Consider the Source has released their eighth studio album, The Stare, along with a pro-shot video for the track “Mouthbreather.”
Formed in 2004 after a particularly successful jam session, Consider the Source has been releasing music and touring the globe for two decades now. Influenced by Turkish, Bulgarian, North and South Indian styles filtered through jazz, rock, and psychedelic sounds, the band’s sound can only be encompassed as “Consider the Source”.
The group’s newest release, The Stare, is the product of a story from years prior to Consider the Source’s conception. In 1992 David Prater, the producer of The Stare, worked on the up and coming progressive rock band Dream Theater’s breakthrough album- a work each of the founding members of Consider the Source absolutely fell in love with. Years later the members had found themselves in a band of their own, and in a full circle moment as the new album became a culmination of both the band and Prater’s talents.
Tour cut short due to the Covid-19 pandemic and spread across the country remotely, Consider the Source reached out to Prater after a chance encounter at a small local venue a few years prior that had formed the connection. Excited to return to a semblance of normalcy and routine, the band and Prater collaborated initially over Zoom before eventually road tripping to a house in which the only things to do were eat, sleep, and talk music.
The Stare captures the rare energy of the pandemic and the live artist’s experience- all of the creative energy that had been bottlenecked is on full display, and it’s beyond evident in each second of the tracks. It’s a creative feat that defies the emotional limits of isolation, leaving everything out on the metaphorical stage- a product of the pandemic, yes, but also a work that showcases how music is inherently a magnetic force for community and togetherness in the face of uncertainty.
In addition to the album’s release, Consider the Source has released a pro-shot video for the final track, “Mouthbreather.” A stunning seven and a half minute performance, the band’s showmanship is on full display.
To see Consider the Source on tour and learn more about their supporting acts as well as acts they’re supporting, visit their website here. The full list of upcoming dates is below.
Crisis to Crisis, the third album by NYC band Sons of Venus was released on in June. The album is a nuclear missile of existential prog-rock aimed at the heart of American greed.
Sons of Venus are John Sully, (Composition, Production, Vocals, Guitars, Keyboards) Ruslan Baimurzin (drums), and Igor Reznik (Bass). Sully the band’s frontman, was a composer and sound designer at Ideal Glass, a film and TV studio in the east village, where he put together after-hour jams when he met Baimurzin. After adding Reznik to the trio, the band now experiments with musical styles like prog, psych, punk, and funk, and has three albums to their name.
Crisis to Crisis, the third Sons of Venus album was recorded first by Sully; who tracked all the vocals, guitars, and keyboards, then sent the tracks to Baimurzin and Reznik for overdubbing. The result is a psychedelic journey that stays true to progressive and punk roots.
The particular sound of Sons of Venus’ Crisis to Crisis is difficult to pin down for many reasons. First, it is of a fleeting genre that has been out of the spotlight for decades. Second, the length of the songs averages over 6 minutes each, and third the lyrics are quite sad – depressing really. In all, Crisis to Crisis is not a pop album by any extent of the word. Sully says, “Crisis to Crisis is not music for the casual listener.” It will not be played on the radio. This, to me, is a positive. While not being tethered to what the broader population wants, the project has the freedom to speak of the future honestly and refreshingly. The lyrics explore the disappointing trajectory the world is heading down. Look no further than the album cover to see images of forest fires natural disasters, nurses, and the stock market.
The album has a spacey psychedelic sound that is clearly inspired by classic 70’s prog and psych bands such as, Yes and Rush. Additionally, many of the songs have distinctly David-Gilmore-esque, bending, trembling solos which add to the 70’s zeitgeist. Even the vocals are often mixed in such a way that adds to the aesthetic of belonging to a different era.
Standout Tracks:
“Dead Languages,” the opening track, begins with a crunching scratchy acoustic guitar that I wish there was more of throughout the album. The song blasts by on an intergalactic mission to expose the crux of our society. Sully’s lyrics reflect on the current state of human affairs. “We will forget the truths we let die inside ourselves.”
“Guaranteed,” the second track on the record has a unique groove to it that brings The Flaming Lips to mind. Sully says, “Forget about the world you can hardly care, as long as you’re getting what you think is fair.”
“The Art of Coincidence” is the sixth and final track which is the existential climax of the album. Heavy ominous bells ring announcing judgment day for us all. The finale of Crisis to Crisis has heavy synth production, tremolo, delay, reverb, and the tappings of crash symbols. Sully advises, “Touch the heart, tilt the scales, unfold the flags, raise the sails.”
The Grateful Dead played a brief 10-show tour in September of 1973 and included among these was a stop at the Onondaga County War Memorial in Syracuse. This tour featured the one and only time the band would be joined by a horn section on stage. Tenor saxaphonist Martin Fierro and trumpeter Joe Ellis were familiar with some of the Dead’s catalog, mainly due to their involvement with the recording of the band’s sixth studio album Wake of the Flood, which would be released the following month.
As it happens, Fierro and Ellis were members of The Doug Sahm Band which served as the opener for eight of these shows. Since they were already on tour with the Dead, a sit-in seemed only natural. According to Fierro, the horns were not incredibly well received at the time as this was a stray from the standard Grateful Dead concert experience. But their knowledge of the material is evident and offers a unique twist on some of the classic songs from the band’s repertoire. On this evening in Syracuse, with the exception of “Here Comes Sunsine,” the entirety of Wake of the Flood would be played, serving as a sneak peek for the new album.
The recording of this show, which can be found below, doesn’t start until the tail end of the “Tennessee Jed” opener. The Dead follow this up with a blistering “Me and My Uncle” with Phil Lesh coming in loud and clear on the bass guitar. This is succeeded by another first set staple with an uptempo version of “They Love Each Other” which made its debut earlier this year and is highlighted by some delicious guitar licks from Jerry Garcia and timely fills from Keith Godchaux on piano. It’s a short, but sweet, take and very much to the point.
Some classic Dead tuning then takes place with Bob Weir advising the crowd about a “couple of technical problems” before the band launches into an older first set standard with their cover of “Beat It On Down The Line.” Here, Donna Jean Godchaux makes her voice heard for the first time as she and Weir harmonize throughout on another crisp albeit brief opening set selection. The musical reigns are then passed back to Garcia who leads the band through a slow and soulful “Sugaree” with Lesh coming in hot on bass towards the song’s end.
Weir then reassumes lead vocals on another rapid first set song in “Mexicali Blues” that the Dead navigate through with ease before “Loser,” which is also partially cut on the recording and has some echoey vocal effects from Garcia to along with his signature pristine guitar solo. This sets the stage for a poignant “Looks Like Rain,” a song first featured on Bob Weir’s solo album Ace that was released last year. It features some interesting synthesizer and electric keyboard work from Godchaux that supplements Weir’s always impassioned vocals nicely.
Things stay in the emotional vein with a slow and plodding “Row Jimmy” that follows with Garcia, backed by Donna Jean on vocals, leading the way and drummer Bill Kreutzmann maintaining a deliberately steady tempo throughout. A little steam begins to pick up with the “Jack Straw” that follows which sees more intricate piano work from Godchaux to go along with some three-part vocal harmonies before Garcia leads the way on another fairly new number in “Loose Lucy” which also made its debut earlier this year.
Donna Jean even gets to take center stage in this opening set in Syracuse as she jumps on lead vocals for the Grateful Dead’s cover of Loretta Lynn’s “You Ain’t Woman Enough.” It’s a song the band would only play a handful of times in 1973 and this is the second to last ever performance of it with her husband throwing in some spirited work on piano. This carries right over into the “El Paso” that follows before the Dead end the first set at the War Memorial with the Robert Hunter and Garcia-penned “Casey Jones” that starts off rather mellow but, like a train barreling downhill, picks up in speed and intensity by the time all is sang and done.
After a chock full first set with 15 different songs played, the Dead opened up and let loose with a much more improvisational second one on this night in Syracuse and finally broke out the horn section. After an introductory “Mississippi Half-Step Uptown Toodleoo,” Martin Fierro and Joe Ellis finally emerge for the majority of the rest of the show. They begin with a rather unknown tune at the time, “Let Me Sing Your Blues Away,” which would be featured on the upcoming Wake of the Flood release. Garcia, Weir and Donna Jean are all involved on vocals with Fierro taking an extended saxophone solo that helps serve as the song’s bridge. It’s a song the band would only play live on this brief September 1973 tour.
Phil Lesh then gives a belated and quick introduction of Fierro and Ellis before the start of “Truckin’” which has a bouncier, jazzy feel to at the outset thanks to the additions from each. The horns maintain a steady presence all throughout the composed section and well into the jam that ensues. It’s a song that had been played three times already on this tour so there’s a discernable comfort level in the playing which makes for a very unique take on a Grateful Dead classic that sees Fierro and Godchaux linking up to take control in the latter portion of the jam that ensues.
The ensemble would go on to play some more songs from Flood, including “Eyes of the World” with Fierro and Ellis continuing to provide background harmonies on horns, especially in the purely instrumental sections between verses. Fierro gets an extended solo as the jam progresses and meshes nicely with the rest of the band although Ellis sounds a bit too excited and a bit off key before Garcia reels things back in to a more customary “Eyes” jam. Once finished, the band then jumps right into a full “Weather Report Suite” where the horns are much more understated and seem to fit a little better. The same can be said for the beginning of “Let It Grow” as Fierro and Ellis are comfortable with the composed/lyrical section but seem to do a little too much once the jam that ensues begins to stretch out a little.
The Grateful Dead wrap up this Syracuse show with a mellow and somber “Stella Blue” that sees Fierro on sax mesh perfectly with Garcia’s guitar tone. After one last tuning break, this one seemingly inspired by the Looney Tunes theme, a “Sugar Magnolia” closes things out with the horns taking a bit of a back seat at first and then coming alive in the “Sunshine Daydream” section.
Overall, there are moments of greatness, mainly during compositional and slower sections, but the horns seem to try to do a bit too much when the improvisation kicks into high gear. This is likely what led to some Deadheads being less than enthused about their addition to a traditional Grateful Dead show. This brief tour would go on to Philadelphia and Pittsburgh, PA before ending in Buffalo at the War Memorial nine days later.
Grateful Dead – Onondaga County War Memorial – Syracuse, NY – September 17, 1973
Set 1: Tennessee Jed, Me & My Uncle, They Love Each Other, Beat It On Down The Line, Sugaree, Mexicali Blues, Loser, Looks Like Rain, Row Jimmy, Jack Straw, Loose Lucy, You Ain’t Woman Enough, El Paso, Casey Jones
Set 2: Mississippi Half Step, Let Me Sing*, Truckin’*-> Eyes Of The World*-> Weather Report Suite Prelude*-> Weather Report Suite Part 1*-> Let It Grow*-> Stella Blue, Sugar Magnolia
*with Joe Ellis on trumpet and Martin Fierro on saxophone
Soaring to spectacular heights for two nights in Saratoga Springs, indie-improv groove sensation Goose delivered a pair of performances that felt more like a homecoming celebration than rock concerts. After playing to their largest ever crowd (at the time) during their debut at SPAC last year, this time around, the colorful band decided to bet on themselves and make a weekend out of it.
Playing four sets over two consecutive nights, the Norwalk, Connecticut-based band showcased just how far they’ve come from their humble beginnings. Not too long ago, Goose was cutting their teeth at smaller venues like Albany’s former Parish Public House and Putnam Den. Now, they’re packing out massive venues and headlining some of the biggest festivals on the circuit. It’s been a meteoric rise that underscores the band’s extraordinary talent and their magnetic draw for fans.
Goose performing in Saratoga Springs on 9/6/2024
Since their ascent in the pandemic era, Goose’s fan base has exploded, thanks to their intoxicating blend of groove-based improvisation, catchy melodies, heartfelt vocals and relentless touring. For the family and friends who have supported them since the early days, this SPAC run was a full-circle moment—an intimate celebration amidst their ever-growing fame. In just a few short years, Goose has gone from playing bar gigs to headlining stages like Red Rocks and major festivals such as Bonnaroo and Peach Fest. Their rise has been both organic and rapid, fueled by the band’s tight-knit musicianship and a growing, fervent fanbase.
Live streams during the pandemic introduced their genre-bending sound to a global audience, which quickly transformed them into one of the most exciting acts on the modern jam and indie circuits. Luckily for fans, despite their growing fame, the band continues to maintain their down-to-earth, hardworking ethos and have continued serving up plenty of free high-quality content and live streams to keep casual fans and new ones interested. Whatever the secret to their success is, it’s clearly working, as evidenced by the massive applause the band received while walking out on the Broadview Stage at SPAC on Friday, September 6th.
Kicking off the festivities with a nod to the OG-honkers in the audience, multi-instrumentalist Peter Anspach strapped on his guitar for one of the few times of the night and led the band through “Elizabeth,” a song that was first played in Saratoga Springs in 2018 to a mostly empty Putnam Place down the street. Now performing it on the big stage at SPAC, you somehow always knew this is where Goose was destined to be. Their signature sonic sound has been arena and amphitheater-ready from the very start. Keeping it old school, Goose then unleashed a pair of longtime favorites next with their version of the Wood Brother’s “Atlas,” followed by “Turned Clouds,” the opening track from the bands 2016 debut album Moon Cabin.
The Great Handini: Multi-instrumentalist Peter Anspach performing with Goose at SPAC on 9/6/2024.
At the core of Goose’s sonic magic is the unspoken chemistry between the band members, each with their own signature style and endearing nicknames. Primary vocalist and axeman Rick Mitarotonda, or simply “Snakes,” leads the charge with his soulful vocals and dexterous guitar work. The always smiling Peter Anspach, affectionately known as “Handini,” handles keys and rhythm guitar, adding a layer of infectious good-natured energy. Trevor Weekz, or “Tweekz” holding down the bass, is the quiet powerhouse of the group, while percussionist and multi-instrumentalist Jeff Jeff Arevalo helps bring the rhythm to life with a cool confidence in the back.
Making his SPAC debut on drums was the newest member of the band, former Swimmer timekeeper Cotter Ellis who joined the band early in 2024. Injecting fresh energy into the band’s live performances, Ellis’ dynamic drumming has found a seamless place in Goose’s sound, adding new textures to their already eclectic mix of indie rock, funk, and improvisational jams. On Friday, Goose would really open things up for improvisation on the fourth song of the night, “Borne.” Taking the hypnotic track for an impressive 17-minute joyride, you knew exactly what Mitarotonda meant when he crooned out the lyrics, “I’m not tired / I’m not worn at all / I’ve just started / Now I’m shown around / Just what we were born to be.”
Rick Mitarotonda shredding his custom guitar, the Empress, at SPAC on 9/6/24.
Serving up a sweet treat to the many Grateful Deadheads in the crowd was a surprise bust-out of the Monroe Brother’s “Rosa Lee McFall,” a song Jerry Garcia often played with his side projects. This was the first time Goose has dusted it off in 76 shows. Switching gears to a more contemplative vibe next, Mitarotonda had complete command of the audience as he serenaded SPAC with the introspective “Bob Don” before Peter would take over on an impressive 18-minute version of “Pancakes,” a song he wrote with his band Great Blue before joining Goose. Taking on new life in recent years, the Anspach-penned tune has since become a staple of the Goose live show, becoming both a fan favorite while simultaneously paying homage to his early roots. The high octane jam sent the crowd into intermission buzzing with excitement for what was still yet to come.
Goose performing in Saratoga Springs on 9/6/2024.
Opening the second set with the longest jam of the night, “Arrow” has long been a major improvisation vehicle for Goose. Featuring some of Rick’s most heartfelt singing of the weekend, Goose went reaching for the stratosphere on this one and found it, yielding an unforgettable 26-minute journey of pure musical bliss. Following it up with the first “Everything Must Go” since their hometown Westville Music Bowl summer tour closer, this stellar version clocked in as the fourth longest version of the song the band has ever played. Locked in and firing on all cylinders, the energy in the pavilion was through the roof.
A key ingredient in Goose’s captivating live experience is the mesmerizing stage lighting, expertly crafted by lighting director Andrew Goode. Goode’s use of vibrant colors, synchronized patterns, and dramatic builds complements the music’s improvisational nature, elevating each song to a visual feast. His lighting design doesn’t just illuminate the stage, it creates an immersive, otherworldly atmosphere that draws fans deeper into the performance. The interplay between Goose’s jams and Goode’s lighting transforms each concert into a multi-sensory experience that lingers in the minds of fans long after the final note.
Lighting director Andrew Goode mesmerized in Saratoga Springs.
Following another nod to Great Blue, “Jeff Engborg” was played for the first time since October of 2023. But the biggest bust-out of the weekend came next when Goose dipped into a beautiful, soul-wrenching cover of Tom Waite’s “Christmas Card From a Hooker in Minneapolis.” Played for the first time in a staggering 254 shows, Goose last covered it during their now-legendary Swanzey, NH drive-in show in October of 2022. There’s a sticker on one of Peter’s keyboards that says, “Phone Down, Eyes Up, Heart Open,” but on “Hooker,” I simply couldn’t resist taking my phone out. I had been chasing that one for a while, and in that moment, it was everything I needed and I didn’t want it to end.
The only thing that could top it was the song that got me hooked on Goose in the first place and as Rick crooned out the final words, “I’ll be eligible for parole come Valentine’s Day,” you could faintly hear the buttery-smooth transition into exactly what I was craving– a nice, dank 15-minute “Arcadia.” Hell yes. With time left for just one more, Rick would offer a nod to his previous band Vasudo as “Hot Love & the Lazy Poet” was chosen as the lone encore. As the band walked off stage to a howling ovation, you knew all the people you told about Goose years ago are finally starting to get it. Goose is special. This band is the real thing.
To my friends that inexplicably turned down miracles, I hate to beat a dead horse, but you simply missed out. For anyone lucky enough to catch Goose live, whether it’s their first or fiftieth show, it’s an experience that stays with you—a reminder that great music, like the fans that support it, is always evolving.
Watch pro-shot video of Goose performing “Big Modern!” on Night 2 at SPAC
Creating good vibes and blowing minds and returning to SPAC for Night 2 on Saturday, Goose would do it yet again. Opening up with a unique “indie-groove” arrangement of “Atlas Dogs” for the first time in 133 shows, the band also surprised folks with their cover of The National’s “Bloodbuzz Ohio.” After debuting the massive new track “Big Modern!” at the tour opener six days earlier in New Jersey, SPAC fans would get the second version ever played, this one coming in at nearly half the length of its predecessor at only 18 minutes. A beautifully performed “This Old Man’s Boat” made the hairs on your neck stand up, while the OG fan favorite “Hot Tea” had the entire place on their feet and dancing up a storm.
Saratoga Bust Out: Goose played the “indie groove” version of “Atlas Dogs” for the first time in 133 shows on 9/7/2024.
One thing that sets Goose apart is their deep connection with their fans. With the audience as much a part of the show as the band itself, the SPAC crowd was an eclectic mix of fans, from dedicated “poster collectors” lining up early for limited-edition artwork to first-timers eager to experience the Goose magic. The atmosphere was energetic yet laid-back, with people dancing freely, sharing stories of past shows, and reveling in the moment.
With a veritable and organic pre-party and post-party scene emerging around the band, there was plenty of excellent music to be heard outside of SPAC all weekend too, notably with sets by the Prince-Bowie supergroup Annie in the Water and Grateful Dead cover band The Wheel. Prior to the show on Saturday, members of Goose would hit the links for a good cause, teaming up with the Western Sun Foundation for “Goose on the Green” to help raise money for local charities. And while it was all smiles before showtime, when the band came out for the final set of the run, they put their game faces on and were all about getting down to some serious improvisational business.
Goose opened their 4th and final set at SPAC with a 25-minute rendition of “Hungersite” on 9/7/2024.
Kicking it off with a huge 25-minute rendition of “Hungersite,” the ‘wow’ factor was off the charts. Weaving their way through multiple tension and release peaks and even flirting with some type II jamming, the song’s massive crescendos made SPAC come unglued. Diving deep into their roots once again, Goose would show more love to Vasudo with “Give It Time,” a song that seems to be in steady rotation since Cotter Ellis took over on drums. After cracking the 20-minute mark on the always epic “Drive,” the song that had everyone talking afterwards was the cover of Nina Simone’s “Sinnerman.” Played for the first time in 87 shows, Peter would describe it as “one of the craziest dance parties he’s ever seen,” with even the lawn getting down. Closing out the triumphant SPAC run with a 2-song encore, “So Ready” gave way to just the second ever performance of “Zalt.”
Watch pro-shot video of Goose performing “Drive” on Night 2 at SPAC
After the show, the question on everyone’s mind loomed large. Will Goose follow in the footsteps of their jam band elders like Phish, Tedeski Trucks Band and Dave Mathews and make Saratoga Springs an annual stop on their touring schedule? After two mind altering, life affirming nights that showcased their unique ability to weave intricate jams with fan-favorite songs and positive energy, one thing is clear—they’re a band that thrives on the live experience. From their early days in the club scene to headlining the biggest stages in the world, Goose is a testament to the power of grassroots success. Their story is still unfolding, but if these shows at SPAC are any indication, the best is yet to come. Up next, the band plays three nights at Chicago’s Salt Shed before heading to the West Coast for the remainder of September. Until then, keep and eye on the bands Youtube channel for tons of free music and full-show performances. We’ll be watching and can’t wait to see what these guys do next!
The 27th Annual NY Harvest Festival & Freedom Fair Returns to the Electric Echo Lake in Bainbridge October 11-13, 2024.
Originating as a “protestival”, the Harvest Festival is a celebration of cannabis culture and the community it brings. Now, 27 years into the festival, it has grown from an event under the shadow of prohibition to an annual cornerstone of community, togetherness, and all-around good times.
This year, visitors can expect multiple stages, a diverse musical lineup, a vendor village and fine art gallery, the return of the country’s longest running public and celebrity cannabis and edible cups, workshops, activist and educational speakers, a drum circle, a dedicated kids/family space, a farmer’s market, onsite camping, and much more.
The soundtrack for this year’s Harvest Festival will be provided by artists Dr. Jah and The Love Prophets, Black Sabbath Tribute EARTH, Gratefully Yours, Steal Your Face, Grateful Upstate Toodeloo, Ramona Lane, Papa MUSE, Patchwork Down, Spunday Morning, CC-13, Trapper & Friends, and BlahsuM.
In addition, there will be laser light shows featuring the music of the Grateful Dead, Pink Floyd, and the sounds of Woodstock 1969.
To learn more and take part in community, education, and celebration, you can visit the Harvest Fest’s website here. Tickets are on sale now.
Phish surprised fans today with the announcement of a trio of fall shows at MVP Arena in Albany, slated for Friday, October 25, Saturday, October 26 and Sunday, October 27. The fall weekend shows will benefit The Divided Sky Foundation.
photo by Derek Java
Phish has a storied history in Albany, having played 17 shows in the city since 1989, starting at Pauly’s Hotel, and last having played in the Cradle of the Union in 2018. There are of course a history of shows in Saratoga Springs, both at Skidmore along with shows at SPAC, most recently in 2023 when Derek Trucks showed up, which was also a benefit, in that case for flood victims and recovery in Upstate New York and Vermont.
These October shows, however, will be the first ever three night run for Phish in Albany. Read more in our history of Phish in Albany – Part 1, Part 2 and Part 3.
shirt design by Drew Suto
100% of profits from the two shows will benefit the Divided Sky Foundation, which was established in 2020 during the Beacon Jams (held by Trey Anastasio at the Beacon Theatre over eight weeks during quarantine), to build and support a residential recovery program created for people who want recovery. With a non-clinical model, Divided Sky Foundation is designed to motivate and inspire without judgment, recognizing that addiction is a disease and not an absence of willpower.
Housing up to 46 guests, the Divided Sky facility is a newly-remodeled former hotel with a stunning view of nearby Okemo Mountain, offering a non-clinical program anchored in the 12 Steps, emotional sobriety, and mindfulness. The Albany benefit concerts will enable Divided Sky to continue to make its immersive Residential Recovery Program affordable to all, with partial scholarships available to those who demonstrate need.
A limited number of complimentary “Gratitude Tickets” will be made available to recovery professionals, recognizing their essential work helping individuals and families affected by addiction. Anyone who works in recovery or a related mental health field may request tickets at DividedSky.org/benefit. (Priority will be given based on geographic location, with an emphasis on New York State and New England.)
The Phish shows will take place at Albany’s MVP Arena (née Knickerbocker Arena, a.k.a. Pepsi Arena, Times Union Center), in downtown Albany on South Pearl Street. The weekend shows, while just before Halloween, are not implied to suggest any Halloween shenanigans as Phish is known for, but you can never rule out surprises with a pair of fall shows like this.
A ticket request period is open here until Monday, September 16 at 12pm. Tickets go on sale Friday, September 20, at 12pm. Travel packages are available here starting on September 11. A special pre-show reception will be held on Saturday, October 26. Tickets will be available for this event both during the Phish ticket request period and during the public on-sale.
Stay tuned for plenty of pre and post-show events lined up for October 25-27 when Phish returns to Albany.
Amidst a backdrop of New York Harbor and skyscrapers, Joe Russos Almost Dead (JRAD) returned home with an impressive declaration. The New York originals hit the stage at 6:15pm sharp on Friday, September 6 and Saturday, September 7 for back to back sell out shows to no surprise. It was another day at the office for the quintet, as this show marked their second visit to The Rooftop at Pier 17.
“Gotta Serve Somebody”, rang out to kick the weekend off. The audience would agree in saying Mr. Dylan would be proud. Tom Hamilton (Guitar and Vocals) came out swinging, delivering an electrifying solo that made the floor shake. Marco Benevento (Keys, Synth, and Vocals) as usual had infectiously positive energy as he laughed on, smiling from ear to ear like a mad scientist watching a creation thrive and prosper.
With classics “Music Never Stopped”, “Estimated Prophet”, and “New Speedway Boogie”, the audience got their classic dead fill well before the first set ended. The second set featured several bust-outs including “Foolish Heart” and “Alice D Millionaire”. Closing with fireworks both figuratively and literally, the band encored with Them’s “Gloria”, the perfect cliffhanger to end the evening on. Scott Metzger (Guitar and Vocals) stood out here, as he did at many other points during the two nights. Masterful precision on the fret board, raw, powerfully passionate vocals, and great respect for the material of which he is deservingly trusted with.
After an outstanding first set on night two, attendees were gifted a special treat – a sit in featuring Lee Ranaldo, formerly of Sonic Youth. At first, only accompanied by the band leader Joe Russo (Drums, Percussion, and Vocals), rain began trickling in as the duo embarked upon a tribute to Ned Lagins, “Seastones”. A composition of deep ambient space as Mr. Ranaldo alternated between a synth pick up rig, xylophones, and using what seemed like a violin bow on his guitar. The rest of the group joined the stage not long after. With rain coming down harder, the band nor the audience paid it any mind, as it all seemed quite fitting. They gracefully transitioned into “Dark Star,” with Lee taking lead on vocals. JRAD’s guest proved no stranger to Grateful Dead aura, seamlessly joining the fold, elevating the show to an unanticipated but greatly appreciated height.
With the bar set very high, the rest of set two featured numerous heavy hitters in the famous catalog of music. The arrival of “Terrapin Station” was an important stop of the evening before the audience would erupt once more. The iconic piano melody played masterfully by Benevento, Pink Floyd classic, “Pigs (Three Different Ones)” was up next. Ha-ha’ing all unison, the endeavor unfolding could make one take notice as to what makes JRAD the epic force it continues to be.
In a world where Grateful Dead cover bands are in abundance, there are the ones that stand out and the ones that don’t. JRAD is in a league entirely of their own. Touring around the country quite frequently, they leave no stone unturned, both in musical style and energy. Led by Russo, whose ability behind a drum and percussion kit could make one’s jaw drop, him and his bandmates function like co-pilots, flying and landing an epic plane.
One faux farewell later and with Mr. Ronaldo back on stage, “Morning Dew” was the closing designated number. As the band played on, the audience took it all in one last time in almost complete silence. Going out with a strong force of momentum, they bid their audience goodnight. While the band must have been rightfully exhausted, the same could not be said about the audience. The house appropriately played “This Must Be The Place” from The Talking Heads to which the concert venue became a dance floor. Their tour will resume nationwide in early October.
Joe Russos Almost Dead – Rooftop at Pier 17 – September 6, 2024
Set 1: Gotta Serve Somebody, The Music Never Stopped, Estimated Prophet, New Speedway Boogie, Hot Lanta, Shakedown Street
Set 2: New Minglewood Blues, Foolish Heart, Brown-Eyed Women, Alice D. Millionarie, Feel Like A Stranger, Atlantic City, Casey Jones, Playing In The Band
Encore: Gloria
Joe Russos Almost Dead – Rooftop at Pier 17 – September 7, 2024
Set 1: My Brother Esau, Rueben and Cherise, Let It Grow, Help on the Way, Slipknot! , Fire and Brimstone, Cumberland Blues
Set 2: Seastones, Dark Star, Where’s Sly? Lady With A Fan, Terrapin Station, Greatest Story Ever Told, Pigs (Three Different Ones), Jack Straw
This fall, Brooklyn is set to experience a kaleidoscope of psychedelic marvels as New York rising stars Boojum take over Brooklyn Art Haus for a four-show run of “Electric Wonderland.” The residency will feature the band’s distinctive fusion of improvisational jam-band rock and immersive theatrical performances, redefining the live music experience.
Every other Friday from September 13th through October 25th, Boojum will turn Brooklyn Art Haus into a playground of psychedelic fantasy, taking participants on a journey into the fantastical realms of Alice in Wonderland and other Lewis Carroll classics. Meant to be more than a series of concerts, “Electric Wonderland” is planned as an evolving spectacle, with every performance a new adventure featuring surprise guests and a dynamic setlist that guarantees no two nights are ever the same.
“Electric Wonderland goes beyond music. We are creating a one-of-a-kind visually and sonically stunning theatrical experience,” said Sarah Elaz, bassist of Boojum. “By making every night of this residency different with no repeats and plenty of unexpected twists, we are embracing and evolving what it means to be a part of the modern jam band scene.”
The residency marks a pivotal moment for Boojum as they build on their debut performance of “Electric Wonderland” at Brooklyn Bowl to establish a new home for their ambitious, immersive production. Boojum’s debut EP, Electric Wonderland Vol. 1: Down the Rabbit Hole, released in April, set the stage for what’s to expect, offering a tantalizing glimpse into the group’s ability to blend jam, EDM, funk, pop, and progressive influences into a captivating theatrical experience for fans seeking a feast for their eyes and ears.
Expect elaborate costumes, intricate choreography, and spellbinding projections that complement Boojum’s eclectic and improvisational soundtrack. For those ready to dive into the rabbit hole where psychedelic rock meets theatrical spectacle, “Electric Wonderland” promises an unforgettable journey.
It’s been just over two weeks since Phish’s Mondegreen music festival in Delaware, the band’s 11th in their more than 40 year career, and a reunion of fans as the band’s 2024 summer tour wound down.
Phish Mondegreen photo by Filip Zalewski
Spread out widely across the grounds of The Woodlands and Dover Motor Speedway, fans found themselves walking miles at a time to make it into the festival. And that’s before you’re dancing and driving your step count up and up. If you walked around 30 miles in those four days, you seem to fall in the median of the 40,000 attendees, based on anecdotal data.
Amid the huge jams and festival Phish that was heard over eight sets, there were plenty of non-musical highlights as well, particularly the art installations that peppered the festival area.
Over four days time, you’d have had the opportunity to see Luke Jerramâs Museum Of The Moon, where a 21-foot recreation of the Moon was suspended in mid-air, shining brightly through the trees at night. Just past the security checkpoint, you could see Lars Fiskâs Dodge Ball (a dodge caravan reimagined in the shape of a ball) and on the far side of the concert field, Henk Hofstraâs Eggcident installation.
The Cerealist Bowl photo by Taylor Weinberg
There was the parallel reality of Nova Heat, Olivier Grossetête’s Cardboard City Hall (which had to be dismantled a day early on Saturday, due to expected high winds) and Leigh Fordham Hall, which doubled as a game show stage before and after Phish each day.
Standing out as the most memorable and unique was The Cerealist Bowl, which was a speakeasy that required a password, featuring costumed servers and strange performance art, uniquely, a man who sat in front of a cotton candy machine, slowly covered in stringy pink sugar fibers.
Heliosphere photo by Brian Ferguson
Centered in the festival field was The Heliosphere, a beacon of light that bumped late-night music post-Phish, and served as a way to find yourself in these expansive grounds, making the immense festival feel much smaller, manageable even.
There were of course some downsides, including fan complaints during and after the festival citing ADA shuttle issues and accommodations. Add in communication issues between production team and staff in the campgrounds (also with shuttles) and there were some things that could have been done better. But nothing on the music or art end was lacking at any point of the weekend.
Museum Of The Moon photo by Derek Java
Even though the threat of severe weather on the final day led to a single afternoon set of Phish instead of two evening sets, fans took this in stride, rejoiced at the idea of afternoon Phish at a festival (something scrapped for Mondegreen, but a staple of all 3.0 fests, Magnaball, Superball and Fest 8.
While some who lived proximate to Delaware and were home Sunday night, others had time to rest before they ventured home, as planned, on Monday. For a four day run, the idea of music ending a little earlier was welcome to some older fans, allowing time to soak in these few days of Phish before heading back to civilization.
While the severe weather never materialized, the band made a smart call to plan for safety, to ensure the music was not impacted, and informed fans with plenty of advance notice, a notification going out on the Mondegreen app around 5pm on Saturday evening.
Overall, the festival was a huge success by all standards, with fans left wondering how long until they return to Dover for Phish Festival #12.
Below, view photos from Phish’s Mondegreen via four NYS Music photographers, each with a different style and eye for the band over the four day music festival.
On Thursday, August 29, Brooklyn fans of the psychedelic rock genre were treated to a priceless exhibition. The heat was strong, but so was the enthusiasm of the evenings attendees. Two trio bands from different corners of the world – Balthvs and Free Whenever – were paired together so remarkably that it made one think to compliment whomever was responsible for the matter.
Free Whenever, a Brooklyn based psychedelic rock band, took the stage at 8pm sharp to a size-able crowd, nothing to sneeze at for an opening act on a Wednesday evening. The band consists of Neil Guleria on Guitar, Trevor LaVecchia on Bass, and Brendan Steuart on drums. This is not the first time the trio finds themselves opening for a big name in Brooklyn, having opened for Karina Rykman at Babies All Right late last year.
The chemistry between the gentleman is palpable both in the auditory and visual sense, and it pays off in a huge way. Playing through their entire new self-titled album, they ventured into both old and new songs that demonstrate the essence of their signature sound of psychedelic groove music. Notable highlights were “Camino“, “Sicily“, and “Jonas the Shaman” a song whom they claimed was based off the very man running their merch table in the back. With the unreleased track, “Horizons”, they went out with a thunderous hurrah, the palate was cleansed, and the stage was set.
Balthvs, a psychedelic funk triad from Columbia, graced the stage just after 9pm. Their stop on this leg of their tour not only marks their first performance in New York, but the first time the group has been on the east coast entirely. Touring to promote their new album, “Harvest“, the band consists of Johanna Mercuriana on Bass/Vocals, Santiago Lizano on Drums/Vocals, and Balthazar Aguirre on Guitar/Vocals. Balthvs, with the v pronounced like a u, made their New York debut quite memorable, guiding the evening through a lens the likes of which are quite rare.
The band boasts an impressive catalog of music for just having officially formed less than 5 years ago. 3 full length albums under their belt and 40 singles, many of which have millions of streams. The crowd was fully behind the headliners as dancing was the assignment. Balthazar mentioned in between songs that they were dining at the venues restaurant before showtime, and he saw a “Joe Russos Almost Dead Burger”. Laughs emerged amongst the audience. “I dont know if we have any heads here..hope we dont screw this up!” which was followed by a truly wonderful rendition of Grateful Dead‘s, “Bird Song”, a first for them on this tour.
One could say that their set was a masterclass in defining the root definition of what modern psychedelic music is. A myriad of global influences and style, a kaleidoscope of sound. Funk, Disco, Middle Eastern, Cumbia, Rock and Roll and so much more. The evening concluded with a final encore, long lines at the merch stand could be found for both acts. Free Whenever continues to build momentum locally. Balthvs will go on to play Austin City Limits, and then abroad to Europe and The Middle East continuing support of their new album, Harvest.
