line-up of openers paved the way for yet again another undeniably jaw-dropping performance from Excision. Of course this festival creator is no stranger when it comes to wowing the crowd. His booming success at Lost Lands each year goes to show his mastery at not only producing music, but producing a high quality show. It’s the reason Excision, also known as Jeff Abel, resides in the epicenter of an ever-expanding realm of bass music.

Photo Credit: Maddie McCafferty

This DJ legend opened up his set with visuals that outlined his famous “X” symbol as fans signaled out to him in the crowd. The suspense filled the room as the music intensified and Jeff took over the stage.

Photo Credit: Maddie McCafferty

The bass was booming that night as Excision played his numerous hits including “Name Drop” and “Titans.” He invited humor into his sets for those who are able to catch the memes he cuts into segments of different songs. One famous meme this producer always has in his set is “my name’s Jeff” from the movie 21 Jump Street.

Photo Credit: Maddie McCafferty

A New Age for Production

Countless people were head banging, opening up huge mosh pits, and grooving with flow toys. The insane energy at an Excision show can’t be replicated anywhere else. His visuals are are so advanced that even mainstream artists like Kanye are trying to figure out how to replicate the quality.

Photo Credit: Maddie McCafferty

Excision has implemented 3D visuals into his Nexus tour. This has taken the rave experience to a whole new level and is a must see. On night two he had one segment during his show where Shrek was seen dancing from a distance. Then as the beat dropped Shrek appeared to be popping out of the screen towards the crowd. This had fans wide-eyed and looking towards each other in shock. No one could believe how immersive the projections was.

Photo Credit: Maddie McCafferty

This made it even more so with Buffalo Riverworks assistance by allowing Excision to use the side screens so more people could relish in this renowned production quality. No other artists at Riverworks utilizes the side screens so it’s safe to say Buffalo holds a special spot for Excision.

Photo Credit: Maddie McCafferty

Excision may be the king when it comes to dubstep, but he also knows how to get people right in their feels. Every time he performs his collaboration with Illenium titled, “Feel Something,” it does just that. People were seen embracing each other and teary eyed as it played.

Photo Credit: Maddie McCafferty

Trying to describe an Excision show will never do it justice. So northeast music lovers take that drive to go see a stop on this tour. The Nexus tour has stops at Boston on March 24 and Cincinnati on March 27. Get your tickets here.

March 25, 2024
Waterparks: Live from MGM Music Hall

Waterparks is a dynamic, genre bending trio hailing from Houston, Texas, consisting of charismatic frontman Awsten Knight, guitarist Geoff Wigington, and drummer Otto Wood. With their high-energy stage presence and genre-defying sound, Waterparks has become a force to be reckoned with in the alternative music scene.

Waterparks brought their electrifying energy and infectious enthusiasm to the MGM Music Hall at Fenway Park as part of “The Sneaking out of Heaven Tour,” with fans lined up around the venue as early as 3 AM, these fans left in awe with a high-octane performance and unforgettable moments.

From the moment they stepped onstage, frontman Awsten Knight and his bandmates captivated the crowd with their signature blend of pop-rock anthems and irresistible hooks. The atmosphere was electric as fans sang along to every word, their voices blending harmoniously with the band’s infectious melodies.

Throughout the night, Waterparks delivered one memorable moment after another, from Awsten’s impromptu phone call to a fan’s boss, quitting their job on their behalf, to the spirited chants of “fuck these kids” and “support the moms.” Awsten’s playful banter and charismatic stage presence kept the energy levels high, while guitarist Geoff whirlwind performance earned him the endearing nickname “Hurricane Geoff.”

The band’s setlist was a perfect mix of old favorites and new hits, with standout moments including fans making Awsten wear a gifted shirt that said “I F*ck Fish”, followed up by their hit “Fuck About It” resulting in a hilarious exchange between Awsten and Otto. Awsten’s solo piano performance on the B stage showcased his versatility as a musician, while his humorous attempt to coax crew member Lucas into an Ed Sheeran cover provided a lighthearted moment of fun.

As the night came to a close, Waterparks left the crowd wanting more with an electrifying encore performance of “Turbulent” and “Real Super Dark” solidifying their status as one of the most exciting acts in modern alternative music. With their infectious energy and undeniable talent, Waterparks proved once again why they are a force to be reckoned with in the music industry.

Setlist: Watch What Happens Next, Blonde, Greatest Hits Medley (Fuzzy / Violet! / American Graffiti / The Secret Life of Me / Just Kidding / See You in the Future / Lowkey As Hell), Why Can’t I [Liz Phair cover], Stupid for You, You’d Be Paranoid Too (If Everyone Was Out to Get You), SOULSUCKER, SNEAKING OUT OF HEAVEN, Magnetic, RITUAL, SELF-SABOTAGE, BRAINWASHED, FUCK ABOUT IT, High Definition, Snow Globe, Crying Over It All, 21 Questions, I Miss Having Sex but at Least I Don’t Wanna Die Anymore, FUNERAL GREY

Encore: Numb, Turbulent, REAL SUPER DARK

March 20, 2024