Tuesday nights are usually reserved for a simple McDonalds dinner after I sit through an hour of my daughter’s gymnastics class. This past Tuesday I decided to add the Mong Tong show at No Fun in Troy to the lineup of Tuesday’s to-do list. This turned out to be a welcome addition as I watched 2 men get on the stage, do a quick sound check, and then blindfold themselves before performing a very unique brand of Asian-infused Psychedelic sound.
Mong Tong is a 2 man instrumental group consisting of Taiwanese brothers Hom Yu and Jim Chi and are no strangers to the United States. They’ve performed multiple times in the South By Southwest festivals and have gathered a decent following. This particular appearance at NoFun is the 7th stop of their 9 location US tour with their 9th and final stop being at TV Eye in New York City on March 29th. This tour celebrates their new EP 銘 Epigraphy which dropped on March 8th.
Blindfolded musicians performing music is something everyone should see at least once in their lives. Dressed simply in black pants, white shirts, and red blindfolds, and using an arsenal of electric and electronic gear, the 2 brothers create intricate and complex arrangements that capture the essence of kung-fu movies mixed with punchy beats and well thought out melodies. Staccato guitar arpeggios dance over conga laden drum lines. Traditional Asian instruments and unidentifiable synth sounds mash together in a strange 70s Psychedelic rock jam. All accentuated by the smooth and groovy bass that anyone could get next to.
The duo takes you on a trip though soundscapes that vary from ethereal to hectic to confusing to serene and you’re not sure where its going next. The energy is positive and contagious and while some people are dancing, others are taking in the light show, and others are still amazed at the blindfolded-ness of it all, none are missing out on this one-of-a-kind experience.
With polyrhythmic beats and sampled and non-sampled traditional Chinese instruments it’s safe to say that Mong Tong has few competitors. Since I’m struggling to find a similar band to compare them to I’ll just say I’d classify Mong Tong as Psychedelic Asian Electro-Funk Trip-Hop with a dash of Techno. They’re continuing their tour of the US with shows at the Columbus Theater in Providence, RI on March 28th and at TV Eve in New York City on March 29th. Tuesday to-do lists aren’t the same any more.
Albany’s Glass Pony will celebrate beloved bassist Jeff ‘J-Dog’ Picarazzi’s 30th birthday on Friday, April 5 at Ophelia’s On Broadway (formerly Parish Public House), as the band’s first show under the new branding.
The Albany group is currently recording a 4-song EP at White Lake Studios, where the group previously recorded Washed Away with Brett Portzer (Skinless) engineer. A vinyl edition of Washed Away will be dropping in April, limited to 100 copies, and mastered by Justin Perkins of Mystery Room Mastering
Recently, Glass Pony released Best in Show – Live 2023 on Tuesday, March 26, featuring multitrack audio from various 2023 shows. Listen and download the album on Bandcamp.
Next up for Glass Pony after the Ophelia’s show is a performance on Monday April 8 at Adirondack Eclipse Experience in Blue Mountain Lake (sold out), followed by a show on April 11 at Al’s Wine & Whiskey in Syracuse.
On Wednesday March 20, California-based HUNNY took the stage at Empire Live in Albany, supporting Mom Jeans alongside Summer Salt. With a dynamic setlist pulling from the band’s near-decade long discography as well as their most recent album, new planet heaven, HUNNY put on a show that exemplified their long-standing and ever-growing presence in the alternative scene.
HUNNY hails from Northern California, a product of the indie rock scene that flourished in the area in the 2010s. They are the first of two bands supporting fellow California-based Mom Jeans on their US tour; several other bands, including Free Throw and Just Friends, are also set to join for select dates.
This was HUNNY’s second visit to Albany, but their music is well known and well liked within the prominent shoegaze and post-punk scenes in the Hudson Valley, making them a perfect fit to raise the energy for a mid-week show.
The group opened the show with “JFK,” the lead song off of their 2022 album Homesick. Within seconds of the grungy, overdriven guitar meeting the crowd’s wall of sound, everyone was moving. The band’s own energy on stage is tenable from the photo pit, their own jumps and erratic movements matching their audience’s. The band continued to pull the rest of their setlist from 2022’s Homesick, as well as new planet heaven and their mid-2010s hits, such as “Televised,” and their closer, “Vowels (And The Importance of Being Me).” By the end of their set, the house was full, and the bar was open- all eyes and ears were on HUNNY, and the crowd couldn’t help but move.
As I was headed out of the venue, I happened to overhear a Mom Jeans fan mentioning the first opener, praising the group’s ability to appeal to potential fans- the last thing I hear her say is, “I don’t know, but they got me jumping!”
Each Sunday evening from 7-9 p.m. youâll find EQXposure on WEQX, featuring two hours of local music from up-and-coming artists. Tune into WEQX.com this Sunday night to hear new music from Shane Guerrette and Joe Mansman & The Midnight Revival Band.
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
With solar eclipse events and preparations underway from Buffalo to Plattsburgh, one New York band, Annie in the Water, has been on a two-month long journey that will find the group performing during the totality on April 8.
Annie in the Water have been on a ‘Road to Totality’ tour since January, with stops around the Northeast, as well as a trip to Colorado for shows in Denver, Golden and Breckenridge. The longevity of the group and perseverance that led them to their current lineup and performance schedule has been noted by longtime fans, as well as new fans they’ve picked up along the way.
Following the Colorado shows, Annie in the Water returned back to New York for shows in Rochester and Syracuse, but a performance at Lark Hall was cancelled due to the snow storm over March 23-24. That show is now rescheduled for Friday, April 5, and making for a 4-show run that will catch the band playing in Sackets Harbor on April 6, where the duo of Brad Hester and Michael Lashomb first performed together. They then head south to Woods Valley Ski Area near Rome on April 7, then head north again towards the High Peaks, for a show on April 8 at Whiteface Mountain in Wilmington.
When asked about playing during the totality of the solar eclipse, Matt Richards (keys/vocals) shared:
“Just as the eclipse reaches totality, I think myself and as a band will also reach a transient feeling of completeness. The hard work of scheduling, preparing for, and performing the tour will be complete. But just like the eclipse, that moment and feeling won’t last long and it will be onto the next phase for myself, the band, the moon, and the sun.”
After respite in April, the band will hit four music festivals in the first half of the summer, performing at Shakori Hills in North Carolina, Memorial Meltdown in Lake George, Sterling Stage Folkfest in Sterling, NY and Northlands Festival in New Hampshire in June. They’ll also be part of Twin Ponds Campground ‘3rd Thursday’ concert series this summer, where Backwoods Pondfest was held for many years, in Peru, NY.
The Albany Symphony presents works from alluring composer Viet Cuong and sound-shifting legend Beethoven this Spring. The shows take place Saturday, April 13 and Sunday, April 14 at Troy Savings Bank Music Hall.
Composer Viet Cuong
The show features extraordinary new works by composer Viet Cuong, who has captivated audiences across the globe. Mastermind Ludwig van Beethoven’s Symphony No. 4 is showcased for both dates as well. Beethoven’s Symphony No. 4 is particularly memorable for its humor and brilliant virtuosity, along with its powerful rhythms and structure. Cuong’s works will also be recorded for Albany Records and will complete an important new disc that also includes his Sub-marine, a gorgeous, commissioned work, premiered by the orchestra last season.
The dates see soloists like Justin Benavidez on Tuba and Sandbox Percussion. The Tuba Concerto is performed by soloist Justin Benavidez and begins with him performing a bass line that blossoms upward with every note. The two awe-inspiring shows from the Albany Symphony include several unique and soul-altering performances that cannot be missed.
“The Albany Symphony and I are so proud and excited to be collaborating with Viet Cuong on this beautiful concert and on Viet’s first full commercial recording. Viet is fast becoming one of America’s most celebrated and performed composers, and he is absolutely one of our favorite partners! We commissioned his breakthrough piece, Re(new)al, seven years ago, and have marveled at the way it has been taken up by orchestras EVERYWHERE!”
Music Director, David Alan Miller
For more information on this April’s events from the Albany Symphony and to purchase tickets for the performances by Viet Cuong, click here.
On Sunday, March 24, Fall Out Boy’s “So Much for (2our) Dust” tour stopped at MVP Arena in Albany. The line up consisted of Games We Play, Hot Mulligan, Jimmy Eat World, and Fall Out Boy.
Games We Play kicked off the evening with a high energy performance of “Get a Job.” They played a total of 4 songs during their 30-minute set. Hot Mulligan was up next with their 9-song set which included songs such as “Drink Milk and Run,” “OG Blue Sky” and “Bckyrd.”
Jimmy Eat World promptly took to the stage and amped up the crowd playing their song “A Praise Chorus.” Putting on a fantastic and energetic set, Jimmy Eat World had the crowd engaged. They played many well-known songs such as “Sweetness,” “Bleed American,” “Big Casino,” and “Pain.” They closed out their set with “The Middle” which had everyone singing along.
At 9:10pm, Fall Out Boy took to the stage, starting with song “Love from the Other Side,” transitioning to an incredible performance of “The Phoenix” and, “Sugar, We’re Goin’ Down.” The pyrotechnics and loud booms during their 1st three songs elevated the energy in the arena to a new level. The visual effects and props used throughout the show added to that excitement.
Performing new songs from their latest album “So Much (for) Stardust” as well as many hits from earlier albums such as “Uma Thurman,” “Dance, Dance,” “Thnks for Th Mmrs,” and “Centuries.” The crowd was also treated to a piano medley.
This show was nothing short of amazing. Each band delivered high-energy performances, solid vocals, and nonstop action throughout the evening.
Fall Out Boy Setlist: Love from the Other Side, The Phoenix, Sugar, We’re Goin’ Down, Uma Thurman, G.I.N.A.S.F.S, Reinventing the Wheel to Run Myself Over, Grand Theft Autumn/Where is Your Boy, Calm Before the Storm, This Ain’t a Scene, It’s An Arms Race, Disloyal Order of Water Buffaloes, Heaven, Iowa, Bang the Doldrums, Headfirst Slide Into Cooperstown on a Bad Bet, Fake out, The Kintsugi Kid (Ten years)(Partial, Piano Medley), What a Time to be Alive (Partial, Piano Medley), Don’t Stop Me Now (Queen Cover)(Partial, Piano Medley), So Much (for) Stardust, Baby Annihilation ( with “20 Dollar Nose Bleed” spoken word snippet), Song 2 (Blur Cover), Dance, Dance, Hold Me Like a Grudge, I Am My Own Muse (Magic 8-Ball Song, Tour Debut), My Songs Know What You Did in the Dark (Light Em Up), Thnks fr Th Mmrs, Centuries, Saturday.
Fall Out Boy “So Much for (2our) Dust” Tour Dates:
Amid a winter storm that ushered in spring, banjo virtuoso and father of modern bluegrass, Tony Trischka, performed to a crowd of brave travelers in The Egg’s Swyer Theater on Saturday, March 23.
Roughly 30 fans braved the elements to see Trischka’s tribute to Earl Scruggs, the legendary three-finger banjoist, titled EarlJam. Featuring Michael Daves (vocals, guitar) Jared Engel (bass) and Brittany Haas (fiddle), the show traced the story of Scruggs from his childhood to his later years.
Celebrating this tour, Trischka said, “Earl is my North Star, a lifetime pathway. And I’m not alone. Through his music, this shy kid from Flint Hill, North Carolina went on to enrich countless thousands of lives. At the age of 13, when I first heard 16 notes of Scruggs style banjo playing, I put down my folk guitar and mercilessly pestered my parents to buy me a banjo. Once in my hands, that 5-string became my obsession and has been for close to 60 years.”
“The depth of his genius becomes ever more apparent when I transcribe his solos, which I’ve been doing my entire musical life and with renewed vigor. Discovering new twists and turns in his playing is pure joy and in fact the inspiration for this tribute show.”
Tony Trischka on Earl Scruggs
The show was full of Scruggs songs, including popular fare “Salty Dog,” “Foggy Mountain Breakdown,” and the seminal TV show theme, “The Ballad of Jed Clampett,” as well as covers mixed in, ranging from Bob Dylan to Grateful Dead and The Band.
Trischka, a Syracuse native, is a not only a banjo innovator, but he is also an educator, influencing everyone from Béla Fleck to Steve Martin.
A treat for fans of new era bluegrass enjoyed “Brown’s Ferry Blues,” the first track off Trischka’s upcoming album, recently recorded with Billy Strings.
While it was a cold, miserable night of weather outside, Trischka and the music of Earl Scruggs kept it memorable inside for the small crowd of dedicated fans, paying them a nod during “Mama Don’t ‘Low” by changing the lyrics to “Mama don’t ‘low no snow driving ’round here.”
Tony Trischka’s EarlJam – The Egg, Swyer Theater – Saturday, March 23, 2024
Setlist: Kentucky Bullfight, Reuben, Heavy Traffic Ahead, Salty Dog, Foggy Mountain Breakdown, Six White Horses, Earl’s Breakdown, Martha White Theme, Fiddle and Banjo, Ballad of Jed Clampett, Can’t Stop me from Dreaming, Mama Don’t ‘Low, Rainy Day Women #12 and 35, Brown’s Ferry Blues, Liza Jane, Casey Jones, Chinese Breakdown, Here Comes the Bride, Gentle on My Mind, You’ve Got to Die, Farewell Blues, Fox Chase
The 2024 summer concert season kicks off this Memorial Day weekend with in Lake George with Memorial Meltdown, headlined by Dispatch, The Revivalists, Mihali and more.
Taking place at Charles R. Wood Park in downtown Lake George on Saturday, May 25 and Sunday May 26, Memorial Meltdown 2024 will feature headliners The Revivalists (Saturday) and Dispatch (Sunday), along with performances by Ryan Montbleau Band, The Mallett Brothers Band and Rob Beaulieu Band on Saturday and Mihali (Live Band), The Samples and Annie in the Water on Sunday.
Formed by Chadwick Stokes and Brad Corrigan, Dispatch has forged its own path outside the mainstream music industry as one of the most successful bands in the roots rock scene. With 8 studio albums, 6 live albums, and over 25 years of touring and festivals under their belts, the band has become one of biggest success stories in independent music history, selling out three nights at Madison Square Garden and drawing over 100,000 fans to a massive outdoor show in their adopted hometown of Boston without any traditional radio or major label support.
Throughout their rise, Dispatch has taken every opportunity to use their success for good, launching charitable organizations to address social justice issues, raising funds and awareness for domestic hunger, education reform, sexual harassment in the music industry, and organizations serving children and communities in Zimbabwe. Chadwick Stokes’ Calling All Crows joins bands and fans together in collective activism, while Brad Corrigan’s Love Light + Melody help simplify the stories of children who live in extreme poverty.
Eight-piece rock ‘n’ roll collective The Revivalists have made the journey from hole-in-the-wall gigs to sold-out shows at hallowed venues, multiplatinum success, more than 800 million streams and major media praise. Renowned for their live prowess, soulful alt-rock anthems, distinct mix of many of the classic styles of American music, and outward generosity through their philanthropic Rev Causes initiative, The Revivalists make the kind of rock ‘n’ roll that grabs you and doesn’t let go, whether for a joyful release or a pensive observation about life.
Mihali, who’s band Twiddle has headlined Memorial Meltdown the past two years, returns this year with his live band, which also features Twiddle members Zdenek Gubb (bass) and Adrian Tramontano (drums), along with Scott Hannay (keys) and a horn section.
The two-day event, produced by the same folks who produce Adirondack Independence Music Festival at the same location, will also feature a variety of food and craft vendors.
Gates open each day at 2:30pm with music set to begin at 3:30pm and run until about 11:00pm. Tickets for Memorial Meltdown 2024, an all-ages event, are on sale now. For more info visit memorialmeltdown.com.
We continue our look back at one of the more influential and memorable series of shows The Grateful Dead have ever played in the State of New York. On this day in 1990, the Dead continued their first ever run of shows at The Knick in Albany, formally known as Knickerbocker Arena. The three-night run sees the band in peak form and contains so many musical highlights that it was rightly crafted into a three-disc 1996 live release entitled Dozin’ At The Knick. After a brilliant first night, the band shows no letup in this second night that features a prime portion of the second set that’s all featured on the album.
The show begins with a succinct but crisp “Greatest Story Ever Told,” with Jerry Garcia’s signature guitar tone present early and often. The vocal harmonies of Bob Weir and Brent Mydland are on point as the band seems fully engaged from the get-go. “Touch of Grey” then follows in the two-spot, the Dead’s “hit” from their 1987 In The Dark release that introduced the band to so many. Garcia nails all of the vocals and phrasing, in addition to the signature ripping guitar solo, and Mydland joining in on harmonies seems to take this “Grey” to another level. It’s a surprise this wasn’t include for Dozin’ At The Knick selection.
Weir then leads the band through a bluesy cover of “Wang Dang Doodle” before Mydland does the same on one of his signature tunes, “Never Trust A Woman.” Brent’s soulful vocals combined with increasingly powerful runs on the organ make this one of the finer versions ever played, sadly also one of the last as well. The Dead then cue up a classic love song for the Knick, one familiar to Jerry Garcia Band setlists, “Jack-a-Roe.” The tune about doing anything in the name of love, which can be traced back as far as the early 1800s, features story tale-like lyrics and a couple of ripping runs by Garcia on guitar on the band’s modern day take on it.
They follow this up with another cover, this time a wonderful take of the Bob Dylan-penned “When I Paint My Masterpiece.” Weir handles the bluesy vocals with aplomb, which rise in intensity from start to finish, wrapping up a fun three-song section of the first set. This grouping of songs is prominently featured on the first disc of Dozin’ At The Knick and it’s no surprise why.
The band then shifts back into “jam” mode and unleash a 13-minute “Bird Song” that’s one of the highlights of the show. It features a jam that takes off immediately and, fittingly, bounces and flutters around in a way only the Dead can manipulate. Garcia goes through a multitude of guitar filters and the resumption of the composed section seems to come out of nowhere. Seizing this momentum, the first set then ends with a triumphant “Let It Grow” that’s highlighted by some nimble bass lines from Phil Lesh and more explosive runs from Garcia up and down the fretboard. It caps off a first set at the Knick bookended with two Dead originals played to perfection with a fun mix of cover songs thrown in between.
To begin the second set, “Eyes of the World” quietly starts up in a much slower, groovier tempo than most of its predecessors. It’s a pristine version with some nice interplay between Garcia and Lesh throughout and with the instrumental sections between verses executed to perfection as the band seems fully engaged right away after the set break.
As the “Eyes” jam dwindles down to drums-only, so starts the beginning of “Samson of Delilah” in a clean segue. Mydland shines on keys in a jam that starts off strong and never lets up as the Dead treat the Knick crowd to another one of their takes of a traditional arrangement, this one with Biblical roots. From this, the opening chords of “Crazy Fingers” emerge and Garcia reassumes the helm. It’s a slow. deliberate take on this Dead classic and Garcia drops another guitar solo in an accompanying fashion.
As the tempo finally begins to pick up at the end, the Dead execute another fairly seamless segue into another live staple, “Truckin’.” Weir leads the band on vocals on a brief, but jubilant take of this classic number that doesn’t stretch out too far. Instead, a blues-heavy riff soon develops and the Dead immediately launch into a cover of Howlin’ Wolf’s “Spoonful.” This one gets capped off will a full-on, short but sweet “Mind Left Body” outro jam, with Garcia playing through a trumpet-like filter. This was likely a nod to the full-fledged MLB jam that took place just the night before.
This sets the stage for the traditional mid-second set “Drums” -> “Space” section and drummers Mickey Hart and Bill Kreutzmann proceed to go through every percussive tool at their disposal. The “Space” section is highlighted by Garcia and Mydland both noodling maniacally on their respective instruments before Garcia unleashes a trombone-like guitar effect to change the mood and Mydland slowly starts up another one of his signature tunes, “I Will Take You Home,” in a very silky transition.
Once “Home” finishes up, the mood shifts from sentimental to joyous once more as the Dead treat the Knick to their ripping cover of “Goin’ Down The Feeling Bad.” This yields a brief but jubilant jam with Garcia singing the verses energetically, but as it quickly descends in pace, he quickly slides into the opening licks of the always contemplative “Black Peter” and the Dead deliver a poignant version.
To close out the set, they then launch into a cover of Chuck Berry’s “Around and Around” a song they’ve mastered and made their own by now. Weir belts out the vocals that rise in intensity with each passing verse and the Dead give the Knick crowd one last dose of pure rock and roll as only they can. The entire sequence from “Space” to “Around and Around” is seamless and near flawless and prominently featured for all to enjoy on Disc 3 of Dozin’ at the Knick.
To close out night two of the run, the band shows their love for American-based rock once more with a second Dylan cover, this time it’s “Quinn the Eskimo.” This shuts the door on night two at the Knick, with one left to play.
Check out Archive.org for a great recording of the entire show.
Grateful Dead Knickerbocker Arena – Albany, NY 3/25/90
Set 1: Greatest Strory Ever Told > Touch of Grey, Wang Dang Doodle, Never Trust A Woman, Jack-a-Roe, When I Paint My Masterpiece, Let It Grow
Set 2: Eyes of the World > Samson and Delilah, Crazy Fingers > Truckin’ > Spoonful > Drums > Space > I Will Take You Home > Goin; Down The Road Feeling Bad > Black Peter > Around and Around
E: The Might Quinn (Quinn the Eskimo)
View this and more Grateful Dead shows from across the years in New York State with our interactive map below
