Ithaca indie electro rock outfit Jimkata performed at Indian Ladder Farms on Friday, November 8, on the heels of the release of Running in Place. The event was marked by their own IPA on tap, “Running in Place West Coast IPA.â
Performing in the Clear Mountain Room, the recently opened venue boasted a decent sized crowd who traveled to the outskirts of Albany County for a unique setting for a Jimkata show. On the brisk evening, Evan Friedell, Aaron Gorsch, Packy Lunn and new bassist Cooper Casterline were clearly having fun on stage, teasing “Crosseyed and Painless” a few times during an “OG” Jimkata show with a healthy amount of improv.
Next up for Jimkata are shows in Washington D.C., the Midwest and in January, Colorado.
Beloved Troy bar and live music venue Whiskey Pickle has just announced their reopening under new management after their closure this past September.
Known and loved for their uniquely intimate and laid-back atmosphere with an impressive menu and a lively dance scene to boot, Whiskey Pickle quickly became a favorite of many Troy locals after their opening in 2021. Widely appreciated for its warm and social atmosphere that drew folks from near and afar in, it’s no wonder why their sudden announcement of the venue’s immediate closure in late September took many by surprise.
Posted to the bar’s official social media accounts, the announcement signed by owners James and Erin explained that “The cost of making the Pickle into one of the most popular destinations in the capital region has been more than we can even describe… The Pickle would not have been anything as cool as it was without the people that sat on our unmatched bar stools and helped changed our lives.”
Folks from all walks of life paid their respects in the comments of these posts, a shared sentiment between individual testimonies and heartwarming stories being that Whiskey Pickle had rapidly become a Troy staple that would be a sore loss for the community at large.
September 27 seemed to mark the end of Whiskey Pickle for good… until a mysterious and seasonally appropriate image of a zombie hand emerging from the grave was posted to both the venue’s Instagram and Facebook accounts on October 31. Paired with the ominous yet exciting caption “Nothing stays dead forever…”, the announcement was met with widespread tentative excitement.
Then, on November 4, the official news broke– the Whiskey Pickle would be revived under new management, with a promise for the bar to return bigger and better than ever.
The announcement outlines the upcoming changes to the venue, which would act more as an update and expansion than a total reinvention of the space so many had come to know and love. This primarily comes with the news that the torch of management is to be passed to Jamel Mosely, fittingly described as “a staple of the capital region community.”
With an expansive resume of performance, multimedia production, and one of the minds behind Troy-based marketing firm Collectiveffort, it’s safe to say that the beloved drink, dance, and hangout venue is in good hands.
“He’s one of the most genuine human beings we know, and we know that the values we built this place around will continue to live on under Jamel’s team and leadership.”
The Whiskey Pickle Management
In true Pickle fashion, the Whiskey Pickle will re-open on November 7 with a Tiki Night party hosted by James, Erin, and Jamel with musical support form DJ Intell Hayesfield and other special guests. The Pickle will celebrate the local cornerstone’s triumphant return starting at 6:00 PM that night, with much more on future events and the venue’s formal transition to come.
To join in the celebration as a longtime fan or newcomer all the same, check out their party announcement above in addition to their official website here.
The Sembrich in Bolton Landing has announced they have given the Marcella Sembrich Memorial Performance Prize to American tenor Michael Butler. The venue has also received an award from the Greater Hudson Heritage Network.
Michael Butler
The Sembrich features museum exhibitions and an annual summer festival with an exciting mix of world-class musicians, noted musical scholars, a free film series, and the opportunity to enjoy it all on the beautiful shores of Lake George. Listed on the National Historic Register, The Sembrich was once the teaching studio of Polish soprano Marcella Sembrich, one of the most famous musicians at the turn of the 20th century.
Visitors can discover her storied legacy, which includes over 400 performances at the Metropolitan Opera and faculty positions at both the Juilliard Graduate School and the Curtis Institute of Music. With a treasured museum, performance series, and over four wooded acres of nature paths to explore, The Sembrich is truly a unique cultural experience.
The Marcella Sembrich Memorial Performance Prize awarded to Michael Butler exemplifies the artistic legacy of Polish soprano Marcella Sembrich. The prize guarantees the selected singer a solo performance at The Sembrich, the famed singer’s former lakeside teaching studio in Bolton Landing on Lake George, during an upcoming season. The auditions were held on the weekend of October 12-13 at the Kosciuszko Foundation’s house in NYC.
Michael Butler hails from Washington, D.C. and is American lyric tenor. Of nearly 120 applicants, 34 singers were admitted to participate. Butler placed second in the overall competition and won the award for the best performance of a Polish work by a non-Polish entrant. The grand prize was awarded to Polish-American soprano Magdalena Kuźma, and third prize was awarded to Canadian contralto Rose Naggar-Tremblay.
Along with awarding a prize, The Sembrich has also received an award of their own. The 2024 Award for Excellence was given by The Greater Hudson Heritage Network (GHHN) for The Sembrich’s recent efforts to preserve Marcella Sembrich’s “Queen of the Night” costume. The museum staff attended the annual GHHN conference on Tuesday, October 15 to accept the award and present at an awardee poster session. The conference “Embracing Innovation,” was held at Manhattanville College in Purchase New York and was attended by museum professionals from across New York State.
GHHN is New York State’s ‘go-to’ service organization focusing on interpretation, collections care programming, and the conservation and preservation of objects in collecting institutions statewide. Its programming and professional development training programs, webinars, hands-on workshops, web-based resources, responsive technical assistance, and grant opportunities provide the tools so that historical societies, historic house museums, heritage centers, historic sites, archives, and libraries may better care for their own collections.
Greater Hudson Heritage Network’s Awards for Excellence program seeks to recognize and commend exceptional efforts among GHHN members. Awards are made to projects that exemplify creativity and professional vision resulting in a contribution to the preservation and interpretation of the historic scene, material culture, and diversity of the region.
The Sembrich Staff at the Awardee Poster Session
For more information on The Sembrich, Marcella Sembrich Memorial Performance Prize, and the GHHN, click here.
Born and raised in the Capital Region, Mona Golub has been bringing live music to that very same community for 35 years, but her love of music started far before that.
Photo Credit: Capital Region Chamber
An affable, kind, and a candid speaker who gave thoughtful responses in this interview with NYS Music, Golub produces two concert series each year, one at Music Haven in the heart of Central Park for free each summer and another at two of Proctors Collaborative venues, the GE Theater in Schenectady and Universal Preservation Hall in Saratoga Springs. Those two at Proctors are held in between summers during the year.
Each series presents national and international acts that bring music and culture from all over the world to the Capital Region. But she does a lot more than just choose the acts to perform. “I do everything from program the series to raise whatever funding is needed to produce it, to handling all of the artist-related elements, the contracting, the hotels, the hospitality, all of the audience facing comforts,” Golub says. “Creating the programs with biographical information, to food and beverages, hiring whatever crew staff are needed, recruiting volunteers if that’s in order as it is during the summer series. I figure out ways to develop the series further with additional elements of production or nuances that round out the experiences.” But, she says, choosing the people who perform is really at the heart of it all. “That’s the impetus for everything.”
To do this, she stays on top of which artists are touring where at all times. “I keep up on who’s doing what and when, through magazines like Songlines International, listening to various groups that are emerging from all over the world. The internet’s been wonderful because it’s given me access to be able to see them perform live and not just hear their music, so I know how they move. How they connect with a live audience. But I basically try and stay on top of tours that are being planned. Artists who are beginning to blossom who may not ever have played this region. I love introducing new artists that people haven’t heard 20 times. So I rely on my contacts in that respect. And the conversation is ongoing.
People say, ‘When do you start booking for next summer?’ I’m booking for ‘25, ‘26, and ‘27 now. Many international artists don’t tour every year. You kinda need to know if they’re planning a tour for 2026. What does that mean? When will that be? How does that fit into your schedule?” She adds, “I’ve been in the business for 35 years now, so I’m fairly well connected to the international music community, through agents, managers, and artists themselves.”
Photo Credit: Ann Hauprich
But it’s not easy to curate interesting selections of talented musicians when they’re constantly moving around from town to town and sometimes even country to country. “It’s almost like chasing folks down a rabbit hole on occasion,” Golub says, “Sometimes they’re well represented by an agent or manager who’s working on a tour. Sometimes you need to express interest for 5 years before somebody makes that tour and is able to come to your market. So again, it’s a lot of relationship building and conversations about who’s doing what and when. For a given season, I’m always looking to ensure that my series has a certain flow and a certain cadence from concert to concert. That there’s variety and uniqueness. An artist may fit into one season better than another. I’m not just gonna bring them in and program them into the series because the dates jive.”
Mona Golub has loved music since she was a child and she even performed through high school and college. “I enjoyed that. But I certainly realized even at that time, there were people in the world who were much more talented than me,” she explains. Even though performing wasn’t for her, she was still eager to find her place in the world of music. “[In college] I directed the swing band. I started directing theater, and musical productions with a full orchestra pit underneath the stage and the vocalist on the stage just to get some understanding of other perspectives.
“I wanted to keep music in my life, and I needed to figure out how I might do that. It was at that point I connected with a local band whose music I loved. I started producing shows with them and for them, then blossomed into some other things; a Friday after-work happy hour kind of concert series in a courtyard downtown, then a coffee house, and then a jazz club. And I loved producing the shows. I loved working with the artist. The band was called Begonia. They had just won the band of the year or favorite band of the region through Metroland Magazine, which was our music and arts weekly at the time. I was working at a grocery store with the drummer of the band and I said, ‘Where are you playing? I wanna come hear you live,’ and she said, ‘Oh, we don’t have a gig set up.’ And I thought you’ve got to be kidding. You just got this recognition. You should have a gig set up so everybody can come celebrate. So I planned that gig. And I loved the band until they retired. They were great.”
It was at this point that Golub finally found her niche. From that first gig, the ball began to roll. “I loved orchestrating all of the details that it took to set the stage for really wonderful talent to shine. And I realized that’s what appealed to me most, and that’s what drove me to notice that the old music cabin, which was a trailer stage in the park was most often empty, with nothing happening on it. This was back in the late eighties. And I went to the mayor and I said, ‘are you okay if I put together a series for the stage?’ and she said, ‘have at it.’ And that’s where it started.”
Since then, Golub has been producing concerts for 35 years.
“Most of what I do is because I’m driven to bring different kinds of music to the market, and to elevate regional artists in special guest slots so they can feed off of some of that wonderful energy that is exchanged. Whether in the park, or in the venues that I work in most regularly that draw a really appreciative and energetic crowd that loves to hear something really wonderful that may not be mainstream, but reflects artists who are at the top of their game.”
When asked if she had encountered any barriers because of gender, she answered “ For sure.” When she started, she says, there weren’t many women involved in the arts. “There was one club owner, who was like the queen bee of the downtown Albany scene. But other than that, I don’t remember seeing other women as there are today.”
But Golub kept her head down in those early days and stayed focused on learning the ropes. “I think at the time, I was more focused on what I needed to do to learn, to learn how to do it as I went along, learn by experience.” She tells of a prominent promoter who promised he would give her advice to help her when she was just starting out, but never did.”While I was waiting for him, I lived it. And so I harbor no resentment. I just kept moving forward, and lo and behold, I figured some things out.”
When asked if she thinks things have gotten better for women in music, she reflects on how much things have changed since she started in the late 1980s. “I’m speaking about a time that was nearly 40 years ago. So the world has changed, and women in many different professions have proven themselves ultra competent. I think promoters and managers of old were mostly men. Club owners were mostly men. Now at this point in time, I see art centers where I would say 80% of the art centers in the capital region are run by women. So a lot’s changed and I think it has everything to do with drive and interest and ability. Once given the chance whether male or female, people who are driven to do something get the opportunity to prove themselves. And I think that’s what’s happened here. There are ways to do things today that didn’t necessarily exist when I started in 1988. So I am excited to see those opportunities and excited to see women reaching for them and attaining them.”
When asked if she sees herself retiring anytime soon, Golub is reflective.
“You know, I’ve thought about it from a couple miles away. And I would love to find a protege with whom I could work for a handful of years, just to convey what I’ve learned from experience, the good, the bad, and the ugly. Because I’ve experienced all three. And be able to watch someone else work this magic and figure out how they wanna fill these spaces going forward. Because everybody’s got their own creative bent. I would love to work with someone who could be committed, in maybe the same long term way that I have been to run with it and do their thing.”
When asked about her choice to keep the concerts free, her response shows the value she places on community. “I think [charging an entrance fee] would really destroy the feel of it. I’ve always believed that music and food are some of the best ways to celebrate, share culture with others. Being able to do that without any barriers to entry, being able to welcome in everyone who wants to be there, adds to the magic.”
”People are not standing around wondering ‘where did that person come from? What corner? What religion do they practice? How much money do they have in their pocket?’ They’re there because they’re interested in what’s on the stage, and that’s what it’s about.”
And for 35 years, that’s what it’s always been about. “I can’t imagine not doing it. It’s really become a very important part of my life. It fulfills me in a way that nothing else does. I think the opportunity to gather community to experience different cultures through music is magical.”
For now, Mona Golub’s not going anywhere. “I have a wish list of artists that never gets shorter. It gets longer.”
It has been just over a week since Phish played three shows in Albany, raising $4M from ticket and merchandise sales, as well as live stream fees, all to support the Divided Sky Residential Recovery Foundation and the recently opened facility in Ludlow, VT.
photo by Conor McMahon
The non-profit addiction recovery organization started by Trey Anastasio has set a $10M fundraising campaign goal to support the facility through capital improvements, future property acquisitions, increasing staff and ensure a scholarship fund that remains accessibly to anyone in need, regardless of their ability to pay.
“It’s hard to put into words how grateful we are to Phish and their fans for this generosity. But this isn’t about words–it’s about action. And because of these concerts, we will be able to help many more people take charge of their lives and to recover from addictions.”
Melanie Gulde, Program Director and co-founder of Divided Sky
Watch the video below for an overview of the Divided Sky Residential Recovery Program featuring testimonials from Anastasio, Gulde, guests, alumni, and staff.
This type of fundraising haul is not atypical for Phish. In 2023, Phish performed two benefit concerts at SPAC, raising over $3.5M for flood recovery efforts in Vermont and Upstate New York and welcoming special guest Derek Trucks. There are also two Phish charities – the band’s Waterwheel Foundation and the fan-based Mockingbird Foundation – have both raised millions of dollars for local causes and charities since their inceptions in the late 1990s (Ed. note: I am on the Board of Directors of Mockingbird Foundation, supporting music education across the country.)
The hometown show feeling provided a unique buzz in the air to the pre and post-show festivities, for although Phish was here in 2018, the mid-week shows were marked by cold and rain, and aren’t the most memorable shows the band has played on South Pearl Street.
https://www.youtube.com/watch?v=PofMFlw8MJI
The mellow anxiety of seeing so many people at the hometown venue fed into the buzz, a unique combination as a trio of shows were upon the crowd. Friday night’s show paid tribute to Phil Lesh, who passed away earlier that day, and the band brought out the jams early as well as throughout a huge second set.
Saturday night opened with “Possum,” just as the Saturday show in 2000 began, and a well rounded set highlighted by “Stash,” “Tube” and “Bathtub Gin” laid the groundwork for an action packed Set 2. From “Disease” onward, there was hardly a moment to breathe, let alone be distracted by Game 2 of the World Series, until late in the set during “Lonely Trip” where the unfortunate few who looked up at TVs near the bar had to suffer for the only letdown of the weekend. The “Dave’s Energy Guide” tease in Fuego (around the 9-minute mark) was just one highlight of this set, where deep improv driven by Page McConnell aided in keeping fans as dialed in as the band was.
By Sunday, where the banner hanging in the rafters would need to change from 16 to 19 shows, this friends and family affair started with shout-outs contained in the lyrics to “Heavy Things” and the newer “What’s Going Through Your Mind.” A bust-out of “Access Me” followed, along with spooky jams in “My Friend, My Friend” and an intense, never-ending jam in “Kill Devil Falls.”
https://www.youtube.com/watch?v=MguC2nYEK7U
For the five-song second set, “Everything’s Right” led the way for a 16-minute installment, followed by “Chalkdust Torture” going beyond the 23-minute mark, and “Mercury” – complete with a restructured intro – following suit. A breather from “Wading in the Velvet Sea” gave way to the original McConnell Vida Blue number, “Most Events Aren’t Planned” which has found a second life since appearing during Phish’s Baker’s Dozen.
https://www.youtube.com/watch?v=-9w1K0pIncw
To close the run, you might have expected “Divided Sky” but that would mean Phish doing something predictable. Instead, a four song encore, punctuated by the opening “Gotta Jibboo” (shout out to Albany’s Jibboo Crew!), with “Waste,” “Bug” and “Character Zero” closing the run of three incredible and charitable concerts.
Now, for those who attended the shows, you knew the cause was charitable given the month of rumors preceding the announcement of the shows, but there were times when the local media might have otherwise not known. The initial news of the concert announcement was shared of course, but when Albany County Sheriff Craig Apple sent out his press release noting a total of four arrests from the concert weekend, this is where the local media in Albany (like WTEN) could have made a small effort to tie the charitable aspect of the shows to the minor number of arrests (with around 50,000 tickets sold, that’s a ridiculously small percent of attendees – if they even were – at 0.008%) or go a step further and compare these few arrests to other local concerts held at MVP Arena.
Running pat-on-the-back news makes sense for Sinclair-owned WRGB, but the disservice begins with ignoring the purpose behind these shows, which supports those most affected by opiate addiction, by eschewing the steps taken by the other 99% of attendees to these shows that supports the treatment center in Ludlow, VT.
Beyond that, three concerts in a row at MVP Arena are an economic boon to the city, with sold out hotels across the region, full restaurants and bars on Pearl Street, and Downtown Albany seeing a busy weekend of tax revenue coming into the region, much from out of state. These tax dollars from music tourism are a real thing that continue revitalization efforts in the local economies of music destinations like Albany; whether the local media wants to investigate this angle remains to be seen.
WNYT’s Zach Richter gave ample coverage to the shows with a focus on the Divided Sky Foundation, one that presents the cause as tied to the band through Anastasio’s recovery journey since his 2006 arrest in Whitehall brought him to sobriety. But when the arrests are shared in a Monday segment, no connection between the two is made.
The Times Union did not run the story on the arrests, instead opting for a brief review and gallery of the shows, a true look at the shows with a focus after the fact on the charity side of the shows. Why is the TU the outlier here, when all the information on the shows is readily available to anyone seeking the answer? But therein lies the rub – you have to want to seek out more than what is spoonfed to you. Otherwise, you’ll eat anything they feed you.
With $4M raised from the shows, I would challenge these outlets to find out what other bands and artists out there do anything similar, and focus on the benefits of these shows – in and out of the arena – rather than the few bad apples.
You can support the Divided Sky Foundation by picking up merch from the shows, or visit the website directly here
Less than two months to go until Phish celebrates their 16th New Years Eve at Madison Square Garden. Get more info here.
Ethnomusicologist, performer, and educator Joseph Alpar is set to perform music of the Ottoman Middle East at Arthur Zankel Music Center in Saratoga Springs on November 16.
Alpar explores the intertwined histories of Jews, Muslims, and Christians in the Ottoman Empire through music at Skidmore College’s Arthur Zankel Music Center. Admission is free and open to the public. The central theme of the concert, “Aşk: Music, Love, and Mysticism in the Ottoman World,” is love in all its forms.
It will feature poignant songs of unrequited desire, lyrical wedding ballads about marital loyalty, bawdy tunes delighting in infidelity, driving Sufi and Jewish mystical songs about divine and earthly beloveds, and musical vignettes of everyday courtship, relationships, and separation.
The concert will tell an inspiring story of shared musical traditions and intense cultural collaboration between the peoples of the Ottoman world in several languages — Turkish, Hebrew, Judeo-Spanish (Ladino), Greek, and Arabic. Alpar will sing and perform on several Turkish and Greek instruments, joined by a stellar ensemble.
The event is sponsored by Skidmore’s Jacob Perlow Series, Office of Special Programs, and departments of Music, Environmental Studies and Sciences, Religious Studies, Political Science, and History. Funding is provided by endowments established by Jacob Perlow, an immigrant to the U.S. in the 1920s who was committed to furthering Jewish education, and by a bequest from Beatrice Perlman Troupin.
For more information on Joseph Alpar’s upcoming Nov 16 concert at Skidmore College’s Arthur Zankel Music Center and to purchase tickets, click here.
Saratoga Performing Arts Center (SPAC) has announced that its popular “Sounds of the Season” holiday series will return from December 13-15 in Spa Little Theater.
The show features genre-defying trio Time for Three (DEC 13), Damien Sneed (DEC 14) leading “A Gospel Holiday” celebration, and GRAMMY-nominated vocal ensemble VOCES8 (DEC 15). Time For Three is back by popular demand following their “Sounds of the Season” appearance in 2023. Known for energetic performances that seamlessly merge classical, Americana, modern pop, and singer-songwriter styles, the trio will bring special arrangements of holiday favorites alongside original music.
Making his return to the Spa Little Theater stage on December 14 is multi-genre recording artist and instrumentalist Damien Sneed alongside his band. Sneed will present his new production of “A Gospel Holiday” featuring his original arrangements of gospel, jazz, and classical holiday favorites including Silent Night, The Christmas Song and Jesus, Oh What A Wonderful Child.
The “Sounds of the Season” series will culminate on December 15 with 2023 GRAMMY-nominated British vocal ensemble VOCES8 for its “Winter Tales” program. Following their SPAC debut in 2019, the a cappella group will perform a mix of holiday music spanning centuries from Es ist ein Ros’ entsprungen to Let it Snow. The announcement marks the continuation of SPAC’s year-round programming in the Spa Little Theater, which is inclusive of a fall, holiday and spring season and is part of SPAC’s mission to present year-round programming.
Time for Three
“Sounds of the Season” Program Schedule:
A Time For Three Holiday
Friday, December 13 | 7 PM
Defying conventions with genre-bending excellence, Time For Three’s captivating sound merges classical, Americana, modern pop, and singer-songwriter styles, and their charismatic performances push creative boundaries. In addition to incredible arrangements of Joni Mitchell, Leonard Cohen, Led Zeppelin and others, the trio featuring Charles Yang (violin, vocals), Nicolas “Nick” Kendall (violin, vocals), and Ranaan Meyer (double bass, vocals), will present original music and special arrangements of holiday favorites.
Damien Sneed: A Gospel Holiday
Saturday, December 14 | 7 PM
A multi-genre recording artist, Damien Sneed is a pianist, vocalist, organist, composer, conductor, arranger, producer, and arts educator. Sneed returns to SPAC with an all-new project, “A Gospel Holiday,” featuring his original arrangements of gospel, jazz, and classical holiday favorites like Silent Night, The Christmas Song and Jesus, Oh What A Wonderful Child.
VOCES8: Winter Tales
Sunday, December 15 | 7 PM
Touring globally, the group showcases their diverse musical expression and versatility through an extensive repertoire ranging from the Renaissance to contemporary. Their program “Winter Tales” features a mix of holiday music spanning centuries from Es ist ein Ros’ entsprungen to Let it Snow.
Damien Sneed
For more information on “Sounds of the Season” at SPAC and to purchase tickets click here.
There are cover bands and tribute bands, and then there are bands who take the tribute to another level. One of those bands is Dark Star Orchestra, who recreate classic Grateful Dead shows in their entirety, as they were once performed. Enter Reprise, a band that does for Phish what DSO does for the Dead – but with the added bonus of not only playing a classic Phish show from the town/area they’re playing in, they also make it a point to have the show be as accurate as possible to the original performance, in terms of song length, antics, commentary, and even interplay between band members and crew.
Photo by Chris Bobillo
On Saturday, November 2 at Lark Hall in Albany, Reprise – Cal Kehoe (Pink Talking Fish – guitar), Scott Chasolen (The Machine, Ulu – keys), Chris DeAngelis (Kung Fu, The Breakfast, RAQ, The Machine – bass) and Adrian Tramontano (Twiddle, Kung Fu, The Breakfast, RAQ, Marble Eyes, Mihali – drums) – brought to life one of Albany’s classic Phish shows, calling back to December 13, 1997, the Fall 1997 tour closer.
Photo by Chris Bobillo
For me, this was not only my first Reprise show, but they were recreating the first Phish show I ever saw live. While my memories from that show are limited to “Sample in a Jar,” “Good Times Bad Times,” the lights going out during “Hood” and the cacophony of ‘bringing the Dude’ during “Mike’s Song,” I have relistened to that show more times than I can count. The tour closer stands out in one of Phish’s greatest tours, and begged for regular relistening to see what I missed that night when I was still a noob.
The show is chock full of jams, some rarities and new songs (for 1997) and some silliness that you only find at a Phish show when the band is dialed in and wrapping up a tour. I know this show by ear, and without looking at the setlist, let the show play out as it originally did just under 27 years ago, seeing what surprises were in store, but more importantly, how well Reprise did their homework on the recreation of the improvisation within the show.
To that end, as students of this particular show, they nailed the assignment with flying colors. The “Ya Mar” was played to nearly the same length as the original 18+ minute jumping off point for the show, including the end of the jam that never really ended the song proper. A good chunk of the first set beyond that may appear on paper to be pedestrian, but the tempo of the “Theme From the Bottom” ending, the 11-minute “Vultures,” and the thrilling “Tube” that gave way to a set closing ball of energy in “Good Times Bad Times” gave an ebb and flow to the show that lines up with the original show, no complaints registered.
Photo by Chris Bobillo
The second set opening with “NICU” kept that free-flowing vibe going out of setbreak (were these the same length of time as well? A good question for manager Tom Marshall.) and into “Punch You in the Eye,” which never lets down but especially never in the second set. With dancing in “The Landlady” from Kehoe and DeAngelis, the full recreation is there, all the way down to the sudden intro of a ’97 “Ghost,” which is the jam of the night in both cases, overlooked for the “Mike’s” that follows, but still worthy of inspection.
Then again, that “Mike’s Song” is one of the odder things to catch at your first show, especially having no idea who this ‘Dude’ was they were suggesting to bring to the stage. The weirdness that Phish, and now Reprise, feed to fans amid an improv-vehicle is the launching point for the most furious part of this jam. By the time the weird returned in “Catapult,” wrapped up in a “Weekapaug Groove,” the set had flowed with the same ‘final show of the tour, all jams must go!’ intensity, wrapping up with a “Harry Hood” that saw the lights turned off, only a disco ball illuminating patrons and the stage.
photo by Pete Mason
The encore of “My Soul” paired with the sentimental “Squirming Coil” closed the night as Kehoe, DeAngelis and Tramontano walked off stage to cheers while Chasolen closed the song on piano, before departing the stage to cheers from a dedicated audience who hung on for every note of the show.
The only way this could have been more accurate (beyond the setbreak timing) is if an oddball opening act – ala J. Willis Pratt and Bionic, who opened for Phish this evening in 1997 – were to have performed ahead of Reprise.
Even though you can never go back and see your first show a second time, no matter how many times you relisten, Reprise offers the next best thing – four top notch musicians who do their homework, nail the songs and jams and master the interplay of Phish with self-assured panache.
Reprise plays Northampton, MA on December 19, 2024, recreating a classic show from the area. Tickets and more info here.
Setlist via Phish.net
Reprise – Lark Hall, Albany – Saturday, November 2, 2024 – recreating Saturday, December 13, 1997
Set 1: Ya Mar[1] > Axilla[2] > Theme From the Bottom, Ginseng Sullivan, Strange Design, Sample in a Jar, Vultures, Tube, Good Times Bad Times Set 2: NICU > Punch You in the Eye > Ghost > Mike’s Song[3] -> Llama, When the Circus Comes, Weekapaug Groove -> Catapult -> Weekapaug Groove, Harry Hood Encore: My Soul, The Squirming Coil [1] Unfinished. [2] Contained Axilla II ending. [3] Chants to “Bring in the Dude.”
Ya Mar was unfinished. Mikeâs Song included Foxy Lady quotes from Fish and some memorable vocal interplay from the band that included a chant to âBring in the Dude.â During Hood, Trey asked Chris Kuroda to turn off the lights for a Blackout Jam and the audience responded with a shower of green glowsticks. The opening act was J. Willis Pratt & We’re Bionic.
On Thursday, October 24th, The Magic Beans and Squeaky Feet graced the stage at Lark Hall in Albany, unofficially kicking off an exciting “Phish weekend” with a vibrant and inspired set that encapsulated their unique blend of funk, rock, and psychedelic sounds.
Performing to a rowdy crowd of enthusiastic music lovers, the show was a testament to the Beans’ growth as a band and their deep connection to the jam band community as a whole. Serving up a thrilling journey through their ever-expanding discography, the evening played out like a fairytale for those looking to dance the night away.
The Magic Beans kicked off a storybook weekend in Albany on 10/24/2024.
Kicking off the story proper with a lively opening performance was Squeaky Feet. Planting the seeds for the memorable night with their energetic, prog-rock inspired grooves and dynamic on-stage presence, the Denver, CO based band also brought along some local pride in the form of guitarist Colin Shore, who formerly played in Albany underground favorite Mister F. Joined on guitar by Greg King, bassist Jimmy Finnegan, drummer Kevin D’Angelo and keyboard player Brian Keller, Squeaky Feet commanded your attention from the very first note of “Hyrule Temple.”
Local Pride: Guitarist Colin Shore performing with Squeaky Feet in Albany 10/24/24.
Locked in and firing on all cylinders, the band really opened things up for exploration on a 16-minute version of “Never Break.” Displaying all kinds of technical skills and chops for days, the near 20 minute “Pantomime,” the opening track from the bands 2023 debut album Cause For Alarm, would reveal itself as the centerpiece of the set. Seamlessly shifting from patient, multilayered improvisation to segments of infectious trance fusion, to triumphant, soaring peak solos that made it all but impossible to stand still, Squeaky Feet played like a well-oiled machine that really listens to what each other is doing.
Paying homage to their biggest musical influence, one of the most memorable highlights was the bands lengthy tease of Umphrey’s McGee’s “Booth Love” sandwiched inside a sprawling, 20 minute set closing “Premonition.” Drawing in the listener, then peppering them with an explosion of sound and skill, Squeaky Feet showed exactly why they are an emerging force to be reckoned with.
Squeaky Feet opening for The Magic Beans at Lark Hall 10/24/24.
After a brief intermission, it was finally time for the Capital Region return of The Magic Beans. Steadily making a name for themselves on the national circuit since their formation in 2010, the Beans have long shown an appreciation for the Albany area, likely due to the fact bassist Chis Duffy grew up in nearby Guilderland. Along with Duffy, The Magic Beans are comprised of charismatic lead guitarist/vocalist Scott Hachey, keyboard wizard Casey Russell, and drummer Cody Wales.
Blasting off with a 16 minute “Kid Rocket” opening jam, The Magic Beans quickly established their intentions to take Lark Hall to the stratosphere. The laid back, synth-heavy flow of RevHall would seamlessly transition into a lengthy “Handshake or Hug” jam, showcasing the bands’ ability to weave together diverse influences into an engaging musical journey.
The Magic Beans performing at Lark Hall Albany on 10/24/2024.
From here, Scott Hachey would switch out his electric guitar for an acoustic one on the foot-stomping, country tinged “Footprints in the Rain,” before taking the audience on a jazz odyssey through “Do Your Thing.” With the energy in the room growing and the dance floor widening out, perhaps the most impressive sequences of music would come next as a funky 13-minute rendition of “Night Games” would beautifully segue into a standout version of “Dr. Bubbleman,” before returning to the last verse of “Night Games” to complete one hell of an epic jam-sandwich. The crowd was particularly energized during this part of the show, losing their minds to the pulsating rhythms and infectious grooves The Magic Beans have become known for.
Circle of Life: Magic Beans bassist Chris Duffy grew up in Guilderland, NY..
One of the most unexpected highlights of the night was a surprise cover of “Circle of Life” from The Lion King soundtrack. Channeling his inner Elton John, this song was particularly potent for bassist Chris Duffy who sang it. Growing up just one town away, the storybook night felt like a homecoming of sorts for the man with the mohawk, coming full circle after more than a decade of touring with the Beans. Infused with their signature flair, the beloved Disney classic was transformed into a danceable anthem that had the audience singing along to every word, bridging the gap between nostalgia and modern psychedelia.
Scott Hachey and Casey Russell performing with the Magic Beans in Albany, NY 10/24/24.
Keeping the positive, life affirming vibes alive, the Magic Beans would offer up the title track of their 2019 album “Off Leash” next, taking the crowd on a spirited, 16-minute funk-fueled ride and ultimately confirming that “This is the part where you feel good.” Saving up perhaps the grooviest tune of the night for last, a stellar version of “Handcuffs” achieved a massive climax that left fans with their jaws on the floor and fully appreciative of the Beans’ undeniable talents.
While it seemed like the show was just about over based on the venue’s weeknight curfew, the adoration for the band was real and sustained and could not be denied. Answering the call for more, The Magic Beans would return to the stage for one last flight to the cosmos with an otherworldly “Space Cadet” to complete the mission and send fans into Phish wondering how any band could top this fantastically fun and inspired performance. The perfect start to an unforgettable weekend in Albany.
Magic Beans | October 24, 2025 | Lark Hall | Albany, NY
Setlist: Kid Rocket, Rev Hall > Handshake, Footprints, Do Your Thing, Night Games > Dr. Bubbleman > Night Games, Circle of Life, Off Leash, Handcuffs
Encore: Space Cadet
Squeaky Feet | October 24, 2025 | Lark Hall | Albany, NY
Setlist: Hyrule Temple, Never Break, Pantomime, Premonition
Ben Folds has been announced as the headlining act of the Saratoga New Year’s Eve celebration. The two-day event will be held on Tuesday, Dec. 31, and Wednesday, Jan. 1, 2025, at different venues around the city’s center.
Ben Folds is a singer-songwriter-composer who has created an enormous body of genre-bending music including pop albums with Ben Folds Five, multiple solo albums, and numerous collaborative records. He will cap off the evening at Saratoga Springs City Center.
The celebration will kick off with a free outdoor concert by local funk band Tops of Trees on Ellsworth Jones Place, located just outside of the Saratoga Springs City Center. Fireworks, launched from the top level of the City Center’s parking garage, will accompany this performance from 5 to 6:30 p.m.
Mystic Bowie’s Talking Dreads will perform at the historic Universal Preservation Hall. Jamaican-born frontman Mystic Bowie reimagines and infuses fresh life into the Talking Heads’ classic catalog with his mix of roots reggae and ska. Since 2015, the charismatic singer and performer has electrified audiences at hundreds of shows across North America – spinning the heads of initially skeptical Talking Heads fans, and getting everyone else grooving along to the infectious, joyous rhythms and jubilant spirit of his native island. This and other performances by Los Sugar Kings, Dogs in a Pile, and Lindsey Kraft will be held throughout the day.
The festivities will conclude on New Year’s Day with the Saratoga First Day 5K, a fun and healthy tradition for runners and anyone looking to start 2025 off right.
Tickets and limited VIP packages are on sale now. Purchase and learn more about Ben Folds in Saratoga Springs here.
