The Waterhole Music Lounge live entertainment venue in Saranac Lake has announced their Fall event lineup.
Beloved for its communal and casual approach to hosting live events, Waterhole Music Lounge is the Adirondacks’ premier live entertainment venue. With three stories that are home to two bars, an expansive outdoor patio space, and a unique live entertainment energy that draws folks from nearby and beyond time and time again, there’s something for everyone at the Waterhole this fall.
This year’s newly announced fall lineup is sure to excite regulars passionate about the Lounge and newcomers all the same, with acts ranging from live comedy to tribute bands in addition to the final few installments of their Party on the Patio series and a lively New Years Eve Bash that will wrap out the year.
Opening the season on October 9 is Come Back to Earth – A Live Mac Miller Tribute, the world’s first and only Mac Miller tribute band renowned for their captivating and thoughtful performances dedicated to honoring Miller’s musical legacy.
Following on October 17 will be the finale of the Party on the Patio series with Raisinhead as they wrap a bow on the last bits of nicer outdoor weather. The next week will host the Waterhole’s iconic annual Holloween Bash dance party on October 26, headlined by six-piece New York City dance fusion unitUnderground System with special guests and co-dance experimentalists New Planets.
November will be kicked off with boundary stretching electronic yet organic headliners Jimkata alongside local ethereal funk and rock piece Strange Cereal on the first of the month, continued with bob. An interpretation of Dylan on November 8, featuring artists Al Schnier and Vinnie Amico of moe., Brian Lauri, Zach Flietz, and Charley Orlando.
The night of November 15 will mark the debut of the Waterhole Rhyme Sessions series, created for hip hop lovers by hip hop lovers. Volume one will feature DJ Ease One with seven total MCs making appearances throughout the evening.
November 16 will take a turn to the territory of fusion mountain music with Donna the Buffalo, a group that meshes the sounds of the mountains with Cajun and Zydeco styles, rock, folk, reggae, and country. Special guests Jatoba will open the night with their signature high-energy groove-grass.
Stand up comedy will return to Waterhole’s stage on November 22 with two seated events back to back. The evening will be hosted by Kay Guotos with David Louis as headliner, along with support from Matt Hanley and CJ. Catalano.
Folkface will bring their rowdy and raucous roots energy to the Lounge the following evening of the 23. Spanning country, blues, jazz, rock and roll, honkey tonk, and more, Folkface promices sounds for every fan of the music spectrum alongside local Adirondack Folk openers Nubble.
Beginning the end will be The Warped Tour Band! throwback night. On December 6. A celebration of all things Emo and Pop Punk, acts such as All The Blink Things and Dookie will span the 30+ years of Blink-182 and Green Day.
The 2024 New Years Eve Bash will round out Waterhole’s schedule in an electric night of funk music ringing in the new year. The night will feature Sophistafunk, a unit having been described as “Rage Against the Machine meets The Roots, dipped in P-Funk” and special guests Organ Fairchild, an old-school organ, dance, and jam fusion trio that have been playing music together since the early 80s.
Tickets to all of these fall events are available for purchase at the Waterhole website and in person at the venue now. For more information and online purchasing, please visit their website here.
Merging their deep backgrounds in classical violin and cello performance and composition with influences from an array of musical genres, NYC based instrumental duo ARKAI captivated a full house at The Recovery Lounge in Upper Jay, NY on Sunday, September 20.
ARKAI performed as part of their current world tour and in support of their recently released debut album, Crossroads.
ARKAI at The Recovery Lounge
ARKAI is violinist Jonathan Miron and cellist Philip Sheegog, graduates of New York’s renowned classical music institution The Julliard School. The pair met early in their music career and realized that, despite their devotion to classical music, they had a deep appreciation for a wide variety of music as diverse as pop, folk, metal, jazz and rock, giving birth to the fusion that became ARKAI.
Jonathan Miron, ARKAI
Performing a selection of genre-defying music that showcased both their instrumental virtuosity and compositional and arrangement skills, the duo performed with an energy way beyond what one would anticipate being delivered by violin and cello. Their energy was infectious. Glances around the room showed not only smiles on appreciative faces, but listeners who moved with and to the music, clearly wanting to get out of their seats and dance.
ARKAI at The Recovery Lounge
The pair performed the first half of their show on vintage classical instruments. Miron’s violin was made in Italy in 1709. Sheegog’s cello was made in 1914 in France, where it survived two World Wars. With those instruments they displayed their precise classical training, performing their unique arrangements of songs including A-ha’s “Take On Me”, The Beatles’ “Blackbird”, Charlie Chaplin’s “Smile”, as well as original compositions including “Patchwork”.
ARKAI at The Recovery Lounge
In the second half of the show the pair switched instruments, and delivered an electrifying, high-energy performance on electric violin and electric cello, backed by tracks which they composed and created using a variety of computer and MIDI based techniques to explore and create what might be called soundscapes. Driven by, or perhaps because they are clearly inseparable from the music they deliver, the pair became animated, both facially and in near dance-like movement, during portions of the electro-delivery. And, in a display of technique that might perhaps drive their former Julliard professors to pull their hair out, on one song they used debit cards to play their instruments, Sheegog scraping the strings of his cello with the edge of a card to “swipe” notes or tapping it on the electric cello’s pickup for drum-sounds and Miron tapping the sides and edges of his electric violin to add percussion.
ARKAI at The Recovery Lounge
This “electric” portion of their performance included their compositions “Ascent”, which they said was inspired by Stanley Kubrick’s film “2001: A Space Odyssey”, and “Tokyo Sidecar”; their arrangement of Cold Play’s “Clocks”, and a composition they created based upon the melody of Joji’s “Glimpse of Us” which went viral on TikTok. They also played their composition “Letters”, which came together while the pair was separated during the Covid lockdown period, when Miron and Sheegog would each record themselves on iPhone Voice Memos playing musical “ideas” or contributions and send the recordings back and forth to each other as “audio letters” created in a time of loneliness, sorrow and the hope to be together again. Those bits and pieces ultimately became “Letters” as a musical offering of hope to those in need of being brought together.
ARKAI at The Recovery Lounge
ARKAI’s music, whether their originals or unique arrangements of others, is a signature sound resulting from skilled and exploratory improvisation, a collaborative creative process and pure instrumental virtuosity. In performance they bring these talents full on, playing true to the score in the tightly composed sections, and following their creative spirit in-the-moment in improv sections, inspiring and feeding off each other and deeply enjoying every moment of their performance.
Philip Sheegog, ARKAI
Their fusion, both as musician/composers and in the diversity of the music they explore, was born in part out of a realization that, in their words, they were the “weird guys” in traditional classical music; and out of a strong desire “to stay true to your heart” and to “do something not done before”. And that was the genesis of ARKAI.
Jonathan Miron, ARKAI
Upcoming performances include October 10 at Town Hall, NYC, November 3 at The Strand Center for the Arts in Plattsburgh, NY, and November 14-16, PRISMA, NYC. Their tour will also take them to other major US cities and Toronto as well as overseas to Berlin, Basel, and Rabat. Their newly released CD Crossroads is a collection of seven ARKAI compositions ranging from traditional sounding classical pieces to electro-soundscape-emo music that explore a “journey of discovering one’s voice, overcoming adversity, and embracing new dreams”. ARKAI’s music puts you in touch with your emotions, and if you allow yourself the freedom you “see a video” as you listen.
Philip Sheegog, ARKAI
This review and the photographs presented with it are truly an unintended consequence of attending this performance as a last-minute spontaneous decision, becoming captivated at the outset, capturing images of ARKAI’s performance on an iPhone.
ARKAI at The Recovery Lounge
ARKAI’s performance was presented by Upper Jay Art Center at its “Recovery Lounge” space, where it hosts year-round music, art, and theatre ranging from touring artists and groups to its own productions in an intimate and out-of-the ordinary performance space.
ARKAI at The Recovery LoungeJonathan Miron, ARKAIARKAI at The Recovery LoungePhilip Sheegog, ARKAIPhilip Sheegog, ARKAIARKAI at The Recovery LoungeJonathan Miron, ARKAIARKAI at The Recovery Lounge
The 17th Annual Bushwick Film Festival is set for October 16-20 with an impressive lineup of films celebrating this year’s theme of “Producing The Dream’.
Photo – Bushwick Film Festival
Now in its 17th year of operations, the Bushwick Film Festival is a nonprofit organization with their hearts set on discovering the newest voices of the film world, sharing amazing stories, and cultivating community through the unifying power of movie magic.
One of 12% of film festivals in the United States owned by women of color, the organization prides itself in developing free public programming and film making projects designed specifically for the uplifting of Brooklyn’s underrepresented storytellers alongside their partners and sponsors.
With over 1,000 yearly submissions from over 60 countries and an annual draw of 5,000 attendees, the Bushwick Film Festival boasts the best of the best of New York City’s indie film works and beyond.
This year’s festival is themed “Producing The Dream”, prompting creatives submitting for consideration to explore what it takes to realize a dream. A celebration of the relentless determination, artistry, and creativity that filmmakers pour into their creative works, this year once more will reflect the future of film from Brooklyn and the New York region at large.
Photo – Bushwick Film Festival
In addition to the submission screenings, this year’s Film Festival will feature a Creative Community Day with industry panels, workshops, and neighborhood pop-ups designed for folks interested in the behind-the-scenes work of filmmaking, Youth Film Screenings showcasing high school aged creatives’ works and highlighting narratives on youth issues, a Comedy Night with stand-up comedians and writers, live musical performances of fan favorite film scores, and the always exciting concluding Awards Night that will wrap with a finale showcasing the winning films.
Awards for this season will follow the Festival’s tradition of recognizing both doc and narrative talents including Best Feature, Best Short, Best Screenplay, Best Actor, Audience Choice Award, Programmers choice, and more.
Tickets and a variety of select passes to the 17th Annual Bushwick Film Festival celebration of Brooklyn and beyond’s shining film stars are available now. For ticket and pass options, prices, and further information, please visit the Bushwick Festival’s website here.
After playing a successful show at the Huntington Paramount days ago, Dirty Honey brought their “Can’t Find The Breaks” tour to Foxwoods Casino.
Supporting Dirty Honey was St. Louis natives The Band Feel. The night was the perfect revival of rock and roll by two young and hungry bands.
Between the hustle and bustle of the casino floor, the Great Cedar Showroom sits in the back. But, an hour away from showtime, fans were lining up at the merchandise booth to pick up memorabilia. This is Dirty Honey’s first time in Connecticut since their March 27, 2022 show at Toads Place. But, before the Los Angeles natives took the stage, at 8:00 sharp, The Band Feel jumped on stage. Due to the casino curfew, they had a shortened setlist.
Even though The Band Feel’s setlist was short, they didn’t let it deter them from introducing fans to their music. The quartet dressed as if the band was born in the 1970’s and their music matched. They played six songs that – by the end of the set – won the crowd over.
The quartet features T.J. Steinwart on drums, Tyler Armstrong on guitar, Garret Barcus on lead vocals and Kadin Rea on bass. The four-man group channeled in callings of the Golden Age of rock and roll. It’s easy to see why Dirty Honey would bring them on tour. A young band in Dirty Honey is giving another younger band (The Band Feel) a chance at a national tour and getting the word out there that rock and roll is here to stay.
After a stage change, quickly, AC/DC’s “Rock ‘n’ Roll Damnation” blasted on the speakers and Dirty Honey made their triumphant return to Connecticut. This was the first time that fans in the area could get a look at new drummer Jaydon Bean. Bean took over for original drummer Corey Coverstone after their debut record. With new songs in their arsenal, the band fully attacked the fans in the Great Cedar Showroom with material from their new record. It was refreshing to hear the band play music from their entire category and not strictly off one album or EP.
Joining Bean was singer Marc LaBelle, guitarist John Notto and bassist Justin Smolian. The latter three were the three original members of the band and have been the longest-tenured.
Their new material sounded great. As they plowed through their set, they alternated between older material and new songs. LaBelle’s vocals sounded just like the actual record. If you closed your eyes during the show, you could have been tricked that someone flipped on the record. They sounded great live.
Something new that has been incorporated in this show – which did not happen at the Toads Place show – was the band extending songs and jamming. During one of their classic songs, “Scars” they added an awesome extended jam. To see Dirty Honey get more comfortable exploring their music and adding diversity and freshness to their music is amazing.
Like The Band Feel, Dirty Honey dressed straight out of the 1970’s. It was almost like a crossover between The Black Crowes and Aerosmith. Also, their influences of classic rock and roll could be heard seeping through in their music.
One of the songs off the new record, Can’t Find The Breaks that was one of the standouts of the evening was “Coming Home (Ballad of the Shire).” Before the song started LaBelle announced to the audience that his father and some of his hometown friends were in the audience. During the song, it was extremely quiet, you could hear a pin drop. The audience was transfixed by the acoustic song that captivated the entire theater.
Immediately after “Coming Home (Ballad of the Shire),” they plunged into a cover of The Rolling Stones’ “Honky Tonk Woman.” This received a massive roar from the audience. Throughout the night, their logo blinked to the beat of the song creating a visual spectacle.
From the moment that the band got on stage to the moment that they sang their last song, they did not rest or slow down. Notto was running, duck-walking and arm-swinging the entire night. The smile on his face never waned as fans in front of him cheered and put up the rock and roll horns all night long.
Even though the lower bowl of the theater had seats, fans treated it like a general admission. For Dirty Honey’s entire set, they were standing, clapping and cheering. Fans and high rollers who sat in the front merged up against the stage to take a closer look at the band.
Dirty Honey is one of those generational bands that help revive a genre of music. The way they channel classic rock sounds and put elegant, modern twists on them is unforgettable. Even though this is their final leg of the tour supporting their new album, when the chance comes, you have to see them. Every year, their loyal following grows. It will be only a matter of time before they upgrade to the biggest venues in your area.
The Band Feel setlist: Find a Love, Call It What You Want, G Rock, What of Now, Goodbye Virginia, In The Garden
Dirty Honey setlist: Can’t Find the Breaks, California Dreamin’, Heartbreaker, Down the Road, Scars, Dirty Mind, Tied Up, Coming Home (Ballad of the Shire), Honey Tonk Woman (Rolling Stones cover), Don’t Put Out the Fire, The Wire, Another Last Time, When I’m Gone, You Make It All Right, Won’t Take Me Alive, Rolling 7s
Synonymous with quirky lyrics and dreams of being rich, The Barenaked Ladies brought their “In Flight” tour to Rochester on Wednesday, October 2. Passengers on this tour are fellow 90’s alt-rock band, Toad the Wet Sprocket.
Toad the Wet Sprocket
Quietly gaining a strong following since 1986, Toad the Wet Sprocket has released seven studio albums and has had solid success on the pop charts with hits like “All I Want,” “Good Intentions,” and “Walk on The Ocean”. Playing for about 45 minutes, Glen Phillips and crew serenaded the sellout crowd as they filed to their seats to see the Canadian headliners.
Jamming through a 12-song set, lead singer Phillips is joined on stage by Dean Dinning on bass and rhythm guitar, Todd Nichols on guitar and mandolin, Josh Daubin on percussion, and Jonathan Kingham on keys.
After a brief delay in set up, Barenaked Ladies took the stage for nearly 2,000 fans shortly before 9pm. Starting out with “One Night” and 2003’s “Testing 1,2,3,” Ed Roberston and team were quickly thrown off script as there were more issues with sound, mostly with Jim Creegan’s bass. Luckily for them and the enthusiastic audience, BNL kept the show going as if nothing was wrong. Some ad-libs, a little magic trick and banter with bandmates paired with a less scary rendition of Michael Jackson’s “Thriller” kept the fans entertained.
With the sound issues taken care of, Robertson along with Tyler Stewart on drums, Jim Creegan on bass, and Kevin Hearn on keys rocked through their 19-song set, with tracks from nearly every album, dating back to 1992’s Gordon.
With nobody exempt from the wit of Robertson, including Robin the sound guy, “History Of Everything” theme from the Big Bang theory began with a jab at the opening band. While thanking Toad The Wet Sprocket for being on tour, he brags that although they are amazing in their own right, they don’t have a TV theme song.
Having been around for over 30 years, many like myself, will recall a time when fans would bring in boxes of Kraft Macaroni and Cheese to heave during the set, as they belted out “If I Had a $1,000,000.” Those days are long gone, but the days of fan screaming out lyrics remain. With some guidance from Robertson, tonight was no different. Right on cue, the crowd gave BNL exactly what he wanted, minus the dijon ketchup.
If I had a million dollars We wouldn’t have to eat Kraft Dinner But we would eat Kraft Dinner Of course we would, we’d just eat more
Rounding out the classic, quirky set, the guys came out for a two song encore of “Tonight is The Night I Fell Asleep at The Wheel” and “Lovin Life.” The latter couldn’t have been better song to end the night, speaking about lovin’ the life you have and making the most of it, no matter what happens.
Nearly 40 years, 17 studio albums, and millions of downloads later, Barenaked Ladies are still the goofy band from Canada that loves to have fun on stage and can make even a rough start (thanks, Robin) turn into a night of improv and laugher from start to finish. Make sure you go check them out if you haven’t already seen Barenaked Ladies.
Toad the Wet Sprocket setlist: Come Down, California Wasted, Inside, Transient Whales, Nanci, Good Intentions, The Moment, Walk on The Ocean, Nightingale Song, Something’s Always Wrong, Fall Down, All I Want
Barenaked Ladies setlist: One Night, Testing 1-2-3, Thriller (M. Jackson cover), For You, The Old Apartment, Big Back Yard, Boomerang, Just Wait, Toe to Toe, Brian Wilson, Fifty for a While, Aluminum, Pinch Me, Odds Are, History of Everything (Big Bang Theory theme), One Week, If I Had $1000000, Tonight Is The Night I Fell Asleep at The Wheel, Lovin’ Life
Ed Robertson – Barenaked LadiesBarenaked LadiesKevin Hearn – Barenaked LadiesHearn and RobertsonTyler Stewart – Barenaked LadiesJim Creegan Barenaked LadiesTyler Stewart – Barenaked LadiesEd Robertson – Barenaked LadiesKevin Hearn – Barenaked LadiesTyler Stewart – Barenaked LadiesKevin Hearn – Barenaked LadiesJim Creegan Barenaked Ladies
The New York Philharmonic recently announced the ratification of a new three-year contract, effective September 21. The new contract includes a plan to compensate and recruit in a transparent manner through collaboration, thanks to partnerships with the Associated Musicians of Greater New York, the American Federation of Musicians Local 802, and the Musicians of the New York Philharmonic.
Local 802 President Sara Cutler highlighted the substantial wage increases as essential for safeguarding the futures of musicians and the institution as a whole. Hence, under the new contract, the musicians’ salary will see an increase of just over 30 percent. There is also a 15 percent raise in the 2025 fiscal year and 7.5 percent increases in both 2026 and 2027 fiscal years. Additionally, the contract outlines a commitment to fairness and transparency especially for the hiring process.
Deborah Borda, Executive Advisor of the New York Philharmonic, expressed her satisfaction with the recent settlement, stating that it aligns musicians’ compensation more closely with that of their peer orchestras. She noted that this negotiation process was the most collaborative she has experienced in her career. Borda also praised the Board of Directors for their strong support of the musicians and the organization as they look toward the future.
The main focuses moving forward are prioritizing diversity, equity, and inclusion. Board Co-Chairmen Peter W. May and Oscar L. Tang expressed their commitment to equality and excellence. The new contract requires a review of the tenure process as well as mandates that all auditions rounds be conducted behind a screen to prevent bias.
This historic agreement positions itself as a crucial step for attracting and retaining top talent within the philharmonic, especially as the orchestra gears up for Gustavo Dudamelâs arrival as its next Music and Artistic Director. Both the musicians and Local 802 are optimistic that this agreement will enhance the future of the musicians and the New York Philharmonic, paving the way for a vibrant season of music and community engagement.
Grammy-nominated singer/percussionist Everett Bradley’s persona Papadelic as funk’s Father Christmas, bringing funk-lore to Sony Hall for a Holidelic holiday show on Sunday, December 22.
Having performed with the likes of Bon Jovi, Bruce Springsteen and the E Street Band, and SEAL among others, Everett’s use of funk is cleverly told through 70’s and 80’s inspired originals, with reimagined classics celebrating diversity and love as one nation under a groove.
Everett Bradley brings to life the role of Papadelic, funk’s Father Christmas, a combo of George Clinton and a soulful Santa. He weaves this psychedelic holiday tale with humor, heart and booty shakin’ grooves played by a P-funk clad band of top shelf misfits Papadelic affectionately calls dysFUNKtional. Sony Hall will be an ideal setting for Bradley’s favorite two worlds, a theatre with a club dance floor.
Bradley has perfected his funk holiday magic into a Christmas classic, called “A flashy, bass-heavy retro-futuristic take on the holidays” by The New Yorker and “A holiday funk-tacular” by Time Out New York.
An additional show has been announced on December 20 in Red Bank, NJ at LIVE at The Vogel. Tickets for Holidelic are available here.
Union College and The Egg have announced details for the four-day residency by Eisenhower Dance Detroit from October 15-18.
The residency includes community outreach, a professional experience for local dancers and a public performance at The Egg.
A mini-residency in mid-September included an audition for local college dancers and a rigorous weekend rehearsal process for those selected. Jolita Brettler, Melanie De La Cruz, Ava DuBoff, Hailey Dunn, Livi Gwinnett, Grace Newcombe, Emily Tobar and Abby Wilder, all Union College dancers, will perform “State of Mind” by Eisenhower Dance Detroit (EDD) Executive Director Stephanie Pizzo alongside members of EDD at The Egg on Friday, October 18.
About working with the Union students, EDD dancer Lillie Hamilton said, “We admired their eagerness, dedication, maturity and focus.” About the experience of learning and rehearsing the work in a brief period of time, De La Cruz claimed, “Honestly, I feel stronger, both physically and mentally.” Dunn added that the intensity of the process was “challenging emotionally, physically and socially but I feel as though I have grown both as a dancer and as a human being.”
The residency is made possible by the partnership of the venue and college as well as a major gift from Gus (Union class of ’59) and Sue Davis (Sage class of ’60) in memory of their daughter Stephanie.
The residency culminates at The Egg on Friday, October 18. From 7:15pm to 7:45pm, Laurie Zabele Cawley, Interim Dance Director at Union College, will partake in a pre-show talk with EDD’s Pizzo conversing about the company and the evening’s program. The 8pm performance will feature “Legacy Island” by Filipino Norbert De La Cruz III; “En-code” by Australian, disabled choreographer Marc Brew; “Hyper” by hip-hop ballerina Micaela Taylor and “See Me” by the athletic Christian Denice. The aforementioned “State of Mind” will close out the evening.
Returning to the Capital Region in mid-October, the company will conduct three lecture/demonstrations, three movement workshops and eleven master classes at Union College and seven other locations in the local area. The activities will reach participants from elementary age to senior citizens.
The schedule of activities is found below. Activities with an asterisk are free and open to the public
Tuesday, October 15
Two movement workshops at Mont Pleasant Middle School from 1:09pm to 2:42pm
Two dance technique classes at Schenectady High School from 1:08pm to 2:41pm
An advanced modern dance class at Skidmore College from 3:40pm to 5:30pm
An intermediate ballet class in Union’s Henle Dance Studio from 5pm to 6:30pm
Wednesday, October 16
An intermediate modern dance class at Skidmore College from 10:10am to 12pm
An intermediate ballet class at Emma Willard School from 3:45pm to 5:15pm
A movement workshop for Proctors’ Acting Academy from 4:15pm to 5:15pm
An intermediate modern class in Union’s Henle Dance Studio from 5pm to 6:30pm
Thursday, October 17
An introductory modern class at UAlbany from 10:30am to 11:50am
An adult/senior class in Union’s Henle Dance Studio from 11:15am to 12:30pm
Two lec/dems at the Albany Academies between 11:30am and 12:30pm
A mixed genre exploratory class for adults & seniors at SPAC’s School of the Arts from 12:45pm to 2pm*
An open master class in Union’s Henle Dance Studio from 6pm to 7:15pm*
A lec/dem in Union’s Henle Dance Studio from 7:30pm to 8:30pm*
Tickets for the Eisenhower Dance Detroit performance are $35 and $45 and may be purchased in person at The Egg box office at the Empire State Plaza, by calling 518-473-1845 or online.
Tuesday, October 1st saw The Red Clay Strays and The Glorious Sons make a stop at Brooklyn Paramount on their “These Moments Tour,” playing a sold-out show to almost 3,000 fans.
The Glorious sons are a rock band based in Ontario with Brooklyn Paramount their first show on the “These Moments Tour,” singing their most popular songs and sharing the story’s behind creating each song with each other.
The Glorious Sons were the perfect opening act as few fans knew them prior, but after hearing them live, the audience was drawn in by songs like “My Poor Heart” and “Pink Motel” and became new Glorious Sons fans.
The Red Clay Strays are a country rock from Mobile, Alabama who gained popularity with their hit single “Wondering Why,” a song about the bands commitment to their music and success and the toll it has taken on their romantic relationships. The song opens with the stark contrast between the protagonists and two lovers upbringings. The chorus shows the amount of love this person has for the protagonist as they just sit back and allow the band members to follow their dreams, all left “Wondering Why.” Red Clay Strays have since put out another album and have been touring around the world sharing their unique music.
Brandon Coleman (lead singer) shared a story of them previously performing at Brooklyn Paramount to a very small crowd, yet this time performing to a sold-out crowd. Throughout the show you could see the band’s passion for the music they are creating together, each song having a meaning and backstory related to the band’s history.
The Glorious Sons Setlist: My Poor Heart, White Noise, Josie, Mama, Mercy, Mercy, Kill the Lights, S.O.S (Sawed Off Shotgun), Ruby, Pink Motel
The Red Clay Strays Setlist: Ramblin’, Moment of Truth, Stone’s Throw, Disaster, Good Godly Woman, Heavy Heart, Between the Lines, Drowning, Devil in my Ear, Sunshine, Ghosts, I’ll Drown in My Tears (Sonny Thompson Cover), No one Else Like Me, I’m Still Fine, Doin’ Time, Will the Lord Remember Me, God Does, Moments, Wondering Why, Don’t Care
Albany buzzed with excitement from beyond the solar system as Big Something and Consider the Source brought their signature high-octane and other-worldly grooves to Albany on a brisk Wednesday night, October 2, as part of the Headspace 2024 Tour.
Lark Hall, recently revitalized by the set designers of HBO’s The Gilded Age, provided an intimate yet stunning backdrop for the night of sonic exploration and some seriously heady jams.
Ready for Blast-Off: Big Something and Consider the Source bought the Headspace tour to Lark Hall on 10/2/24.
NYC’s Consider the Source kicked off the evening, captivating the audience with their intricate fusion of sci-fi inspired progressive rock, jazz, and world music. The dynamic power trio, comprised of virtuoso guitarist Gabriel Marin, bassist John Ferrara, and drummer Jeff Mann, delivered an exhilarating performance that showcased both their next-level musicianship as well as their entire new album, The Stare, which was released in mid-September. The band had previous played Lark in April of 2022 as part of their intimate acoustic hybrid run, but on this night, it was straight balls-to-the-wall electric.
Bassist John Ferrara, and drummer Jeff Mann performing with Consider the Source in Albany on 10/2/24.
Continuing to push the boundaries of instrumental music with complex time signatures and intricate melodies, songs like “Trial By Stone” and “Mouthbreather” shook the venue to its core with their heaviness, while simultaneously creating a sonic tapestry that was both captivating and challenging to the listener.
From Marin’s expressive and distinctive double-neck guitar playing, to Ferrara’s melodic and thunderous finger-tapping bass solos, to Mann’s exceptionally creative drum fills, Consider the Source was firing on all cylinders at Lark Hall and it showed.
Treating the audience to spellbinding renditions of “Preemptive Vengeance” and “Unfulfilled and Alienated,” the intricate interplay between each member created a cosmic journey that resonated with both the soul and the mind. If you haven’t seen this band play before, you really need to. Helping the audience slip into the perfect headspace for what was still to come, Consider the Source was an excellent choice to kick the party off proper.
Watch fan shot footage of Consider the Source perfomring “Unfulfilled and Alienated” at Lark Hall on 10/2/24.
Transitioning to Big Something’s headlining set with a glorious circus-like introduction by crew member William, the colorful Burlington, North Carolina six-piece band delivered a masterclass in genre-blending with their unique brand of space-infused funk rock. Supporting the release of their ambitious new album, Headspace, the band is currently riding a wave of creativity and evolution.
Consisting of founding members Nick MacDaniels (guitar, vocals) and Jesse Hensley (guitar, vocals), the mesmerizing multi-instrumentalist Casey Cranford on saxophone and electric wind instrument (EWI), alongside the dynamic rhythm section of Ben Vinograd (drums), Matt Laird (bass), and Josh Kagel on keys and trumpet, Big Something have firmly established themselves as tried and true veterans of the jam band scene and a popular staple at music festivals around the country, including their own, The Big What, hosted annually in Mebane, NC.
Big Something made their Lark Hall debut on Wednesday, 10/2/24.
Back in the Capital Region for the first time since playing the Putnum Place in May of 2019, the band wasted no time reminding us they still can throw down with the best of them. Showcasing layers of sonic intricacy, catchy hooks and danceable grooves on the opening combo of “Algorithm” and “Love Generator” form 2014’s Truth Serum, Big Something then surprised everyone by slipping into a cover of “Blast Off” by another fan-favorite funk band, Lettuce.
Nick MacDaniels performing with Big Something at Lark Hall on 10/2/24.
Taking a moment to introduce the band and thank everyone for coming out on a Wednesday, the left-handed MacDaniels, who could be the long-lost brother of actor Michael Cera, hyped up the latest Big Something album, Headspace, before going into its opening track.
Until this point in the show, lead guitarist Jesse Hensley had been relatively reserved, but as “The Mountain” climbed to its peak, so did Jesse, uncorking an absolutely monstrous solo as the band reached its first true stretch of sustained improvisation.
The Curse of Julia Brown: Gabriel Marin of Consider the Source sat in with Big Something on 10/2/24.
Name dropping longtime friends and tour buddies Andy Frasco and The U.N. prior to “Clouds,” a song the two bands collaborated on, Big Something would get some more help from their friends in Consider the Source, inviting out guitarist Gabriel Marin to sit in on 2013’s “The Curse of Julia Brown.” resulting in one of most unique and memorable highlights of the show.
With the buzz in the hall now reaching a fever pitch, Big Something took the vibe even higher, reaching into their back catalog and pulling out their biggest hit to date next, “A Song For Us,” which all but blew the roof off the place. You can watch fan shot footage of that in the clip below.
Watch Big Something perform “A Song For Us” live at Lark Hall on 10/2/24.
Big Something’s performance was a celebration of their growth, with tracks from Headspace seamlessly woven into the fabric of their established hits with songs like “Megalodon” blending beautifully into their cover of David Bowie’s “Moonage Daydream.” With the always smiling MacDaniels’ charismatic stage presence igniting the crowd, the synergy between the band members was palpable, as they effortlessly navigated through their setlist, blending styles from jam rock to funk and even hints of reggae and electronic influences.
Big Something’s Casey Cranford plays the EWI 4000 at Lark Hall on 10/2/24.
Stealing the show all night long though was multi-instrumentalist Casey Cranford on saxophone and the electric wind instrument. Running his EWI 4000 through an array of effects pedals, Cranford effortlessly created sounds and textures straight from another dimension.
That should come as no surprise, as the band has long had a fascination with all things extraterrestrial. From their alien-spired logo, to samples referencing U.F.O.’s and crash landings to the stuffed little green man sitting on top of the amps throughout the show, Big Something has crafted a stellar, interstellar sound fit for the future and a galaxy far, far away.
Big Something made their Lark Hall debut on Wednesday, 10/2/24.
Adding depth to the evening was the poignant backdrop of recent flooding in North Carolina, which has forever changed the landscape of the bands home turf and brought an air of solidarity among the musicians and fans. Seemingly using the music as a means to escape, the band never directly referenced Hurricane Helene, but noticeably shied away from playing water-based favorites like “The Undertow,” “Waves,” “Starts to Rain,” and “The Flood.” Instead Big Something would close out the main portion of their set with a big version of the infectious hand-clapper, “Timebomb.”
After a bit of deliberation backstage, the band would return for a final curtain call encore of “Tumbleweed,” the title track from their 2017 album of the same name. Afterwards, the band made sure to let everyone in Albany know how appreciative they are for the support and could be seen hanging out late into the night taking selfies and signing limited edition posters and tour merch.
As the night drew to a close, the concert proved to be more than just a display of talent, but a celebration of the power of music to unite and uplift. Both Big Something and Consider the Source left the stage with the audience buzzing, showcasing that in a world often overshadowed by challenges, the joy of live music continues to shine brightly.
The Headspace Tour continues on through October, and fans in Albany can only hope for a swift return of both bands, where their cosmic sounds will continue to resonate long after the lights go down.
Big Something | October 2, 2024 | Lark Hall | Albany, NY
Setlist: Intro by William, Algorithm, Love Generator>Blast Off [1] , The Mountain, Clouds, The Curse of Julia Brown [2] , Song For Us, Megalodon>Moonage Daydream [3] , Timebomb.
Encore: Tumbleweed
Notes:
[1] Lettuce
[2] w/ Gabriel Marin (Consider The Source) on guitar
[3] David Bowie
Consider the Source | October 2, 2024 | Lark Hall | Albany, NY
Setlist: Trial By Stone, I Can See My Eyes, Mouthbreather, New World Čoček, Preemptive Vengeance. Unfulfilled and Alienated.
