Ricky Montgomery‘s electrifying performance at Terminal 5 in Manhattan on February 24th was a testament to his magnetic stage presence and undeniable talent. Returning to New York after his stint accompanying Cavetown on the “Bittersweet Daze” Tour, Ricky shared intimate moments with his adoring fans, weaving together a setlist of old favorites and new tracks from his latest album, Rick.
As the crowd erupted in anticipation, Ricky took the stage with a burst of energy, kicking off the night with his signature anthem “Line Without a Hook.” The surprise appearance of mxmtoon for the alternate version of the song elevated the performance to new heights, with both artists radiating infectious energy as they interacted with fans at the barricade.
Throughout the evening, Ricky’s charm and wit shone through, as he shared anecdotes about his time living in New York and reminisced about his early days as a musician. Songs like “Last Night” and “Ethan’s Song” took on new meaning as Ricky poured his heart out on stage, drawing fans closer with each heartfelt lyric.
The atmosphere crackled with excitement during the debut of “Unknown Phantom,” with Ricky playfully urging the crowd to “go crazy” at the behest of his label. Moments of pure euphoria ensued as fans echoed Ricky’s every word, shouting declarations of love and support into the air.
During the encore, Ricky’s energy remained undiminished as he returned to the stage with opener Noah Floersch for a rousing rendition of “This December,” igniting the crowd with an electrifying finale. From the soul-stirring melodies of “My Heart Is Buried in Venice” to the anthemic chorus of “Don’t Say That,” Ricky Montgomery’s performance was a masterclass in emotion and authenticity, leaving an indelible impression on all who were lucky enough to witness it.
Setlist: Line Without a Hook (featuring mxmtoon), In Your Pocket, Cabo, One Way Mirror, Talk to You, Black Fins, I Don’t Love You Anymore, Type A, Last Night, Truth or Dare, Unknown Phantom (Unreleased), Snow, Ethan’s Song, My Heart Is Buried in Venice (Acoustic), Boy Toy, It’s Ok to Cry, Don’t Say That, Out Like a Light
Encore: Sometimes I Need to Be Alone, This December, Mr Loverman
On February 24, Patchogue Theatre was alive with the iconic reggae sound of The Legendary Wailers, featuring the legendary Junior Marvin. The band’s lineup included Mary-eL on guitar, known for her collaborations with Roger Waters, Tom Morello, and Billy Corgan, Grammy-nominated singer Desi Hyson on lead vocals and keyboard, and Isaac Kouao on drums.
Born in Kingston, Surrey County, Jamaica, Marvin’s journey traces back to his childhood in London, where he developed a passion for both acting and music. He made a mark in the entertainment world with a role in the Beatles’ film Help! and subsequent television appearances. Meanwhile, his musical apprenticeship unfolded in the United States, sharing stages with legends like T-Bone Walker and Ike & Tina Turner.
Patchogue Theatre, a historic venue with a rich cultural legacy, served as the perfect backdrop for this unforgettable performance. The theater has been a hub for the arts since its opening in 1923, hosting a variety of shows ranging from vaudeville to modern performances.
The crowd was treated to a soothing setlist, featuring timeless BobMarley classics. Hits like “Get Up, Stand Up,” “Stir It Up,” “Buffalo Soldier,” “Jammin,” and “One Love” reverberated through the venue, bringing the spirit of reggae to life.
The grand finale of the night was the performance of “Exodus,” leaving the audience in awe and concluding the show on a high note.
The following day, Junior Marvin made a special appearance at Looney Tunes Record Store in West Babylon. In an intimate setting, he captivated the audience with solo renditions of “Redemption Song” and “Stir It Up,” showcasing his masterful guitar playing and soulful vocals. Fans had the opportunity to get up close and personal as Junior signed copies of his latest album, “Happy Family,” and posed for pictures.
The event was a testament to the enduring legacy of reggae music and the incredible talent of Junior Marvin and The Legendary Wailers. The Patchogue Theatre and Looney Tunes Record Store provided the perfect venues for fans to experience the magic of this iconic musician, ensuring an unforgettable weekend of music and memories.
Adding to the excitement of the weekend, the new Bob Marley biographical film, “One Love,” has become a box office sensation. Portrayed in the film by his son, David Marvin Kerr Jr., Junior Marvin’s character adds a personal touch to the cinematic journey, providing audiences with a deeper understanding of the man behind the music. With a worldwide gross of $120.6 million, the film stands as a testament to the enduring influence of Bob Marley’s timeless message of love and unity.
Setlist: Get up, Stand Up, Stir It Up, I Shot the Sheriff, Buffalo Soldier, Roots, Rock, Reggae, Three Little Birds, Natural Mystic, Positive Vibration, No Woman, No Cry, My Friends, Jamming, One Love, Blackbird Fly, The Heathen, Exodus
On February 24, the Binghamton Philharmonic performed a crowd-pleasing pops concert – with a twist. In “Pops at the Forum,” rather than sticking to the timeworn pops formula of show tunes and light classics, Maestro Daniel Hege led the orchestra in a satisfyingly dynamic mix of opera excerpts, overtures, film music, and even rock.
Percussionists Steve Mathiesen, Elaina Smales, Sam Lazzara, and Joel Smales
The show spotlighted the talents of several of the Philharmonic’s world-class musicians. Principal cellist Hakan Tayga, along with percussionists Julie Licata, Steve Matthiesen, Sam Lazzara, and the father-daughter team of Joel and Elaina Smales, provided dramatic solos in Tan Dun’s atmospheric “Crouching Tiger” Concerto. Principal flutist Karen Bogardus and oboist Evan Ocheret phrased their solo lines sinuously in Fauré’s delicate Pavane in F-sharp minor. The orchestra’s trumpet section – Frank Campos, Ben Aldridge, and Jud Spena – brought the heat in Leroy Anderson’s toe-tapping “Bugler’s Holiday.” And the whole audience whistled along enthusiastically to the “Colonel Bogey” March (known to some as the “Comet” song!).
Meg Cronin and Haiden Scanlan
Other highlights of the show were Wagner’s famous Ride of the Valkyries, the brass-heavy “Fanfare on Amazing Grace” by living African American composer and Upstate New York native Adolphus Hailstork, and a hard-driving orchestral arrangement of the Led Zeppelin classic “Kashmir,” with Sam Lazzara rocking out once again on solo drum.
Lisa Reynolds, Lois Zuck, and Dan Reynolds
As usual, it was a pleasure to see many children and teens in the audience; one young Hakan Tayga fan seated directly in front of this reviewer played air cello along with the soloist’s every note. The rest of the audience was just as appreciative, leaping to its feet spontaneously at the close of the concert. “Pops at the Forum” was a wonderful addition to the Philharmonic’s season line-up, and a great way to while away a winter day!
Katelyn Jackson, Elaina Neubert, Megan Lewis, Allayna Bidwell, and Ava CiriglianoJudi Hess and Vikki Collazo
On the evening of Saturday, February 17, music enthusiasts gathered at the historic Landmark Jeanne Rimsky Theater in Port Washington for a memorable night of extraordinary performances headlined by the immensely talented guitarist Brandon “Taz” Niederauer and his friends. The event also featured the opening act, Circus Mind, which added its unique flair to the already electric atmosphere.
A Glimpse into the Past: Landmark Jeanne Rimsky Theater
The Jeanne Rimsky Theater in Port Washington stands as a cultural gem within the community, offering a vibrant space for artistic expression and entertainment. Named in honor of the esteemed philanthropist Jeanne Rimsky, this theater has become a focal point for local and regional performances, ranging from theatrical productions to musical concerts and dance recitals. With its intimate setting and state-of-the-art facilities, the Jeanne Rimsky Theater provides audiences with memorable experiences, while also serving as a nurturing ground for emerging talents. Its commitment to fostering creativity and enriching the cultural landscape of Port Washington makes it a cherished venue for both performers and spectators alike.
Circus Mind Sets the Stage Aglow
The evening kicked off with an engaging performance by Circus Mind, a band known for its fusion of jazz, rock, and soul. The ensemble showcased their musical prowess with members Mark Rechler on keys and vocals, Brian Duggan on guitar, Michael Amendola on sax, Dylan Niederauer on bass, Steve Finkelstein on percussion, and Dan Roth on drums.
Circus Mind’s setlist was a journey through a diverse musical landscape, beginning with the mesmerizing “Jazziest Time” and weaving through songs like “Swing Set,” “Whole Lot of Nuthin,” and “Baby Come Back Down.” The crowd was treated to an unforgettable cover of “Right Place, Wrong Time,” which left everyone craving for more.
Dylan Niederauer and Steve Finkelstein seamlessly transitioned into their roles as they joined Taz and his band for a dynamic collaboration later in the evening.
Taz and Friends: A Musical Extravaganza
Brandon “Taz” Niederauer took the stage with his band, accompanied by stellar musicians Nick Cassarino on guitar and vocals, Matt Godfrey on keys, and Kendall Lentz on drums. The crowd was in for a treat as the ensemble showcased their versatility and musical chemistry throughout the night.
Taz’s setlist featured an eclectic mix of classics and contemporary hits, with standout performances including a soulful rendition of Creedence Clearwater Revival’s “Fortunate Son,” a powerful take on Stevie Wonder’s “Living for the City,” and a heartfelt rendition of Prince’s “I Would Die 4 U.”
Adding an extra layer of magic to the night, Taz welcomed the talented Rita Panico to the stage for a series of captivating vocal performances. The highlight was a stunning cover of Chaka Khan’s “Ain’t Nobody,” along with renditions of “Let It Whip” and a soulful finale with “Red Hot Mama.”
The night at the Landmark Jeanne Rimsky Theater reached its crescendo with the energetic and soulful vibes of “Red Hot Mama,” leaving the audience on their feet and applauding the musical brilliance that unfolded throughout the evening.
Today marks a somewhat somber anniversary in Grateful Dead history as the band’s second show at their final residency at The Capitol Theater this day in 1971 would be the first of many without drummer Mickey Hart. Racked by depression and guilt from his father stealing money from the band, Hart would take a self-imposed hiatus for several years before rejoining in 1974.
stub via Ed Perlstein
As the Dead prepared for some of their last shows ever at The Cap, they were still treating this a short-term absence. They continued to deliver a string of new songs and material, many of which made their debuts at the memorable show from the night before. The music does not seem to suffer at all and takes on a sleeker, more focused sound with only one drum kit now being used. This show was even selected as one for live release by soundman Dan Healy back in the early 90s but never got officially unveiled until 2007 as Three From The Vault.
Discover Grateful Dead shows from over the years across New York State with our interactive map below
Unsurprisingly, the recording of tonight’s show begins with some on-stage tuning from the Dead. This actually elicits two distinct warm-up/time wasting songs with quick takes on “The Merry Go-Round Broke Down” and “Spring Song.” The end of the latter paves the way for the band to launch right into a show-opening “Truckin’.” It’s a tight and concise jam to start things off that certainly has a little less “thunder” to it thanks the subtraction of one drum kit. The always emotional “Loser” follows with Jerry Garcia taking the lead on vocals and delivering its powerfully somber guitar solo with ease.
“Cumberland Blues” swings the emotion right back the other way with a fun, spirited take fueled by some peppy Phil Lesh-produced bass lines before Pigpen gets his first say of the evening with his signature take on the Elmore James blues classic “It Hurts Me Too.” This rounds out a very similar opening to the show from the night before with the three of the four numbers being repeats.
These kept on coming with the brand new “Bertha” that follows, only the fourth one ever performed after its East Coast debut the night before. Some issues with the early vocals occur on the recording, but they soon get resolved on this fast-paced and energetic take with Pigpen on organ making notable contributions. The second-ever “Playin’ In The Band,” which also debuted last night, comes next although no jam of any merit is produced with the band very much still learning how to tackle this one. The string of repeats gets broken up with an electric take on a song more often associated with acoustic Dead, “Dark Hollow.”
The music does finally stretch out a bit with a 15-minute take on another blues classic “Smokestack Lightning,” with Pigpen once again manning the lead vocals and playing the part of Howlin’ Wolf as only he can. His improvised lyrics and harmonica play in conjunction with some stirring guitar licks courtesy of Garcia provide all the fuel that this first set highlight needs.
The Dead then round out the first set at The Cap this evening with a breakneck “China Cat Sunflower” and “I Know You Rider” that features its traditional seamless segue between the two. The new songs then kept on coming in the second set, beginning with the Bob Weir-led tunes “Greatest Story Ever Told” and then only the third ever known performance of “Johnny B. Goode,” a Chuck Berry cover that would continue to be seen on Grateful Dead setlists throughout the band’s touring career.
After some intricate tuning, a fresh song finally emerges, the brand new “Bird Song,” with Garcia reassuming lead vocals and leading the group through an especially rhythmic early rendition that seems to peter out fairly suddenly instead of being stretched out like it would be in the years to come. This sets the stage for Pigpen to shine once more as then leads the group through the blues-laden and Robert Hunter-penned “Easy Wind.” There would be only two more performances of this vintage Pigpen tune ever played after this one.
Another Dead classic then makes its live debut at the Capitol Theater as the first ever “Deal” is played with Jerry grabbing the reigns once more and leading the band through a rapid take on another soon-to-be live show regular. The second set “Drums” section may be missing one drummer this evening but Bill Kreutzmann handles this, and the rest of the show, with ease and finesse, paving the way nicely into the percussive-heavy opening of “The Other One.” This offers some of the real exploratory playing of the show as Garcia, Lesh and Kreutzmann all seem to lock in, eliciting tribal-like rhythms and patterns in a jam that slowly crescendos.
It comes to a pretty abrupt ending, however, as the Dead seem to want to fit in the second ever “Wharf Rat” before things come to a close. This slows the tempo down significantly as Garcia belts out the emotional lyrics on a another future live show staple. After one last extensive tuning session, which serves as an unofficial encore break of sorts, the band launches into one last cover for the night, a rousing, stretched out take of “Good Lovin’” with Pigpen once more adding his signature style to the proceedings.
The show then wraps up with a standard run through of an “oldie,” in “Casey Jones” as night two of the Dead’s final residency at the Cap comes to a close and the short-lived Mickey Hart-less era of the band begins.
Grateful Dead – Capitol Theater, Port Chester, NY February 19, 1971
Set 1: Truckin’ , Loser, Cumberland Blues, It Hurts Me Too, Bertha, Playing In The Band, Dark Hollow, Smokestack Lightnin’, China Cat Sunflower > I Know You Rider
Set 2: Greatest Story Ever Told > Johnny B. Goode, Bird Song, Easy Wind, Deal, Cryptical Envelopment > Drums > The Other One > Wharf Rat, , Good Lovin’ , Casey Jones
Tuesday, February 13, was a sleet-streaked Tuesday, as the Big Apple got its first snowfall in two years, but within a few notes of Daniel Donato’s standout playing, New York City’s iconic Bowery Ballroom melted away into sun-drenched paradise as the sold out crowd packed in.
23 shows deep into his 2024 winter/spring tour, Donato is a regular visitor to New York State recently selling out Brooklyn Bowl just late last year, so it is a treat getting to see him in such an intimate venue. It’s clear Donato and his band are destined for greater things. Whether he’s strumming out phaser-soaked melodies or channeling his southern drawl through machine gun-like rapid-fire guitar riffs, Donato’s virtuosity, honed through hard practice, is simply breathtaking. His guitar becomes an extension of his soul, delivering lyrics like “..the country boy lived within the sky blue telecaster” with a palpable authenticity.
Donato’s synergy with his road warrior bandmates creates a groove that feels like a well-worn freight train. Will McGee on electric and standup bass, Nathan “Sugar” Aronowitz on keys, organ and guitar, and Will Clark on drums. Donato and his crew exude an aura of rock and roll royalty, with a crew whose uniform of black cowboy hats and boots evokes the “Memphis Mafia.”
From the onset, drummer Will Clark’s metronomic beat set the stage for a musical journey that refused to relent. Clark’s percussive prowess seamlessly navigated through various styles and tempos, providing the perfect foundation for Donato’s cosmic country odyssey. A standout of the night was Aronowitz’s multi-instrumental talents, stepping up from the keys to deliver exceptional guitar work during “Dancin In The Desert” and organ playing that is seemingly otherworldly.
The crowd’s unofficial uniform of tie dyes, western wear, and psychedelia underscores Donatos ability to tap into a psychedelic Americana renaissance. While his style may draw comparisons to jam aficionados, Donato’s signature sound remains firmly rooted, with an unwavering dedication to his craft shines through. From humble beginnings being introduced to Grateful Dead through a high school history teacher to honing his chops with over 400 sets with Nashville’s famous Don Kelly Band, Donatos’ rise in the music industry has been the product of his own dedication, and the hard work of those around him.
As Donato and his team bid farewell, the audience barely budged, eagerly anticipating an encore. Returning to the stage, they delivered a jumping cover of the Dead’s “Quinn The Eskimo,” echoing sentiments of endless possibilities and boundless horizons. With his new album, Reflector, now out, Donato has proved himself not just as a musician but as a captivating live performer. Fans can look forward to experiencing Donato in NYC again this summer when he joins moe. to play Pier 17.
Daniel Donato’s Cosmic Country – Bowery Ballroom, NYC – February 13, 2024
Set 1: Hi Country, Haldway (In Between), Lose Your Mind> Waymore’s Blues> Mystery Train, Rose in a Garden, Darlin’ Cory [1] , Dance in the Dessert Set 2: Fee Wheelin’> Everybody’s Talkin’, Weathervane> Blue Skies> Weathervane, Cosmic Doo Doo, Better Deal Blues, Chore, Sugar Shack [2], Luck of the Draw, Sugar Leg Rag. Encore: Quinn the Eskimo [3] [1] The Weavers cover [2] Nathan “Sugar” Aronowitz on vocal [3] Grateful Dead Cover
They say sometimes you need to go away to come back and for fans of Long Island’s most promising powerhouse fusion trio Baked Shrimp, you can only hope that’s true.
After tirelessly traveling the roads, sailing the seas and playing music together for the last seven years, 2024 finds the band in uncharted waters. Murky and unclear. Fresh off the release of their 5th, yes 5th, studio album, fans of the band (known as the Crustnation), were both surprised and saddened to hear that Baked Shrimps’ current tour would also be their last. But before you can stick a fork in them, the tasty band with the tasty jams served up one final course on Friday, February 9th, giving longtime Albany supporters one final chance to dance at the packed-out Hollow Bar + Restaurant, a venue that’s played an important part in the bands storied history.
Baked Shrimp performed their final Albany show on 2/9/24 at The Hollow.
The double dose of entertainment started off proper with an opening set from Albany’s Glass Pony. Supporting the release of their latest album Washed Away, the self-described ‘psychedelic groove circus’ had fans both new and old mesmerized by their infectiously danceable tunes from the very start. Comprised of Eddie Hotailing (guitar/vocals), Chanda Dewey (drums), Jeff Picarazzi (bass) and Greg Pittz (lead guitar), the band has seen a noticeable growth in both their popularity and in their song writing over the last year. Showcasing their dynamic range and versatility with a set of mostly original songs like “Greenhorn Blues,” “Hypnos” -> “Somewhere to Go” and “Doppler,” it was Glass Pony’s searing rendition of the H.G. Wells/War of the Worlds-inspired jam “Grover’s Mill 1938” that was perhaps most memorable.
Glassy Pony’s Eddie Hotailing connects with the Albany audience on 2/9/24.
Humble and quiet off stage, when frontman Eddie Hotailing is in the grips of performing, he becomes like a rabid animal unleashed. Whether jumping off the stage and jamming out in the crowd, climbing up the walls or on top of Chanda Dewey’s drum kit, feeding off the energy and connecting with the audience is what he does best. Perched high atop The Hollow stage with his guitar in the air, Hotaling has never been more magnetic. Paying tribute to one of the groups biggest influences, Glass Pony would finish out their set with a cover of God Street Wine’s “Nightingale.” A great start to a great night of rock ‘n roll music indeed.
Glass Pony kicked things off proper at The Hollow on 2/9/24.
After a brief set break, promoter Greg Bell of Guthrie Bell Productions took the stage to say a few words about Baked Shrimp. An early believer in the band, Bell is largely responsible for bringing them to the Capital Region so many times over the years, but sadly, this night would be his last. Introducing the band by saying he loves these guys and calling them “the most polite fucking band he’s ever met in his life,” Baked Shrimp jumped right into the deep end with a near 12 minute confessional-like rendition of “More Or Less.” It was clear the guys weren’t just going through the motions. Every note had added meaning and things felt sentimental from the start.
Weird Times: Bassist Maz Perrotti filled in for Baked Shrimp’s Scott Reill on 2/9/24.
Briefly pausing to acknowledge the elephant in the room, the band took a moment to welcome bass player Max Perrotti to the “Crustnation” family. Filling in for original Shrimp bassist Scott Reill on this night, the amount of material and notes Perrotti was able to learn is a bit mindboggling. While the band has kindly requested privacy regarding the specifics of the situation, it was certainly weird seeing someone other than Scott holding down the low end. Perhaps intentionally building on that theme, the infectious opening licks of “Weird Times” and the deep improvisational jam that came from it further laid the blueprints of the unpredictability yet to come. After showing off a bit of country-style pickin’ and counting their “Lucky Stars,” Baked Shrimp would go all the way back to their earliest years with “Touché” from their 2018 debut album Feast of Delight.
Baked Shrimp’s Jared Cowen threw everything but The Wrench (his custom axe) at The Hollow on 2/9/24.
Seamlessly segueing from the psychedelic vibes into their first call-back cover of the night, the band jammed on the “Peter Gunn Theme” in a nod to their Blues Brothers-inspired Halloween set that took place at this same venue in 2023. Fans were eating it up and dancing their tushies off as the band brought it back to the final verse of “Touché,” which I could have sworn also contained teases of “The End” by The Doors.
Suddenly stopping the show and announcing he simply can’t go on any longer without Bones, lead guitarist and frontman Jared Cowen then introduced the Albany audience to the band’s latest amusing muse, a replica skeleton torso made of, you guessed it, bones. Placed atop the bass drum, it didn’t end there as this will forever be remembered as the night local artist Kosmic Kris introduced Bones to Legs, a rather creepy looking mannequin base covered in various inks. Paired together, somehow Bones and Legs just worked, like love at first sight, almost as if it were meant to be.
Bones got a Leg up during Baked Shrimp’s final Albany performance on 2/9/24.
The two props would remain on stage for the remainder of the show as charismatic drummer Jager Soss took over on vocal duties for the down and dirty rocker “Molly Ann.” Baked Shrimp would bring the tremendous first set to a close with the lead single “Chop Suey” from 2024’s final self-titled album. Catchy as hell and even better live. Working in more call-backs to previous Halloween shows, “Chop Suey” also contained “Scooby Doo Theme” teases (Scooby Doo 2018), and a “Ding-Dong the Witch is Dead” jam (Wizard of Oz 2019).
Drummer Jager Soss performing in Albany on 2/9/24.
Following a quick 10-minute set break, Baked Shrimp returned for Set II with purpose and vigor. After launching into an extended “Pork Etiquette” -> “Dragostea din tei” -> “Pork Etiquette” dance sandwich, the band called back to their 2021 NRBQ themed Halloween show with the rarely played “Howard Johnson’s Got his HoJo Workin.” From fun to introspective, there was a noticeable shift in The Hollow’s vibe when the band mellowed out on “The Victim” before lifting the mood back up with John Fogerty’s ‘can’t miss’ singalong “Centerfield,” which the band first played at their baseball themed Halloween show back in 2020. You can watch fan shot video of that in the video clip below.
Put Me in Coach: Baked Shrimp had the whole crowd singing along to their cover of “Centerfield” on 2/9/24.
After leading the crowd through another song from the new album called “Can’t Cut the Mustard,” the bittersweet feeling that the end was near suddenly felt very palpable. Expressing a genuine and heartfelt “thank you” to the audience for all the years of good memories and support, Cowen would mention how special this night felt to him and his hopes people will keep up with the guys down the line as they will still be out there making music in one form or another. After getting the ‘OK’ from both Greg Bell and Bones, Baked Shrimp would encore for the final time in Albany with a funked out nod to their 2022 Spinal Tap show with “All the Way Home,” before closing with a nostalgic speech about the importance of friends and loved ones, forgetting about those ‘weird’ times and to be present in the moment, to smile, to dance with strangers and the importance of supporting your local music scene. Pouring everything left in the tank into the powerful and soaring anthem “Rock Bottom,” which included subtle Umphrey’s McGee “All In Time” and Led Zeppelin “Immigrant Song” song teases, Baked Shrimp stood tall at the end, proud and powerful and completely exhausted as the marathon performance came to a close just after 2am.
Baked Shrimp serving it up in Albany on 2/9/24.
What. A. Show. Incredible musicians and even better people. While this chapter of Baked Shrimp may be coming to a close, it’s clear there’s still lots of music and lots of talent left inside these guys. It’s been a privilege watching them grow and getting to know them a bit over the years. From their earliest gigs at hole-in-the-wall clubs, to gracing the stage at major festivals like Peach, Northlands, Adirondack Independence, and the Great South Bay, to teaching us how to “Love Like Lon” at their own inaugural LonCon Festival, we here at NYS Music wish nothing but this best for all the members of this band. If hard work truly pays off, one day Baked Shrimp will surely be swimming in riches as bountiful as the heart of the ocean itself. Don’t take it from me though, listen for yourself! You can stream the entire show from The Hollow now on Bandcamp or at the link below. Baked Shrimp is scheduled to play their final show on Saturday, February 17, 2024 in Bridgeport Connecticut in what will surly be an emotional evening.
Baked Shrimp | February 9, 2024 | The Hollow | Albany, NY
Set One: More or Less, Weird Times, Lucky Stars, Touché -> Peter Gunn Theme -> Touché, Molly Ann, Chop Suey. Set Two: Pork Etiquette -> Dragostea din tei -> Pork Etiquette, Howard Johnson’s Got his HoJo Workin’, The Victim, Centerfield, Can’t Cut the Mustard. Encore: All the Way Home, Rock Bottom. Notes: Entire show featured Max Perrotti on bass, filling in for Scott Reill. This show paid a tribute to Baked Shrimp’s 6 Halloween performances which all took place in New York, 2 of the most recent being at The Hollow. “Peter Gunn Theme” from Blues Brothers 2023, “Chop Suey” contained “Scooby Doo Theme” teases (Scooby Doo 2018), and a “Ding-Dong the Witch is Dead” jam (Wizard of Oz 2019), “Howard Johnson’s Got his HoJo Workin’” from NRBQ 2021, “Centerfield” from Baseball 2020, and “All the Way Home” from Spinal Tap 2022. “Bones” and his new partner “Legs” were introduced and brought on stage prior to “Molly Ann.”
Glass Pony | February 9, 2024 | The Hollow | Albany, NY
The Westcott Theater in Syracuse became a pulsating hub of musical energy as Daniel Donato’s Cosmic Country, a genre-blurring jam band with country influences, graced the stage in a nearly sold-out performance that left attendees exhilarated and yearning for more.
Recently anointed “Nashville’s new guitar hero,” by Rolling Stone, Donato led the audience through a jammy night of fun showing off sonic influences from the Grateful Dead and Phish to Waylon Jennings.
The atmosphere within the Westcott Theater was charged with anticipation even before the first note resonated through the venue. As the lights dimmed, one of the most packed houses the Westcott has seen erupted into cheers, a testament to the fervent following that Daniel Donato and his Cosmic Country collective have cultivated. The energy was palpable as the band took the stage, setting the scene for an unforgettable night of country-infused improvisation and musical exploration.
The band’s lineup features Daniel Donato on lead guitar and vocals, alongside a talented ensemble of musicians including Nathan “Sugar Leg” Aronowitz on keyboards, rhythm guitar and vocals, Will “Mustang” McGee on bass, and Noah Winner on drums. And they immediately captivated the crowd. It was hard to move around inside the theater the venue was so packed, and when the music started all those people went wild.
The band’s chemistry was palpable, with each member contributing to the sonic tapestry in their own unique way. The rhythm section provided a solid foundation, propelling the music forward with a cosmic heartbeat, the bass was hard-charging and in your face while the keyboardist added layers of textures, creating an immersive sonic experience.
As the night reached its climax, the audience was left in a state of euphoria. Cosmic Country had taken them on a journey, blurring the lines between the earthly and the celestial. The Westcott Theater became a haven where traditional notions of genre were shattered, and the universal nature of music prevailed.
The night was a masterclass in musical exploration. Through his exceptional guitar skills, emotive vocals, and a band that seamlessly blended genres, Donato delivered a performance that was both otherworldly and grounded in the roots of country music. Cosmic Country is no doubt on the way up to the top and fans should make sure to catch them at more intimate venues like these while they still have the chance.
Daniel Donato’s Cosmic Country – Westcott Theatre, Syracuse – Saturday, February 10, 2024
Set 1: Why Have You Been Gone So Long?, Cigar Time, Halfway (In Between), Hi-Country, Playing Your Game, Weathervane > Blue Skies > Weathervane, Locomotive No. 9 > Rose In a Garden, Banks of the Ohio, Broadside Ballad > Hangman’s Reel
Set 2: Passing Storm, Sugar Shack, Luck of the Draw > Sugar Leg Rag, Illusions, Down Along the Cove, Down Bedford, Down By The Riverside, Dance in the Desert
DJ/Producer Dirt Monkey made a stop in Buffalo for his MYCELIUM SOUND tour on Friday, February 9. This EDM artist completely steam-rolled through Town Ballroom making it a night to remember.
Photo Credit: Maddie McCafferty
The openers this night were stacked with intricate sound design and deep bass grooves that made it impossible not to get hyped up. Artists Neon Black and Austeria are growing producers in the scene that are paving the way for up and coming dubstep. Last-minute fill in G-Space completely wooed the crowd with his layered mystic sound that blends trap and funk music.
Photo Credit: Maddie McCafferty
Dirt Monkey took over the stage and immediately brought the vibes even higher. One element that this talented producer has mastered is expanding across multiple EDM sub genres to bring a new sound to fans. From dubstep, to drum and bass, to house and everything in between he is not afraid to go beyond conventional norms. It’s no surprise his devoted following considers him a producer’s producer.
Photo Credit: Maddie McCafferty
2023 was the year of releases for Dirty Monkey. He released not one, but two full length albums, MYCELIUM SOUND PT. 1 and MYCELIUM SOUND PT. 2. He performed an array of songs off both albums and even shared unreleased tracks that he’s been working on.
Photo Credit: Maddie McCafferty
Old School X New School
Dirt Monkey utilizes a reggae sound throughout his drops that gives his music a sense of funk that is addictive to listen to. His visuals match this vibe with intricate geometrical patterns and electric colors.
Photo Credit: Maddie McCafferty
Despite this being a tour for his new sound, Dirt Monkey still found a way to play his old hits. Some of which include “Gabagool,” “Lift Off,” and “Jack It Up.” He also mixed in other artists tunes while giving them that Dirt Monkey twist. It is a testament to his artistry that he can make even a house music hater question their taste because Dirt Monkey knows how to add that extra flavor to songs.
Photo Credit: Maddie McCafferty
There was something different in the air at Town Ballroom that night and Dirt Monkey even shared how he could tell the people in Buffalo really listened to his music. The crowds energy that night made Buffalo a must stop for him and it’s why so many popular EDM artists keep coming back. The western NY EDM scene has reignited shows in a whole new way.
Photo Credit: Maddie McCafferty
If you want to be a part of the growing EDM phenomena in Buffalo check out the upcoming shows from SABAI February 23 and Subtronics February 29. Get your tickets here.
Fresh off the band’s highest-profile performance to date at the inaugural Dead Ahead festival, the Connecticut-born acoustic three-piece Orebolo settled into the Capitol Theatre in Port Chester for three laid-back nights of loose acoustic jamming on February 8, 9 and 10.
photo by Joe Madonna
If you unwittingly attended an Orebolo show on a whim, learning this was the band’s 17th performance could catch you off guard.
From recent sit-ins from Bob Weir and Sturgill Simpson and a line of eager fans who arrived hours early for a coveted rail spot or to purchase the radiant hand-carved AJ Masthay linocut poster, it wouldn’t be misplaced to assume Orebolo is a nationally touring act in their own right. However, it is impossible not to mention Rick Mitarotonda (vocals, guitar), Peter Anspach (vocals, guitar), and Jeff Arevalo (upright bass, backup vocal) membership in the rising star jam band Goose that has made this success possible.
With hairstyles that could be fresh from an “Almost Famous” casting call, Anspach, Arevalo, and Mitarotonda held audiences captivated across three days with six sets mixed of beloved originals and debuts for the group that was free from repeats across the weekend run.
The trio was unafraid of embracing their loyal flock of fans. During the first set of the run, Anspach called attention to the night’s guest-of-honor in the audience, the newly anointed Goose drummer Cotter Ellis. When Ellis was quickly met with deep-throated chants of “Goooose,” Anspach quickly reassured Ellis with the band’s usual quip that “they’re just saying Goose.”
While the crowd was certainly there as Goose fans, and more than a few behaved as if they were seeing an electric five-piece rock show not an acoustic trio, Orebolo’s performance left everyone present thrilled with six standout sets. From the songs on Thursday evening the unofficial theme for the weekend was clear – these shows would be packed with Goose originals and a number of expertly selected and reimagined covers.
After trading vocals for the opening two songs, the group debuted Bob Dylan’s “Don’t Think Twice, It’s All Right”, which featured a glistening vocal from Mitarotonda followed by an energetic “Turbulence & The Night Rays,” and the debut of two more covers that show the group’s own eclectic musical tastes, Isey Juber’s 2023 “No California” and Chick Corea’s instrumental “Spain”. The second set would see the tempo pick up through a number of Goose originals, as well as a heart-wrenching rendition of Tears for Fears “Mad World” and as a reward for the Capitol Theatre’s usual Deadhead denizens, a rendition of “New Speedway Boogie”.
photo by Scott Harris
With Mitarotonda and Anspach playing seated, Arevalo sipping from a glass of red wine, and the stage artfully set with an array of antique studio lighting, the atmosphere of the three shows evoked the theatrical origins of the intimate 1800-capacity venue that has become so known as a palace of rock and roll. That isn’t to say the audience behaved in such a way, with the band frequently chiding overly talkative attendees over the weekend.
Friday’s show kicked off with a tremendous performance opening with a dual vocal on “Mr. Action”, followed by another nod to the Capitol Theatre’s Grateful Dead adjacent roots with a jangling cover of the band’s version of the traditional “Jack-A-Roe.” After a driving first acoustic performance of Goose’s “Dr. Darkness,” the band turned the folk up further with an uptempo country-hoe-down inspired performance of “Flodown” and a mournful rendition of Dave Van Ronk’s traditional “Hang Me, Oh Hang Me”. The covers kept coming with a debut of Elvis Presley’s “Don’t be Cruel” that put any silver screen rendition of the King’s crooning to shame.
The first set would close with a joyous rendition of “Animal” that ran through intensity levels bringing the crowd from rapt silence to shout-along. The echo from the crowd would continue into second set opening “Hungersite.” The fast tempo version of “Echo of a Rose” would have a red-wine sipping Arevalo hitting a series of bass-notes that reverberated through the theater. A bust-out of Sharon Van Etten’s “Love More” simmered the crowd to their quietest all night, before returning to a rollicking sing-along with the Dead’s “Tennessee Jed.” The set closed with Goose originals “This Old Sea” and fan favorite “Empress Of Organos.” A howling encore of “Silver Rising” brought the crowd to a tumultuous roar, sending attendees home energized for the final night’s show.
Saturday would have another dual vocal to open with the group debuting the New Orleans standard “Liza Jane” to the crowd’s delight. After a joyous rendition of Goose’s “The Whales” Orebolo took a first attempt at “Atlas Dogs” that lead into a performance of “California Magic” which featured such strong harmonization from Mitarotonda and Anspach you could be forgiven for assuming this was a Crosby, Stills and Nash cover. The band has been enjoying this run of shows, it’s clear from the crowd banter and how intentional the playing is. Mitarotonda couldn’t help himself but to tease the iconic “Secret Agent Man” guitar riff closing “All I Need.”
Anspach would take the lead vocal for “Moonrise” before Mitarotonda tore through “I’m Writing A Novel,” a song that has become a staple of the group since they performed it with the author, Father John Misty, at Radio City Music Hall in 2022. The show would take a somber turn for Tom Waits’ “Christmas Card From A Hooker In Minneapolis” which gave the audience a much-needed tempo shift before bursting into a version of “Rockdale” that brought the whole room to their feet singing along to one of the group’s most well-known tracks.
The weekend’s final set would open with a rhythmic “Thatch” that highlighted how strong the group’s harmonization has gotten with time. For fans who struggle with misheard lyrics during intense Goose jamming, it is worth noting that Orebolo shows provide a much different experience (it is “Milo believe” not “my love for thee” ). The crowd hit pin-drop silence during a deeply emotional debut of Radiohead’s “True Love Waits,” which gave Arevalo a chance to show his versatility on the standup bass and skill with the bow. The band returned to the King and got the crowd dancing with a performance of 1957’s “(Marie’s the Name) His Latest Flame” harkening back to Presley’s rockabilly roots.
To close out the show, in a fitting tribute to the venue, Orebolo bookended their originals with songs from the Grateful Dead. First taking a turn toward syncopated harmonies in “Dripfield,” before performing what a 50-year-Jerry-show-veteran called “one of the best” renditions of “Ship of Fools” they had heard. The set ended with a pounding Madhuvan that was a showcase of the three musicians’ practiced comfort in an acoustic setting. Mitarotonda, Anspach, and Arevalo would return to the stage to express gratitude to fans for supporting the milestone three-night sold-out set of shows and individually thank each member of the Orebolo crew. The encore performance of “U.S. Blues” brought a truly original take to the Grateful Dead tune packed with harmonization that couldn’t hold back a crowd sing-along.
While Orebolo has played fewer than two dozen shows publicly, it is clear that this trio has spent many more hours crafting a sound distinctly their own, no matter the material. Fans flocked to Orebolo shows for an intimate performance from a group of musicians whose star is on the rise, but they came back night after night because of the unique expression from this talented group of musicians. While Goose is taking flight, here’s hoping we will have more opportunities for these intimate acoustic moments.
Orebolo’s next show will be in May at Solshine: A Music & Arts Reverie. Goose will be on tour this summer, and will be performing at Forest Hills Stadium on June 29.
Orebolo Setlists, February 8, 9, 10
Setlists graciously provided by the team at ElGoose.net.
February 8, 2024 Orebolo, The Capitol Theatre, Port Chester, NY, USA
Set 1: Lead the Way, Elizabeth, Don’t Think Twice, It’s Alright[1], Turbulence & The Night Rays, Not Alone[2], No California[3], Spain[4], Dim Lights, So Ready Set 2: Turned Clouds, Arrow[5] > Where Is My Wild Rose[6], Hot Tea, Mad World[7], New Speedway Boogie[8], A Western Sun, Arcadia Encore: Arise Coach’s Notes: [1] Bob Dylan. FTP. [2] FTP as Orebolo. [3] Ilsey Juber. FTP. [4] Chick Corea. FTP as Orebolo. [5] Unfinished. [6] Chris Thompson. FTP. [7] Tears For Fears. [8] Grateful Dead.
February 9, 2024 Orebolo, The Capitol Theatre, Port Chester, NY, USA
Set 1: Mr. Action, Jack-A-Roe[1], Dr. Darkness[2], Flodown, Hang Me, Oh Hang Me[3], Creatures[4], Don’t Be Cruel[5], Louise[6], It Burns Within, Animal Set 2: Hungersite, Red Bird, Seekers On The Ridge Part I > Seekers On The Ridge Part II, Echo of a Rose[7], Love More[8], Tennessee Jed[9], This Old Sea, The Empress Of Organos Encore: Silver Rising Coach’s Notes: [1] Traditional. [2] FTP as Orebolo. [3] Dave Van Ronk. [4] Unfinished. [5] Elvis Presley. FTP as Orebolo. [6] Bonnie Raitt. [7] Fast version. [8] Sharon Van Etten. FTP. [9] Grateful Dead.
February 10, 2024 Orebolo, The Capitol Theatre, Port Chester, NY, USA
Set 1: Liza Jane[1], The Whales, Atlas Dogs[2] > California Magic, All I Need[3], Moonrise, I’m Writing A Novel[4], Christmas Card From A Hooker In Minneapolis[5], Rockdale Set 2: Thatch, True Love Waits[6], Man of Constant Sorrow[7], Lead Up, (Marie’s The Name) His Latest Flame[8], Everything Must Go, Dripfield, Ship Of Fools[9], Madhuvan Encore: U.S. Blues Coach’s Notes:
[1] Traditional. FTP as Orebolo. [2] FTP as Orebolo. [3] Slow, melodic version. With Secret Agent Man tease. [4] Father John Misty. [5] Tom Waits. [6] Radiohead. FTP. [7] Dick Burnett. FTP. [8] Elvis Presley. [9] Grateful Dead.
