Category: Show Reviews

Boojum Dazzle and Delight through First Half of Brooklyn Art Häus Residency

Less than a year into their project, Boojum is a jamband on the rise, having recently wrapped their first festival performance at LonCon in central New York and now halfway through their first residency at the Brooklyn Art Häus.

The four-piece – Chris Mackin (guitar), Josh Santiago (guitar), SarahElaz (bass), and Mike Coiro (drums) – have taken to the setting with aplomb, using the residency as a chance to test out new material in a four-show run featuring unique repeat-free setlists. For Friday’s show, the theme was “Looking Glass” and the band was joined by Kim Berg as the Red Queen and special guest Ethan Smestad on vocals.

Photos by Taylor Weinberg

It’s clear Boojum is getting comfortable pushing the black box theater’s limits to expand their attendees’ minds and push the boundaries of performance. Opening the show with two debuts, audiences were welcomed into the world of Wonderland with bouncing grooves for the back-to-back debuts of “Step Into” and “Pass Through.”

By the time the band returned to more familiar material with “Nonsense if you Like,” the room was set to spinning through disco-tinged grooves, supported by a sultry guest vocal performance from Kim Berg. Fully decked in black and white checkerboard, Boojum doesn’t limit their spectacle to the music as dancers Cameron Kay and Rachel Caron joined the fray. With the chess pieces set, Elaz laid into a blistering bassline that pushed the group’s jamming upwards in intensity.

Photos by Taylor Weinberg

The group’s rhythm section continued to drive the pace into the debut of “Pig Baby Blues” with Coiro laying a backbeat for Rachel Caron to add her own percussion to the groove with a tapdance solo followed by a drum solo before the band blasted into one of their hardest jams of the night.

“Pig Baby” has been a crowd favorite since its inception and from watching Mackin, Santiago, and Elaz’s mimicry of one another, it’s clearly a song the group has fun playing too. The introduction of the “Pig Baby Blues” lead-in gave the band a chance to amp this suite up another level.

Never afraid to have too much fun Santiago and Mackin would take a bewildering twist and turn “Pig Baby” into an extended jam based around Danny Elfman’s iconic Simpsons title theme. Balanced on the knife edge between recognizable and reimagined, the reworking raised a moment of levity before building to a heart-pumping performance from Smestad as the horrifying titular Pig Baby. Slaying the monster proved to be an easy feat for our heroes in Boojum, thanks to the power of rock and roll.

To celebrate their victory, we were rewarded with a seafood feast as the band lept into “Oysters” featuring another display of Boojum’s theatricality. Kay and Caron would return to the stage as molluscs come alive as something out of a cartoon, cowled with shells and resplendent with pearls thanks to costuming assistance from Megan Roe.

Photos by Taylor Weinberg

The second set opened with a push into the psychedelic with “Looking Glass House” as Kay and Caron took to the stage adorned as giant eyeballs. Their performance and the mindbending guitar playing were complimented by visual artist Casey McArtney’s projections, as she took the opportunity to pay homage to Pink Floyd’s Pulse spinning eyes around the room.

“Chessmen” was another debut for the night, featuring a band first with Mike Coiro taking over lead vocals before the band led the crowd into the night’s most dramatic number, “Vorpal Sword”. Featuring Ethan Smestad as the hero wielding the magical Vorpal Sword the show would enter its most conceptual as we enter his innermost thoughts to see him grow the courage to confront the Jabberwocky (performed by Caron in full costume). Driven by an exhilarating guitar line, the hero emerged triumphant, offering attendees a moment of respite before diving back into the psychedelic.

Photos by Taylor Weinberg

“Living Backwards” was another rockling jam that drove the idea of crescendo to the extreme, testing how intense the band’s playing can get before pulling a heel turn as they entered the debut of la Bamba-esq “Red Queen’s Race.” The tropical tune lifted audiences back to elation with a groove that sounded almost as if someone took the iconic “la bamba” riff and dunked it in a psychedelic paint bucket. It certainly sent me searching for when the Grateful Dead covered the Ritchie Valens arrangement (MSG, September 1987).

With Caron and Kay still dancing in the audience Boojum kept with their tradition to close with a Wonderland-themed cover, going with an on-the-fly bust out of the Beatles “Lucy in the Sky With Diamonds.”

Boojum has committed to the bit when it comes to pushing the boundaries of experimentation. Walking off stage, the group focused on the road ahead, planning for how they would continue to surprise audiences to the penultimate show of their residency. What do they have in store? The only way to find out is to follow the band down the rabbit hole on October 11. Come ready for a swashbuckling adventure, because the band has hinted that the theme will be Pirates.

Boojum has two shows left in their Brooklyn Art Häus residency, the next show is October 11th.

Tickets are available at: https://www.stellartickets.com/o/brooklyn-art-haus–2/events/electric-wonderland

Boojum’s Electric Wonderland – Looking Glass, 9/27/24, Brooklyn Art Häus, Brooklyn, NY

Set 1: Step Into> Pass Through, Nonsense if you Like> Pig Baby Blues> Pig Baby, Oysters

Set 2: Looking Glass House> Chessmen, Vorpal Sword, Living Backwards, Red Queen’s Race

Encore: Lucy in the Sky With Diamonds

Show Notes:

Kim Berg on vocals as the Red Queen on Nonsense, Pig Baby, and Red Queen’s Race.

Ethan Smestad as a guest performer as the Pig Baby and vocals for Vorpal Sword.

Pig Baby featuring Simpson’s theme jam

Cameron Kay and Rachel Caron dancing for Nonsense, Oysters, Looking Glass, Vorpal Sword and Red Queen Race.

Lucy in the Sky With Diamonds, Beatles cover.

First time played: Step Into, Pass Through, Pig Baby Blues, Chessmen, Living Backwards, Red Queen’s Race, Lucy in the Sky With Diamonds.

October 2, 2024
Tesla brings the electricity to the Premier Theater at Foxwoods Casino

Legendary 80’s band Tesla brought their “Keepin’ It Real” tour to the Premier Theater at Foxwoods Casino. The band in no time sold out the casino’s biggest venue. Even before the opener, Sebastian Bach went on stage, the crowd filed in and packed the theater.

If you were to go back in time to the late 1980s or early 1990’s the combination of Tesla with Skid Row – Bach’s former band, could have been a reality. Unfortunately for the rock community, getting this amazing duo took a little longer than normal. In the casino, there are strict curfews so Bach went on stage a few minutes past 8:00 p.m. He delivered a heavy set of 12 songs that consisted of Skid Row classics and solo material.

As fans could have expected, more than half of Bach’s set was Skid Row songs. But, he did kick his set off with one of his newest songs, “What Do I Got to Lose?” off his newest record, Child Within The Man. It was great to hear four of his newer songs and introduce old fans to newer material. The crowd was going wild for him Bach, for each song they would give a thunderous cheer. In response, for the entire time, Bach was smiling ear to ear and his voice was pitch-perfect.

Despite fighting some technical difficulties with his microphone and the sound, the four-piece band put on an unforgettable show. Joining Bach was his son, Paris on drums, Clay Eubank on bass and Brody DeRozie on guitar. For the entire time they were on stage, they headbanged and hair flipped. That was until they played their last song, “Youth Gone Wild,” but were cut off by the curfew and were forced not to play the song. Heroically though, Tesla brought him back out at the end of their set to play “Youth Gone Wild” and their song, “Signs.”

PHOTO

It only took a few short minutes between sets for Tesla to lay siege to the Foxwoods crowd. They jumped right into “Rock Me To The Top,” off of their debut record, Mechanical Resonance. The entire lower bowl of the theater stayed on its feet for the entire performance. Despite big red cushioned chairs behind them, the audience refused and stood in appreciation for the almost two-hour set.

It’s easy to see why Tesla continues to sell out venues across the country. It’s because they deliver a great performance with so much infectious energy. Guitarist Frank Hannon, for the entire performance, ran back and forth from side to side delivering one of the best performances yet. Behind his yellow sunglasses, he shredded nonstop throughout the show. Whether it was a beautiful double-neck guitar or a classic Gibson, stopping Hanson was not possible.

Joining Hannon in the band is Brian Wheat on bass, Jeff Keith on lead vocals, Dave Rude on guitar and Steve Brown on the drums.

They played two new songs off an upcoming record that Hannon says come out around Thanksgiving time. “From the Heart” and the title track, “All About Love” received warm reactions from the audience. If true, this would be Tesla’s first studio record since 2018’s Shock.

The band played all their greatest hits as well as some deep cuts. This constantly left the audience guessing on what song would be played next. At one point in the set, they played five of their most popular songs in a row which had the audience in a frenzy. “Changes,” “Paradise,” “Call It What You Want” and “Edison’s Medicine (Man Out of Time)” were the perfect final few songs.

The band played all their greatest hits as well as some deep cuts. This constantly left the audience guessing on what song was next. At one point in the set, they played five of their most popular songs in a row which had the audience in a frenzy. “Changes,” “Paradise,” “Call It What You Want” and “Edison’s Medicine (Man Out of Time)” were the perfect final few songs to be played.

Usually, Tesla’s first and final song of the encore is “Signs.” The popular song is a cover of Five Man Electrical Band’s version. But, for this show, after Bach’s set got cut by one song, they brought him back out to do a small snippet of “Youth Gone Wild.” This was followed by “Signs” and a great closing moment in the show. During the Bach/Tesla duet, you can tell that Bach appreciated the kind gesture of the band and it goes to show that Tesla does truly care about, not only the fans but the support act as well.

Tesla’s one-stop at Foxwood’s on their “Keepin’ It Real” tour was well worth it for everyone involved. It was a fantastic throwback to when the 1980s was all about hard rock and metal. The Bach and Tesla pairing was perfect. Bach’s headbanging metal was the perfect balance with Tesla’s power chords and harmonies. If Tesla brings their juggernaut tour back to a New York area, I highly suggest going out and seeing them. They’ll make sure that you get your money’s worth.

Sebastian Bach setlist: What Do I Got to Lose? Slave to the Grind, Big Guns, Sweet Little Sister, 18 and Life, Freedom, Piece of Me, Everyday Bleeds, Monkey Business, I Remember You, (Hold On) To the Dream, Youth Gone Wild

Tesla setlist: Rock Me To The Top, Modern Day Cowboy, Hang Tough, All About Love, Walk Away, Forever More, Heaven’s Trail (No Way Out), Miles Away, Changes, Paradise, Call It What You Want, Edison’s Medicine (Man Out of Time), From the Heart, Love Song, Little Suzi, Signs

October 2, 2024
Global Citizen Festival Takes Over Rainy Central Park for 12th Year

This past weekend – Saturday, September 28 – Global Citizen Festival returned for its 12th year on Central Park’s Great Lawn in New York City.

Lisa Performs at Global Citizen Festival in NY, Photography by David Reichmann (@davidpresspass)

Every year Global Citizen brings dozens of celebrities, special guests, and musical performances to the Great Lawn for their live broadcast music festival in the name of ending extreme poverty around the world and stopping climate change.

Post Malone performs onstage during the Global Citizen Festival. (Photo by Kevin Mazur/Getty Images for Global Citizen)

This year’s headlining acts included Post Malone, Blackpink member Lisa, Doja Cat, Jelly Roll, and a special appearance by Coldplay’s Chris Martin alongside Ed Sheeran.

Post Malone performs onstage during the Global Citizen Festival.(Photo by Kevin Mazur/Getty Images for Global Citizen)

Despite a steady downpour throughout the entire day, the event went off without missing a beat. Nearly 60,000 fans bundled up in ponchos and umbrellas, braving the cold and wet day.

Dr. Jane Goodall speaks onstage during the Global Citizen Festival. (Photo by Noam Galai/Getty Images for Global Citizen)

In order to earn tickets, many festival attendees had to perform tasks such as learning about the organization’s philanthropic activities or causes.

Ed Sheeran and Chris Martin perform onstage during the Global Citizen Festival. (Photo by Noam Galai/Getty Images for Global Citizen)

The event was hosted by Hugh Jackman, with help from a truly massive slate of celebrity guests who came onstage and on screen to speak about a number of important causes championed by the Global Citizen organization.

Hugh Jackman addresses the crowd at Global Citizen, photo by David Reichmann.

The organizers were proud to announce the event and its corporate sponsors had raised over $1 billion to defeat poverty worldwide and demand equity for all marginalized groups. Featured speakers included Bill Nye, Jane Goodall, and many thought leaders on women’s and minorities’ rights throughout the world.

The festival organizers made every effort to protect Central Park’s beloved Great Lawn, and announced that as always, they would pay for any damages the park may have sustained from the event.

You can read more about Global Citizen’s ongoing efforts at their website. Check out our photo gallery with coverage from the event by David Reichmann (@davidpresspass) below.

Photography by David Reichmann (@davidpresspass)

October 1, 2024
English Teacher Unleash Their Northern Charm on Brooklyn

English Teacher showed off their indie oddball talents at a hastily arranged show at Brooklyn’s Market Hotel, September 25. Packing Northern wit, Gen Z rage, sincerity and spilled margaritas into their show, the hour-long headline slot left the crowd excited for what’s next.

English Teacher at Market Hotel, September 25. Credit: William Shanks.

Having wormed their way through the crowd to get to the stage (Market Hotel seemingly has no backstage), the band opened with an accelerated version of “The World’s Biggest Paving Slab”, a salute for the downtrodden and middle finger to those who tread on them.

English Teacher come to the city weeks after winning the Mercury Prize, a Very Big Deal in the UK, for their debut album This Could Be Texas. They quickly apologized for canceling their recent headline tour “because they were tired.” This refreshing rejection of toxic expectations of the music industry can also be found in their work: during “R&B” singer Lily Fontaine fights the assumption that she should sing any particular genre because of the color of her skin.

The music is deeply rooted in experience, and there is sense of territorial ambiguity, or perhaps – despite a palpable attachment to where they are from – a yearning for pastures new. The work is largely rooted in the band’s home of the North of England (songs like “Albert Road” and “The World’s Biggest Paving Slab” reference local landmarks, cultural touchstones, heroes and villains) and yet there seems to be a westward gaze to the work. This is most apparent in the album’s title track, “This Could Be Texas”, which is vaguely set in the Lone Star State.

Guitarist Lewis Whiting, commenting to NYS Music after the show, said that even though “the music is very English,” its wider messages are still accessible for an American crowd. Members of the audience did seem confused by references to the band’s home county of Yorkshire; while there was general agreement in the crowd that “York’s a city I think, like New York I guess,” British concepts like the council – blamed for environmental destruction in ‘Broken Biscuits’ – seemed unfamiliar. Market Hotel patrons get a close-up view of Brooklyn’s JMZ subway lines directly behind drummer Douglas Frost, which throws English Teacher’s, well, Englishness into interesting graphic relief.

The band is composed of technically gifted multi-instrumentalists comfortable with complex rhythms and winding melodies. Strong musicality is not always enough to guarantee an edifying live experience, but English Teacher’s performance sidestepped many of the traps that befall successful recording artists when it comes to taking to the stage. They wisely recruited a fifth member to fill out the midrange with keys and cello and, stage access aside, Market Hotel is perfectly set up for high-energy acts like these, its trapezoid shape projecting force and sound out from the band and inviting back the crowd’s energy.

Singer and keyboardist Lily Fontaine is a convincing frontwoman and the spiritual leader of the group. She drives the performance, now conducting her bandmates, now interrogating them as if willing them further, higher. She waves her hands at each of the things she’s “not” on “I’m Not Crying, You’re Crying”, staring into the middle distance and apparently entirely absorbed in her experience.

There is rage in this music, with Fontaine seeming at points to dissociate into the memory of whatever transgression or crime has inspired her lyrics. At one point she muses that “maybe the spotlight’s not for me,” but while there is an awkwardness to her performance, it is an awkwardness that she wears comfortably. Fortunately for English Teacher, their bandleader possesses undeniable authenticity, that one quality totally essential to a convincing live act.

Some of the performance did feel rushed – there are times where you wish English Teacher gave their work some more breathing space. Songs could be extended to incubate their power and anger some before unleashing into the breakdowns that make the band so thrilling. You almost want a member of Phish, those wizened jam-band rockers, to throw a grizzled arm around these kids and remind them that the crowd is here for them; they can take their time; the people here can take it. This Could Be Texas, with its punchy second act math-rock pile-on, seemed primed for an 8-minute treatment.

The set was closed with the album’s swansong, “Albert Road”. The album’s final act sees Fontaine climb a rousing ladder of pitch-perfect semitone gasps, one final shot at lifting off out of this small, narrow-minded Yorkshire town and into outer space – or perhaps just Texas. Earlier in the show, Fontaine described how the band recently supported IDLES, English Teacher’s equally buzzy indie-rock contemporaries. She engages in some light patter with a member of the crowd, sips her margarita. Then Fontaine’s face drops; she becomes deadly serious. “But this is our show now,” she says. It certainly feels like it.

September 30, 2024
At Live Dead and Brothers, Sidemen Take Center Stage

What does the son of an Allman Brothers bassist, a late-60s member of The Grateful Dead, and a studio guitar foil for Dickie Betts have in common?

All are members of Live Dead and Brothers, a group that pays tribute to the golden era of psychedelic blues by alternating covers of Grateful Dead and Allman Brothers material from the days when the Fillmore was still wide open on both coasts.

The band’s all-star lineup featured Les Dudek (guitar) from The Allman Brothers Band, original Grateful Dead pianist Tom Constanten, Berry Duane Oakley (bass, vocals) from The Allman Betts Band, Mark Karan (guitar, vocals) from Bob Weir & Rat Dog, Scott Guberman (keyboards, vocals) from Phil Lesh & Friends, and Pete Lavezzoli (drums, vocals) from Oteil and Friends.

The ensemble formed to revive the magic of the Grateful Dead and Allman Brothers Band’s co-billed concerts during the period of 1969 to 1973, and at times, the twin guitar attack made you wonder what kind of supergroup could have been formed had the Dead and the Brothers ever decided to do more than an encore jam together.

The tour, which landed in Albany at Empire Live on Friday, marks the final East Coast run for Tom Constanten, who recently announced his retirement (though he will still compose and play local gigs near his home on the West Coast).

Despite some canceled tour dates due to a health concern earlier this summer, all of the band members looked pretty good. Considering their collective road mileage, the music sounded young and fresh too.

Karan, Oakley Jr, Guberman, and Lavezzoli alternated vocal responsibilities, but it was the dueling guitars of Karan and studio legend Les Dudek that really stole the show. Karan played a Les Paul Goldtop for most of the night, channeling the recently departed Dickie Betts, while Dudek’s custom Strat served as a perfect compliment.

Particularly on the Allman Brothers tunes, where Dudek pulled out his glass slide to play those buttery Duane-leads, the band was firing on all cylinders. And where their vocal harmonies left something to be desired at times, the twin guitar harmonies on songs like “Blue Sky” and “In Memory of Elizabeth Reed” was Southern Rock personified.

At times, the two drum approach of both legendary bands was noticeably missing, but Lavezzoli often nailed the swing style of Billy the Drummer, and his impassioned singing on “Stormy Monday” was the best vocal performance of the night. He also crushed his role as Jerry-ballad leader on “High Time”.

Oakley also turned in a yeoman’s performance, holding down the low end and taking lead vocals on songs like “One Way Out”, a superb “Blue Sky”, and “Statesboro Blues”.

While it was the Allmans songs that shined brightest, the group got the heavily tie dyed (alebit modest in size) crowd twirling on a “China>Rider” medley where Karan impressively played both the Weir and Garcia parts.

And if dueling guitars weren’t enough, there were also dueling pianos, or, dueling Nords to be specific. Guberman handled Gregg and Brent-style organ sounds on his Nord Electro 4 and TC did his noodling on a Nord Stage 3. Constanten was erudite as ever with his playful counterpoint lines, though somewhat buried in the mix. That said, the sound in the club was relatively excellent, reminding this listener of what an improvement the Empire Live sound is over the muddy strip mall sound of predecessor clubs Northern Lights and Upstate Concert Hall in Clifton Park.

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

After a brief intermission, the band’s second set leaned hard on Europe ‘72 numbers by the Dead (including a touching “He’s Gone” which reminded me of TC’s advancing age and the many Brothers and Sisters these road warriors have lost).

But it was the Allman’s instrumental “Jessica” that garnered the biggest crowd reaction of the night. Dudek, who played on the original recording of the track, handled the slide masterfully, and Guberman channeled Chuck Leavell in his best solo of the evening.

“Jessica” has always been a great road song, and was even used as a needle drop in a scene in the movie Field of Dreams when former hippie Ray Kinsella hits the open road in his VW bus. In other words, it makes sense that these longtime sidemen, after years of touring, have their chance to take center stage with a tune that’s helped so many music fans make it down the road another few miles, headed for the next show.

While they weren’t “Truckin’ up to Buffalo” the band did come into Albany from a show in Buffalo on Thursday, and of course they played “Truckin’” too. On a night that was a little short on extended jams save for “The Other One”, and the second-set closer “Elizabeth Reed”, a long coda on “Truckin’” got a little weird and was one of my favorite instrumental moments (particularly when they teased Donovan’s “Mountain Jam” riff).

Hearing “Jessica” and “Truckin’” into “Mountain Jam” was kind of like living out some kind of dream from my youth. I used to alternate a cassette copy of Skeletons in the Closet and The Best of The Allman Brothers’ back in the days when I could only afford to own a few albums and cassettes instead of the basement-full I have now. And in those days I knew every note on those cassettes and played them until one of them got stuck in the deck. Or, maybe my tapes got melted on a hot summer day when the sun ruined my collection, boiling the plastic cases through the hatchback of my 1990 Ford Probe. In short, alternating Allmans and Dead material took me back to a place,and I could tell it took others in the audience even even further back in time. It also made for one heck of a fun night out.

Here’s wishing Tom Constanten well on this last leg of his Long Strange Trip. Live Dead and Brothers has a number of tour dates through mid-October and three more dates in New York State in Bethel, Canandaigua, and Syracuse that are well-worth seeking out if you want to wish TC an East Coast farewell.

Live Dead and Brothers Setlist; Empire Live Albany, 9/27/2024

Set 1: Turn on Your Lovelight, One Way Out, Hurts Me Too, Blue Sky, Bertha, Stormy Monday, China Cat Sunflower > I Know You Rider, High Time, Hot Lanta

Set 2: Hard to Handle, Statesboro Blues, Tennessee Jed, Jessica, He’s Gone, Truckin’ (w/outro jam & “Mountain Jam” tease), Spoonful, Dreams, The Other One, In Memory of Elizabeth Reed

Encore: Ramblin’ Man – Les Dudek on vocals for the only time all night!

September 30, 2024
In Focus: Elephant Gym and Brooklyn’s Own Mei Semones at Music Hall of Williamsburg

Elephant Gym and Mei Semones have teamed up for a jazzy, math-rocky tour across the Northeast, and it’s outrageously good. Mei Semones and her four-piece band came out casually onto the stage at Music Hall of Williamsburg on Thursday, September 26th. Mei wearing her signature hair charm, a hoodie with the strings tied into a bow, her green artist’s badge stuck to the leg of her cargo pants, and some Nike AF1s.

Mei’s soft vocals poured through the venue’s many halls and staircases as the crowd filed in, excitement building as she and her ensemble flitted through indie-infused math rock tracks. Semones’ music combines the youthful vocals, twangy guitar, and intricate, punchy drumming of Japanese math rock with her bandmates’ masterful violin, viola, and standup bass backing.

Noam Tanzer, in particular, was impressive, switching between standup bass, bass guitar, and electric guitar throughout the show. Semones is a masterful guitarist, both electric and acoustic, and her unique playing style is easily the most recognizable aspect of her sound. But the full effect of the lyricism and her live ensemble is indescribable. It truly represents every side of Semones in 3-5 minute chunks, something wholly hers that can’t be replicated or compared.

Tell, Elephant Gym’s guitarist came out early to put down his setlist, and when people at the front tried to sneak a peak, he hid it behind his bag, telling them it was a surprise. Itâs always humorous when artists saunter onto stage well before their set time, and the audience suspends their disbelief long enough to cheer for them to set up and then cheer when they come out a second time. Soon after, KT, the band’s lead singer and bassist, and Chia-Chin, their drummer, came on stage and Elephant Gym was complete.

After the first song, KT jokingly pointed out that the band’s 10th-anniversary tour also meant that most of their early fans were likely entering their 30s alongside the band. She also lamented about being single and suggested that young single concertgoers look around the room for someone with good music taste to date.

Elephant Gym talked a bit about their Taiwanese identity and the unique circumstances of Taiwan’s place in the world. They pointed out Taiwan’s position between China and Japan, their belief in democracy, and the mandatory military service that both Tell and Chia-Chin served.

Japanese Math Rock has clearly influenced Elephant Gym, but making too many comparisons would take away from their music’s intense talent and individuality. In a genre so influenced by jazz, every little electric impulse becomes both melody and a representation of who you are. Typical math rock is very guitar-forward, but KT drives the band, literally and figuratively, letting the base take center stage. This is who Elephant Gym is, and they are wonderful.

Elephant Gym also poked fun at the cliche of constant merch callouts by bands. They brought up merch every few songs, with some subtle segues and some hilarious nonsequiturs poking fun at the mutual understanding of how vital merch sales are to bands and how there’s no shameless way of asking people to buy stuff from you. KT announced they were going to play a new song, but were nervous, saying, âSo if I fuckup some notes â¦ buy some merchandise!â Part of what made this bit so endearing was their candidness about being their own financial advisors, social media managers, and merch designers. The band members divide responsibility like assigning instruments. Like most artists in the modern era, they have to be masters of all to survive.

Elephant Gym boasted an unreal repertoire, playing an hour and a half of intricate math rock. The memorization required for such a feat is incredible. For their song “Moonset,” which is written in Japanese despite the band not being fluent, Elephant Gym brought Mei Semones back out to sing. The song combined Mei’s sweet, bouncy vocals with more bass-driven funk, forming a perfect jam for the concert’s end.

September 30, 2024
BADBADNOTGOOD Share the Love at Free Show in the Lower East Side

BADBADNOTGOOD played a generous 80 minutes of high-energy jazz-rock during a free show at Awake in New York’s Lower East Side, Saturday Sept. 20. The band teamed up with the vintage clothing store as part of a promotional drive for their new three-disc LP, Mid Spiral.

One incarnation of BADBADNOT.

The mutating Canadian 5-piece came into the night off a four-night run at the Blue Note, and seemed keen to put their new material through its paces in a way they perhaps couldn’t have at the jazz institution a few blocks north. They looked to create a party atmosphere from minute one, and the revved-up crowd were happy to play along with drummer Alexander Sowinski’s high-octane crowd-work.

BADBADNOTGOOD have always provided up-tempo moments on their records, but Mid Spiral feels like a departure from their earlier work; it climbs to high altitude on opener Eyes On Me – and stays there for the duration. This makes for a charged live show: four-to-the-floor percussion, supported by a rhythm section that might be at home at a bossa nova show, drive distorted guitar turns and upbeat horns.

Listeners can detect jazz fusion influences as well as subtle notes of jazz contemporaries Thundercat and Kaytranada; indeed, at several points Sowinski made a point to recognize the band’s musical foundations. Fans of this record would do well to check out those two artists, as well as Dutch 9-man collective Jungle By Night.

This was somewhat of a bootstrap affair and the performance from BADBADNOTGOOD put the LES tenement building through its paces. During bumpier moments one couldn’t help but throw a concerned eye to the creaking ceiling; at quieter points the crowd was reminded that this vintage clothing store has the acoustics of… well, a vintage clothing store.

The performance was an interesting exercise in gig-based sensory deprivation: with no stage available, the crowd had to rely on their ears – and their feet – for the full experience. But the record makes for a compelling performance nonetheless as keys, guitar, saxophone, trumpet and drums deftly trade prominence throughout. A pared-back saxophone solo late in the day made for some light relief from the 100 mph efforts up to that point; bandmates were invited back in one by one to reach a thrilling climax to the night – the evening’s high point.

Sowinski began the show by introducing BADBADNOTGOOD as a group of people who care deeply about music, one another and the direction the world is heading. While this latter point may have felt incongruous with the boutique clothing store setting (not to mention the army of iPhones pointed towards the band), the evening was a thrilling celebration of music and those who come together to enjoy it.

September 28, 2024
Albany Swoons For Teddy Swims at Sold-Out Palace Theatre

Teddy Swims has become a name synonymous with raw emotion and versatility, and on Thursday night, September 26th at Albany’s Palace Theatre, he proved why he’s one of the most magnetic performers in music today.

The Atlanta-born singer sold out the venue, bringing his soul-stirring blend of R&B, pop, country, and rock to an adoring crowd as part of his “I’ve Tried Everything but Therapy” tour. Along with a joyous opening set from country-rap artist Breland, fans weren’t just showing up for the music, they came for the connection and they came to party.

Teddy Swims sold-out the Palace Theatre in Albany on 9/26/24.

Opening the night was Breland, a country-rap hybrid artist who’s quickly making a name for himself with his genre-defying sound. His energy was infectious as he performed hits like “My Truck,” “For What It’s Worth,” and “Thick.” He was the perfect warm-up for an audience ready to feel every lyric. Breland’s ability to mix country storytelling with urban beats mirrors Swims’ ability to blend styles, making him a natural opener for this tour. After a brief set-change, it was finally time to jump into the deep end.

Country-rap crossover artist Breland opening for Teddy Swims in Albany on 9/26/24.

The bond between Teddy Swims and his fans runs deeper than his music. At the Palace Theatre, it was clear that his audience connects with him on a personal level. This is a guy who wears his heart on his sleeve—quite literally, as his tattoos tell the story of his life and struggles. His heavily inked arms are a reflection of his journey, including a prominent “Create Forever” tattoo that serves as a mantra for the singer. Teddy’s tattoos are more than just ink—they are milestones in his personal journey.

Each piece is carefully curated to represent his struggles, growth, and commitment to his craft. His body art has become as iconic as his voice, with fans often asking about the stories behind the designs. From lyrics of songs to meaningful symbols that represent family, Swims’ tattoos have become part of his brand. Whether he’s singing about love, heartbreak, or resilience, fans see a part of themselves in his lyrics, and it’s this authenticity that sets him apart.

Teddy Swims performing at the Palace Theatre in Albany on 9/26/24.

Opening his performance at the Palace with “Goodbye’s Been Good to You” and “What More Can I Say,” from the moment Teddy and his band, Freak Freely, took the stage, the audience was completely enamored. With both girls and guys regularly blurting out “I love you, Teddy!” he was always quick to acknowledge he heard them and that he loves them right back. After all, as Swims is quick to point out, it’s because of them that he’s allowed to “have the best job in the world.” His one request for the evening was that everyone has fun, stays hydrated and to look after the people in their section to make sure everyone was all good.

During his set, you could feel the energy in the room shift when he introduced songs like “Broke,” which tackles financial struggles, and “911,” a deeply emotional track about mental health. Following them up with a pair of his most recent singles, “Bad Dreams” and “Funeral,” Teddy’s themes often range from self-empowerment to vulnerability, but at the core of every song is the idea of keeping it real, even when life gets hard. Referencing just how far he’s come since the last time he was in Albany, at the much smaller Empire Live venue down the street in November of 2022, his rocket ship to the top has been full throttle ever since, yet Teddy seems to be the same guy now that local fans fell in love with back then.

Teddy Swims performing at the Palace Theatre in Albany on 9/26/24.

Swims rise to fame started humbly, as he began uploading covers to YouTube in 2019. What set him apart was his ability to take on songs from a wide range of genres—everything from Marvin Gaye to Shania Twain—and infuse them with his unique grit and soul. That versatility earned him viral success and a massive following, catapulting him into mainstream success. His cover of “You’re Still the One” went viral, showcasing his vocal power, which, combined with his vulnerability, won over millions.

Now, with 11 million monthly listeners on Spotify and growing, he’s proving that his original material connects just as much as the covers that brought him into the spotlight. Of the many highlights of the night though, perhaps none was more touching than when Teddy invited his main squeeze out for a duet on the aforementioned Shania cover of “You’re Still the One.” At the end of the song, the two exchanged a heartfelt kiss in the middle of the stage which elicited a HUGE ovation, even bringing some to tears.

Teddy Swims performing at the Palace Theatre in Albany on 9/26/24.

While Teddy’s voice is his ultimate instrument, it was the band behind him that brought the music to life. Backing him up on stage was Freak Freely, a tight-knit band of musicians who are as dynamic and versatile as Teddy himself. They seamlessly blend genres, moving from soulful ballads to full-blown rock numbers. The core group includes Addy Maxwell (guitar), Christian Medice (drums), and Kyng Henson (bass), each bringing their own flavor to the sound.

Their synergy with Swims is palpable, creating an atmosphere where every note feels meaningful. Wowing the crowd with their chops on songs like “Hammer to the Heart,” “Devil in a Dress” and the party anthem “Apple Juice,” Teddy made sure to give each member of the group ample time to shine in the spotlight too.

Teddy Swims performing at the Palace Theatre in Albany on 9/26/24.

A true man of the people, during various guitar, keyboard and drum solo breaks throughout the night, Teddy could be seen signing autographs and T-shirts that people had brought up to the stage. He was even totally cool with people being on their phones during the show. In fact, at one point during his song “Simple Things,” he encouraged everyone to text a friend or a loved one that they hadn’t been in touch with for a while, just to let them know you still care.

His endearing sentimentality also came through prior to performing “Some Things I’ll Never Know,” in which he admits he still thinks about a particular ex-lover and wonders what could have been, before “hypothetically” wishing she was doing well. The ballads continued with “Last Communion” before 2021’s “Bed on Fire” from his album Unlearning brought the main portion of the show to a close and left the audience begging for more.

Watch fan shot footage of Teddy Swims performing “Lose Control” live in Albany on 9/26/24.

Returning to the stage with a huge smile on his face, Teddy would soulfully croon “Tell Me” before an absolutely gorgeous piano solo gave the audience ample time to contemplate life. Following an equally beautiful guitar solo intro by Addy Maxwell, fans finally got the song they had been waiting all night for. A veritable smash hit with well over 1 billion streams in just over a year, “Lose Control” had people from the very front to the very top of the balcony singing along with every word. It was one of those concert moments that simply gives you the chills and you knew it was something special. With time left for just one more song, Teddy Swims sent fans out of the Palace Theatre doors in a near euphoric state with one final hit, “The Door,” bringing the scintillating performance to a close.

Teddy Swims performing at the Palace Theatre in Albany on 9/26/24.

As giddy fans gathered outside, the buzz over what they had just experienced felt palpable. Everyone just knew they had to savor the moment, because everyone knew it would likely be the last time they saw Teddy Swims in a venue this size. Destined for bigger stages in bigger cities, years from now, people will still be talking about this show and saying “I remember the night Teddy sold-out the Palace and it’s still one of the best concerts I’ve ever seen.” As Teddy Swims continues his North American tour, he’s gearing up for stops in Boston, Washington D.C., and Philadelphia. His star is only rising, and if his show in Albany was any indication, this is just the beginning. Fans are flocking to see a singer who doesn’t just perform songs—he lives them. Every tear, every smile, every ounce of sweat is real, and that’s why Teddy Swims’ shows feel like much more than a night of music—they feel like a shared experience.

Teddy Swims | September 26, 2024 | Palace Theatre | Albany, NY

Setlist: Goodbye’s Been Good to You, What More Can I Say, Broke, 911, Bad Dreams, Hammer to the Heart, All That Really Matters, Devil in a Dress, Funeral, Apple Juice, Simple Things, You’re Still the One*, Some Things I’ll Never Know, Last Communion, Bed on Fire.

Encore: Tell Me, Lose Control, The Door.

Breland | September 26, 2024 | Palace Theatre | Albany, NY

September 28, 2024
The Night Sweats with My Morning Jacket: The Syracuse Summer Concert Season is Officially Closed

Nathaniel Rateliffe and the Night Sweats and My Morning Jacket have been trekking up the eastern US with a late summer double-bill that has inched over into autumn. Turning the corner into the last week of the tour, they took a daring swing up to Syracuse on September 24, testing the city’s notoriously unpredictable weather.

Which, it turned out, was actually quite predictably miserable. Low 60s and a a nagging rain. But the hardy crowd was well prepared, and welcomed the rare chance at an early autumn outdoor pavilion concert, the last of the “summer” season at the Empower FCU Amphitheater at Lakeview.

The bands took comfort in the Upstate NY weather. Jim James proclaiming in a very Jim James way, “Feels good to have the winds of Syracuse blow through my soul!” and Nathaniel Rateliffe, while apologizing to the wet and cold fans out on the lawn, said “This is actually perfect weather for me.” Coming after a couple weeks in the hot South it was no wonder.

James and Rateliffe are two highly engaging front men, each able to corral both their bands and the audience into a symbiosis, while also managing the flow and energy with skill and ease. The similarly equipped bands, navigate similar but unique sounds. The Night Sweats approach Americana from a Soul Revue angle while My Morning Jacket comes at it with an updated Classic Rock focus. They each took their 90 allotted minutes and made the best of it, seamlessly flowing songs together with very little breaks. It was a match made in live music heaven, and the audience was taken on a fabulous three-hour journey.

My Morning Jacket took the stage first on this night. Jim James strode out in an all white suit, questionable after Labor Day as it was, but then again James has always played by his own rules. After searing takes on a couple newer tunes out of the gate, “Regular Scheduled Programming” and “Penny For Your Thoughts,” the band settled into the comfort of some well-worn material.

“Lay Low” arrived early with late set energy and a finishing run of “I’m Amazed,” “Gideon,” “Evil Urges,” “Mahgeetah,” and “Wordless Chorus” was a non-stop parade of hits, energizing the My Morning Jacket faithful while rousing the interest of the larger Night Sweats contingent. But the set hung it’s hat on a monster “I Will Sing You Songs” that was as beautiful as it was ferocious. It’s ending swirled for a long while in and out of a spacey interlude, building up and down out of formlessness for a secondary climax that didn’t quite explode before petering out altogether.

The relentless energy of My Morning Jacket is a tough act to follow, but Nathaniel Rateliffe and the Night Sweats are no slouches. They came out swinging with “Suffer Me,” their three-piece horn section giving that added punch of color. Whether rollicking on the piano at the back of the stage on, fronting on guitar, or bounding across the stage with a tambourine, Rateliffe was in command and had the crowd on their feet and singing along for the entirety of the set. Their core sound was stretched to cover a lot of ground with the New Orleans blues of “Slow Pace of Time,” the atmospheric folk of “And It’s Still Alright,” the country jaunt of “Hey Mama,” and the bring-the-house-down gospel of “S.O.B.”

The night came to a head with a show-closing cover of Traffic’s “Feelin’ Alright” that had both bands merging for a very fun onslaught of sound that pulled out the best from both units. The last show of the amphitheater’s season was an early autumn treat that had everyone in Syracuse feeling alright.

photos by Brian Ferguson

September 27, 2024
In Focus: Khruangbin Lands at Forest Hills

On Saturday, September 21, Khruangbin wrapped up the second of two nights at Forest Hills Stadium to a sold out crowd.

Well on their way through a lengthy global tour promoting their new album, A La Sala, Men I Trust warmed up the crowd as they hit the stage at 7pm sharp. With the bar set high and excitement at its peak, the lights went dark as the trio from Houston, Texas hit the stage at 8:15.

Khruangbin, which translates to airplane in thai, takes their audience on a journey playing consecutively through A La Sala. Exploring many themes and motifs with great style and ambiguity, the music, accompanied by choreography, stunning lighting, and set design created a touching spectacle. If it wasn’t already clear that the band is telling a story with A La Sala, the last song of set 1 exemplified this when Mark Steele, Guitar and Vocals, along with Laura Lee, Bass and Vocals, walked down and sat at the very edge of the stage.

With DJ Johnson on Drums and Keys not far behind them, they gently played through “Le Petit Gris”, a soft piano driven melody. Sounds and visuals of thunder and rain trickling down in the windows behind them, a soft breeze that reminded everyone summer is over and fall is here, the band and audience became one.

The second set featured classic material that could make anyone dance. Notable highlights included “The Number 3”, “August 10”, and “Evan Finds The Third Room”. With genre bending sounds of global influence that all seamlessly weave together, their minimalist approach creates soundscapes of deep grooves, catchy hooks, and mesmerizing rhythms. The trios meteoric rise to the top is no coincidence. Playing iconic festivals and venues like Coachella and Bonnaroo, Radio City Music Hall and Red Rocks, they have solidified their position in the music industry.

With Emmanuelle Proulx of Men I Trust joining them for “Dearest Alfred”, they closed out the evening with the funky renditions of “Maria tambien” and “People Everywhere, (Still Alive)”. After the finale, Leezy reemerged from the back, throwing her extra head bands into the crowd, dancing along with the audience to “September” by Earth, Wind, & Fire. Their tour continues for a few select dates in the United States before departing again to resume tour around the world.

Khruangbin – Forest Hills Stadium – September 21st, 2024

Set 1: Fifteen Fifty-Three, May Ninth, Ada Jean, Farolim de Felguerias, Pon Pon, Todavia Viva, Juegos y Nubes, Hold Me Up (Thank You), Caja de la Sala, Three from Two, A Love International, Les Petits Gris
Set 2: The Number 3, August 10, Lady and Man, The Infamous Bill, Pelota, Evan Finds the Third Room, Time (You and I)
Encore: Dearest Alfred*, Maria tambien, People Everywhere (Still Alive)
*with Emma from Men I Trust

September 26, 2024