Saratoga Spring’s Universal Preservation Hall has a riveting slate of shows coming up this fall, spanning from Sept. 13 through Dec. 21. The lineup includes comedy shows, concerts, theatricals, and holiday performances.
Fall 2024 brings a versatile group of performers to Universal Preservation Hall. The first new show announced is comedian, Gary Gulman on September 13, who’s making a stop as part of his “Misfit” comedy tour. Gulman is widely beloved by many comedy fans and has performed in prestigious venues all over the country.
On Sept. 26, Grand Ole Opry member, Chris Janson will bring his hits like the four-time platinum “Buy Me A Boat,” and the nominee of CMA Song of the Year, and winner of ACM Video of the Year, “Drunk Girl.” Janson’s shows are lively and entertaining, as Rolling Stone declared him “a live legacy in the making.” This show is not one to miss and fans of country and music in general can look forward to an amazing performance.
Toward the end of the season, UPH will host a series of holiday shows, as it gets closer to Christmas. These events include “Merry Swift-mas: Taylor Swift Holiday Dance Party” on December 6 and a special Christmas show from country and bluegrass duo, The Gibson Brothers on December 21, the last show of the year. Moreover, the variety of shows allows people with any musical interests to experience a show in the Christmas Spirit.
Other announcements made are singer-songwriting duo, The Bengsons, with The Keep Going Concert as well as beloved country singer, LeAnn Rimes.
For the full Universal Preservation Hall fall show and event schedule and to purchase tickets visit atuph.org
UPH Newly Announced Fall Shows
September 13- Gary Gulman
September 26- Chris Janson
November 8- The Bengsons
November 10- LeAnn Rimes
December 6- Merry Swift-mas: Taylor Swift Holiday Dance Party
Continuing the tradition of capturing the excitement of The Band’s historic 1976 Thanksgiving concert at the Winterland Ballroom in San Francisco, Blackbird Presents has announced Life is a Carnival: Last Waltz Tour ‘24. A celebration of what many have hailed as the greatest live concert event of all time, this year’s tour will also celebrate the legacy of The Band’s co-founder, Robbie Robertson.
Over forty-five years ago, The Band performed their final concert to a sold-out crowd with a who’s-who of music royalty in attendance. The evening culminated with “Don’t Do It,” The Band’s cover of Marvin Gaye’s “Baby Don’t You Do It.” After the last note, Robbie Robertson, The Bands’ lead guitarist, songwriter, and founding member, said, “Goodnight. Goodbye,” walking off stage, forever immortalizing this epic event.
To adequately pay homage to The Band’s legendary performance, Life is a Carnival: Last Waltz Tour ‘24 will feature a star-studded lineup led by Ryan Bingham, Jamey Johnson, Mike Campbell, Benmont Tench (Tom Petty & The Heartbreakers), Don Was, John Medeski, Dave Malone, Terence Higgins, Cyril Neville, Mark Mullins and The Levee Horns (featuring the original horn arrangements of Allen Toussaint). Additionally, Lukas Nelson will be joining the tour for three special shows in Colorado. The multi-city tour will make a stop at the Beacon Theatre in New York on November 6 and The Capitol Theatre in Port Chester on November 7 and 8.
“This band, made up of these artists, playing these songs, is what Don and I dreamed of when we began planning this tour. Now the dream is a reality. Do not miss these shows!” said Keith Wortman, creator and producer of The Last Waltz Tour franchise.
A portion of the proceeds from the tour will be donated to local charities.
Tickets go on sale Friday, August 16 at 10 a.m. Eastern Standard Time. For more details, visit The Last Waltz Tour’s website here. See below for all tour dates.
The Band’s 1976 Thanksgiving concert at the Winterland Ballroom in San Francisco
The Last Waltz Tour 2024 Dates & Locations
Saturday, October 19 – The Warfield, San Francisco, CA
Tuesday, October 22 – Revolution Concert House and Event Center, Boise, ID
Thursday, October 24 – Mission Ballroom, Denver, CO
Friday, October 25 – Boulder Theater, Boulder, CO
Saturday, October 26 – Vilar Performing Arts Center, Beaver Creek, CO
Tuesday, October 29 – Orpheum Theater, Omaha, NE
Wednesday, October 30 – Coronado Theatre, Rockford, IL
Friday, November 1 – The Louisville Palace, Louisville, KY
Saturday, November 2 – Brady Music Center, Cincinnati, OH
Monday, November 4 – Count Basie Center for the Arts, Red Bank, NJ
Wednesday, November 6 – Beacon Theatre, New York, NY
Thursday, November 7 – The Capitol Theatre, Port Chester, NY
Friday, November 8 – The Capitol Theatre, Port Chester, NY
Saturday, November 9 – The Met Philadelphia, Philadelphia, PA
Tuesday, November 12 – Orpheum Theatre, Boston, MA
From Set. 14-21, the Rockland County Jazz & Blues Society will host the Nyack Jazz Week with shows in Downtown Nyack and Piermont. The week will include the Nyack Jazz Festival presented by Maureen’s Jazz Cellar, as well as shows at The Turning Point in Piermont and Black Parakeetz in Nyack.
The Nyack Jazz Week never fails to create a good time and an exciting environment. The week will include plenty of art, food, and music offering something for everyone. There will be plenty of artisan vendors selling a variety of products, food trucks, and a wine and beer garden. The creative and beautiful town of Nyack is undeniably the perfect location for the week of jazz.
On Sept. 15 from 1-6 PM, The Nyack Jazz Festival will have about eight musicians participating throughout the day, including Swedish trombone player and multi-instrumentalist, Gunhild Carling. Saxophonist, Ravi Coltrane, who co-owns the label RKM Music, and is the son of the legendary John Coltrane, will also perform. Renowned jazz drummer Jeff “Tain” Watts along with David Budway, and Neal Caine will join Coltrane. Lastly, Middle Eastern jazz fusion band, Baklava Exress will perform various styles of genre-bending jazz.
Other shows include Gunhild Carling on Sept. 14, The Steve Slagle Quartet on Sept. 20, and Joe Lavano Quartet on Sept. 21 at Maureen’s Jazz Cellar. John Richmond’s Jam Session with guest Duane Eubanks on Sept. 16 and Scott Reeves Big Band on Sept. 19 will happen at The Turning Point. On Sept. 18, Shirley Crabbe will play at Black Parakeetz.
Chris Yacopino
To purchase tickets for the shows, inquire directly at the respective venues. For more information about the Nyack Jazz Festival, visit www.maureensjazzcellar.com.
Nyack Jazz Week 2024
Maureen’s Jazz Cellar- Nyack
Saturday, September 14 at 7 PM & 9 PM- Gunhild Carling with Idun Carling, David Budway, Neal Caine, and Daniel Glass
Sunday, September 15 at 1-6 PM- Nyack Jazz Festival
Grateful Dead pianist Tom Constanten has announced a farewell tour spanning September and October 2024. This tour alongside Live Dead & Brothers will give deadheads one last opportunity to see the legendary pianist live in concert. Among the tour dates are four performances across New York state.
Tom Constanten was born in Long Branch, New Jersey in 1944. Following enrollment at UC Berkeley, Constanten met future Grateful Dead bassist Phil Lesh, becoming further involved in music. This musical career soon led Constanten to study across Europe, playing alongside legends of modern classical, like Karlheinz Stockhausen and Steve Reich. Constanten then followed up his studies with a brief stint in the US Air Force.
Following his return to the US, Constanten immediately joined the Grateful Dead on tour. His debut with the band was a November 23, 1968 performance at Athens, Ohio’s Memorial Auditorium. During his three-year career with the band, Constanten played keyboards on three Grateful Dead recordings: Anthem of the Sun, Aoxomoxoa, and Live/Dead. Constanten’s stint with the Grateful Dead ended with an April 28, 1971 performance at the Fillmore East in New York.
Following his departure from the Grateful Dead, Constnaten remained close to his bandmates while pursuing other artistic endeavors. Since 1971, he has recorded alongside the Incredible String Band, Jefferson Starship, and more. In 1994, Constanten was inducted into the Rock and Roll Hall of Fame alongside the other members of the Grateful Dead.
Tom Constanten alongside Jerry Garcia
Now, after more than five decades of touring, Constanten will make a final farewell tour across the United States. Supergroup Live Dead & Brothers will join Constanten on stage throughout the tour. The band consists of Grateful Dead and Allman Brothers collaborators, dedicated to celebrating Constanten’s legacy. Among the musicians are the Allman Betts Band’s Berry Duane Oakley and Les Dudek. Also featured are Grateful Dead collaborators Mark Karan, Scott Guberman, and Pete Lavezzolli.
The tour will begin on September 6th in Irving, Texas, before making its way Northeast. Along the two month-long tour, Constanten will make four stops across New York State. The first stop comes in Buffalo’s Sportsman’s Tavern on September 26th. Following this performance is a September 27th show at Albany’s Empire Live. The 1000-person venue features state-of-the-art lighting and sound equipment, and a large stage, making it one of Albany’s premier venues.
Constanten will return to New York on October 9th with a show at Canandaigua’s Fort Hill Performing Arts Center. The venue’s features a 387-person orchestral theater dating back to 1928. The venue’s impeccable sound makes it one of the top theaters in the Finger Lakes region. Constanten will close out his tour with an October 12th performance at Syracuse’s prolific Westcott Theatre.
Across these tour dates, Constanten and Live Dead & Brothers will perform an eclectic mix of rock, jazz, and blues. These shows will act as a testament to the legacy of the Grateful Dead and Allman Brothers catalogs, featuring their trademark improvisational jams.
Tickets for Constanten’s farewell tour shows are currently on sale. For more information on tickets, visit the link here.
Tom Constanten Tour Dates
9/6 – Carpenter Hall – Irving, TX
9/7 – Cailloux Theater – Kerrville, TX
9/17 – Perot Theatre – Texarkana, TX
9/18 – Cullen Theatre – Houston, TX
9/19 – Greenville Municipal Auditorium – Greenville. TX
9/20 – Globe-News Center for the Performing Arts – Amarillo, TX
9/26 – Sportsman’s Tavern – Buffalo, NY
9/27 – Empire Live – Albany, NY
9/28 – Pat Garrett Amphitheater – Strausstown, PA
9/29 – The Hamilton – Washington, DC
10/1 – Sellersville Theater – Sellersville, PA
10/2 – Beacon Theatre – Hopewell, VA
10/5 – Rams Head on Stage – Annapolis, MD
10/8 – The Empire – Belleville, ON
10/9 – Fort Hill Performing Arts Center – Canandaigua, NY
10/10 – Jergel’s Rhythm Grille – Warrendale, PA
10/11 – Tussey Mountain Amphitheatre – Boalsburg, PA
It was a night of sonic exploration and psychedelic virtuosity on Monday, August 12, when Les Claypool and the mighty Primus made their return to the Saratoga Performing Arts Center. In a concert experience that definitely did not suck, the music was as eclectic as it was electrifying. Along with the ageless and genre-defying Primus, the stacked bill also included the progressive rock grandeur of Coheed and Cambria, and the surreal cabaret experience of Puddles Pity Party. This unlikely combination of acts came together to create a night that was both surreal and unforgettable.
Here Come The Bastards: Primus frontman Les Claypool performing in Saratoga Springs on 8/12/24.
Primus has always been a band that defies categorization. Fronted by the inimitable Les Claypool, Primus burst onto the scene in the late 1980s, blending elements of funk, metal, punk, and experimental rock into a sound that is uniquely their own. Their music is characterized by complex rhythms, bizarre lyrical narratives, and, most notably, Claypool’s virtuoso bass playing. Over the years, Primus has cultivated a devoted following, attracting fans of both hard rock and improvised jams, their live shows are known for their deeply hypnotic grooves and intense, energetic peaks. At SPAC, Primus delivered a set that was both nostalgic and forward-looking. After taking the stage to their customary Danny Elfman / Pee Wee’s Big Adventure walkup theme known as “Clown Dream,” the band would immediately surprise fans with an unexpected sit-in from Puddles Pity Party, the 6’8” sad clown with the golden voice. Delighting fans with a powerful cover of the Dio classic “Holy Diver,” Primus and friends made it clear they weren’t clowning around in Saratoga, and to strap in for a rollercoaster ride of the unexpected.
Holy Diver: Primus opened the show with a little help from from Puddles Pity Party on 8/12/2024.
Following things up with the heavy-hitting 1993 Pork Soda favorite, “Nature Boy,” Claypool’s basslines were as thunderous as ever, and his off-kilter vocals added an extra layer of strangeness to the proceedings. “Golden Boy” would be lone song played from The Brown Album before “My Friend Fats” took the honors as first extended jam of night, giving guitarist Larry “Ler” LaLonde ample time to showcase his dizzying effects pallet and technical chops, while Claypool’s frantic finger work on the high notes echoed through the pavilion in the most surreal and satisfying way.
C’mon kiddies, gather round: Primus performing at Space on 8/12/2024.
As the lights dimmed between songs and the fog machine continued working overtime, a hooded figure emerged from the side of the stage. Clutching a glowing skull and presenting it to the crowd as if it processed mystical powers, the identity of the druid was soon revealed as Claudio Sanchez of Coheed and Cambria! Teaming up with Primus for the second surprise sit-in of the night, Sanchez’ distinct voice was perfectly suited for the cover of Rush’s “Cygnus X-1.” Bouncing back with the standout song of the night, a deep dive into “Professor Nutbutter’s House of Treats” had all the old school Primates savoring every second. The crowd, a mix of dedicated followers and curious newcomers, were fully engaged, swaying and headbanging to the complex grooves. The visual experience was equally impressive, with trippy, surrealist animations projected behind the band, adding to the sense of being on a musical journey through the weird and wonderful.
Claypool for President: Bassist Les Claypool performing at SPAC on 8/12/24. Would you vote for this man?
Taking a moment to acknowledge the audience, Claypool would remark that it’s been quite a long time since they last played this historic venue. Nostalgic fans were quick to remember the bands appearance at SPAC during the H.O.R.D.E. days in the late 90’s and their many appearances at the Palace Theatre in Albany in the years since, but indeed, it had been awhile since they’ve played a venue of this capacity. Interrupted by a fan requesting “Tommy the Cat,” Claypool would immediately shoot them down by saying, “Did you just say Tommy the Cat? That’s funny because that’s exactly what we’re not going to play.” Instead going with the crunchy punch of “Hamburger Train” anchored by the powerful hands of drummer Tim “Herb” Alexander. Leaving the stage and returning in a horse mask, Claypool would take to his electric standup bass for the particularly poignant cautionary tale of “Jilly’s on Smack.” Ending the tune on a repeating loop, the band created a dark ambience that felt like it could take you in any direction. Choosing once again to return to the Pork Soda era, “The Ol’ Diamondback Sturgeon (Fisherman’s Chronicles, Pt 3)” seamlessly picked up where Jilly left off. Sensing a bit of a shift in momentum, Primus would strike back next with one of their most iconic songs, “Jerry Was a Racecar Driver,” which was famously featured over and over on the original Tony Hawk’s Pro Skateboarder game. Sending fans into a frenzy every time he shouted “go!” the bolted down seats in the amphitheater where the only thing stopping a full-scale mosh pit from breaking out. Jerry would bring the main portin of the show to close and leave fans screaming for more.
House of Treats: Primus pleased the SPAC crowd with a tasty Professor Nutbutter on 8/12/24.
Returning for an encore and with lots of fan favorites still left on the table, Primus would select the title track of their latest EP, 2022’s “Conspiranoia,” which they also played their last time in town at the Palace Theatre. Going all in on the near twelve-minute jam, Claypool would march circles around the stage, stomping his feet to the songs monstrous bass lick while humorous soundbite samples of random conspiracy theories pipped over the PA. Segueing directly into the relentless rhythm of “Here Come the Bastards,” Primus would ultimately send fans home happy with one of their biggest hits, “Wynona’s Big Brown Beaver.” A well-curated mix of classic tracks and deeper cuts, satisfying both long-time fans and newer listeners, Primus never disappoints.
Watch fan shot footage of Primus performing “Wynona’s Big Brown Beaver” in Saratoga Springs 8/12/24.
If Primus represents the quirky and experimental side of rock, Coheed and Cambria bring a sense of epic grandeur to the table. Formed in 1995, Coheed and Cambria are known for their sprawling, concept-driven albums that weave together elements of progressive rock, metal, and emo. Their music often tells the story of *The Amory Wars*, a science fiction narrative that spans multiple albums and has even been adapted into comic books.
Claudio Sanchez of Coheed and Cambria performing in Saratoga Springs on 8/12/24.
At SPAC, Coheed and Cambria delivered a performance that was nothing short of cinematic. Frontman Claudio Sanchez’s soaring vocals and intricate guitar work were the perfect match for the band’s complex compositions. The set was a rollercoaster of emotions, with moments of quiet introspection giving way to explosive, arena-sized choruses. Tracks like “Welcome Home” and “The Suffering” were particular highlights, with the audience singing along passionately.
Coheed and Cambria opening for Primus on 8/12/24.
At one point, the band would pause to reflect on their history in the area, with multiple mentions of their early gigs at the since burned down Saratoga Winners venue, even dedicating one of their new songs to the man who booked them way back then. With a sound that still resonates all these years later, there was a noticeable contingent in the audience decked out in sci-fi and comic book-inspired attire, clearly long-time fans of the band and their intricate storylines. Coheed’s set was full of high energy, hair whips and bombastic solos, that at one point even saw Sanchez playing his double-neck guitar behind his head for added showmanship. For the beers drinkers in attendance, the band also brought along their limited edition IPA collaboration with Six Point Brewery called The Liars Club, inspired by the bands album Vaxis II: Window Of The Waking Mind.
Watch fan shot footage of Coheed and Cambria peforming “Welcome Home” at SPAC on 8/12/24.
Puddles Pity Party, the opening act of the evening, was perhaps the most surprising element of the night. For the uninitiated, Puddles Pity Party is the alter ego of Mike Geier, a 6’8” tall clown with a melancholy demeanor and a voice that can only be described as stunning. Puddles rose to fame through viral videos and appearances on America’s Got Talent, where his deep, emotive voice and unique takes on popular songs won him a legion of fans.
Puddles Pity Party performing in Saratoga Springs on 8/12/24.
At SPAC, Puddles Pity Party delivered a set that was both hilarious and deeply moving. Dressed in his trademark white clown costume, Puddles performed a mix of covers and original songs, each delivered with a combination of deadpan humor and genuine emotion. Highlights included his renditions of “Ring of Fire,” The Who’s “Pinball Wizard” and a version of Ozzy’s Osbourne’s “Crazy Train” mashed up with Adele’s “Let It Go.” After a transformative “Space Oddity” homage to David Bowie was met with resounding approval, things would get downright whacky as Puddles then professed his love for actor Kevin Costner in bizarre hybrid of “Stairway to Heaven” meets Celine Dion’s “My Heart Will Go On,” while images of the Costner 1995 Hollywood flop Waterworld projected onto the big screens. Suddenly, the music would bust into Metallica’s “One” for the high-intensity outro to a very fun set. The audience, initially unsure of what to expect, quickly warmed to the sad clown’s unique brand of entertainment. By the end of his set, there wasn’t a frown to be found.
Puddles Pity Party performing in Saratoga Springs on 8/12/24.
From die-hard Primus fans wearing vintage tour shirts to Coheed and Cambria followers letting their sci-fi geek flags fly, the audience was a melting pot of music lovers. The diversity in the crowd reflected the broad appeal of the evening’s acts, with each band bringing their own unique following to the venue. Despite the differences in musical taste and style, the atmosphere was one of mutual respect and shared enjoyment, with everyone there to appreciate the artistry on display. Whether you were there to witness Les Claypool’s bass wizardry, Claudio Sanchez’s epic storytelling, or Puddles’ deranged humor, there was something for everyone. Complete with surprise collaborations and stunning visuals, it was another spectacular night a SPAC and one that is sure to leave a lasting impression on anyone who attended.
Primus | August 12, 2024 | SPAC | Saratoga Springs, NY
Setlist: Clown Dream Intro, Holy Diver *, Nature Boy, Golden Boy, My Friend Fats, Cygnus X-1**, Professor Nutbutter’s House of Treats, Hamburger Train, Jilly’s on Smack, The Ol’ Diamondback Sturgeon (Fisherman’s Chronicles, Pt 3), Jerry Was a Racecar Driver.
Encore: Conspiranoia, Here Come the Bastards, Wynona’s Big Brown Beaver.
*Dio cover featuring Puddles Pity Party
**Rush cover featuring Claudio Sanchez of Coheed and Cambria.
Coheed and Cambria | August 12, 2024 | SPAC | Saratoga Springs, NY
Setlist: In Keeping Secrets of Silent Easrth:3. Ten Speed (Of God’s Blood and Burial), The Willing Well I: Fuel for the Feeding End, Key Entity Extraction V: Sentry the Defiant, A Favor House Atlantic, Blindside Sunny, The Crowing, The Liars Club, Shoulders, Welcome Home.
Puddles Pity Party | August 12, 2024 | SPAC | Saratoga Springs, NY
Setlist: Ring of Fire, Pinball Wizard, Crazy Train > Let It Go, Space Oddity, Stairway to Heaven> My Heart Will Go On, One Outro.
The Sembrich, Bolton Landing’s historical museum and music venue, announced their mid-August event schedule. Featuring violin guitar duo ArcoStrum, a James Joyce inspired opera, and an acclaimed Polish violinist, the Sembrich has an exciting month ahead.
The Sembrich boasts a variety of musical events, a museum with a rich history, and indescribable natural beauty. Whether it’s a new museum exhibition or their annual music festival, The Sembrich always offers something to look forward to.
On August 17, acclaimed Polish violinist Kinga Augustyn will perform at The Sembrich. Augustyn will perform a program of Polish masterworks, including Saint-Saëns’ “Introduction and Rondo Capriccioso,” Op. 28, Kreisler’s “Three Old Viennese Dances” and Polish masterworks by Henryk Wieniawski and Grażyna Bacewicz, accompanied by Alla Milchtein.
Richard Wargo, The Sembrich’s artistic director, said, “Kinga was a part of our 2021 festival ‘Nature and Music,’ when she delighted listeners with nature-inspired violin melodies… This year’s performance promises an elegant evening with the celebrated musician and renderings of several rarely performed violin masterworks here in the Adirondacks.” Tickets are available at the following link.
Award winning instrumental duo ArcoStrum will bring their exhilarating mix of music from around the world to The Sembrich on August 21. Guitarist TY Zhang and Violinist Strauss Shi met at Julliard, and discovered a personal and musical chemistry that would enhance their charismatic stage performances and immense technical proficiency. Committed to pushing boundaries, ArcoStrum creates a one of a kind performance by combining personal compositions with traditional Chinese instrumental music and 21st Century rock. Tickets are available here.
Karina Rodriguez
The James Joyce inspired musical At That Hour, Act One will be performed on August 24. Composed by Richard Wargo, the opera draws inspiration from Joyce’s poetry and prose. Wargo is an experienced composer who has drawn from literature before, namely when composed an opera inspired by classic Anton Chekov. Wargo has also served as the Sembrich’s Artistic Director and Composer-In-Residence since 1991, and write the opera as part of The Sembrich’s centennial anniversary. Tickets are available here.
A video about The Sembrich’s centennial celebration is available below.
On a picture-perfect summer evening in Schenectady, the vibrant atmosphere of Frog Alley Brewing was electrified by a magnificent performance from Andrew Bird. An artist whose unique blend of folk, indie rock, and classical music has earned him a devoted following over the years, this stop marked his first time playing in the Electric City. Packing the place from the ground on up to the balcony, it was a testament to Bird’s enduring artistry and widespread appeal. Playing a diverse setlist that spanned his rich discography and showcased his eclectic musical talents, his dynamic and colorful debut was nothing short of delightful.
Andrew Bird performing in Schenectady, NY on 8/13/2024.
Opening for Andrew Bird was the legendary Malian duo Amadou & Mariam. The Grammy nominated couple, both of whom are legally blind, have been making music together since the 1970s, blending traditional Malian sounds with rock, blues, and pop influences. Their music is joyful and rhythmic, often addressing social and political themes with a fun touch. Amadou & Mariam’s performance was a perfect complement to Bird’s, offering a lively, soulful, and fun introduction to the evening. Despite obvious cultural barriers, the Frog Alley crowd was fully engaged from the start, and by the end of the hour long set, the entire audience was up on their feet and dancing like they were having the time of their lives, further proof that music truly is a universal language. After a brief intermission, it was finally time to take flight with Andrew Bird.
Amadou & Mariam, known as “the blind couple from Mali,” opened for Andrew Bird at Frog Alley Brewing on 8/13/24.
Andrew Bird’s musical journey has been nothing short of fascinating. A classically trained violinist, Bird has released 16 studio albums, with his music evolving from swing jazz and traditional folk to more intricate and experimental sounds. What sets Bird apart is not just his prolific output but also his innovative approach to music-making. His violin often serves as a multifaceted instrument—strummed like a guitar, plucked like a mandolin, and bowed in traditional and unorthodox ways. Bird’s performances are also characterized by his whistling, which is as nuanced and expressive as any instrument. Fans are also quick to notice his specially-designed spinning speaker known as the Janus Horn that sits center stage during every show. Featuring a two-mouthed horn that spins at various speeds during operation, it gives music played through it a whirling Doppler effect that is truly original and unquestionably psychedelic.
Andrew Bird performing in Schenectady, NY on 8/13/2024.
Opening the show with a pair of songs from his brand new album Sunday Morning Put-On, the easy lounge swing of “Softly, as in a Morning Sunrise” set the mood, while Bird’s buttery smooth voice had the crowd hanging on every delicate word in “I Fall in Love Too Easily.” Performing one of his oldest Bowl of Fire-era numbers next, Bird’s spoken word delivery and theatrical gestures during “Why?” simultaneously had the crowd amused and impressed, just as it has since being released in 2001.
It’s not a spell or a curse you put on me Or the way you make me smile so tenderly But how I wish it was your temper you were throwing Damn you for being so easygoing
Lyrics from “Why?”
A longtime fan of Andrew Bird’s music, I’ve seen him perform many times over the years. A unique thing about him though, is every single time has been with a different cast of supporting players. Opting to play this summer tour as a trio, Bird aligned himself with a pair of ultra-talented and distinguished musicians in New York-born drummer Ted Pool, and playing both standup bass, electric bass and acoustic guitars, was Alan Hampton. Each member bringing their unique flair, creating a dynamic interplay that amplified Bird’s intricate compositions, the chemistry between them was magnetic and hearing all three voices sing harmonies together was simply beautiful.
Andrew Bird, Alan Hampton and Ted Pool performing together in Schenectady on 8/13/24.
Bird’s lyrics have always been one of the most compelling aspects of his music. They are poetic, often cryptic, and rich with metaphor, exploring themes of existential dread, love, and the complexities of modern life. “Bloodless,” a personal favorite from 2019’s My Finest Work Yet always stands out for its layered momentum, deep groove and even deeper lyrical content that critiques the current political climate with a subtlety that leaves space for the listener to interpret the meaning. This song becomes more and more relevant every time I hear it.
“I’m keeping mine with the altruists I’m putting my weight behind the dancer I know it’s hard to be an optimist When you trust least the ones who claim to have the answers
It’s an uncivil war, bloodless for now”
-Lyrics from “Bloodless”
Another new song, “You’d be So Nice to Come Home To” felt perfect, as if were written for this exact kind of night, with Bird crooning out “Under an August moon burning above, you’d be so nice, you’d be paradise to come home to and love.” Following his hit single “Sisyphus,” we would enter the Inside Problems portion of the show. Written and recorded during the pandemic, “Atomized,” and “Underlands” further transported the Electric City to a surreal state, before Bird would pause to banter with the crowd for a bit. Switching over from violin to his vintage Gibson electric guitar, he would claim the next song was written for a friend that happens to have a birthday tomorrow. Then launching into one of loudest and most rocking songs of the evening, the vibe during “The Night Before Your Birthday” felt more like a celebration than a concert.
“You’d be So Nice to Come Home To” had all the feels on 8/13/24.
Bird’s use of language is masterful; his lyrics often juxtapose archaic phrases with contemporary issues, creating a timeless quality. This linguistic dexterity is part of what draws a diverse crowd to his shows—fans who appreciate music that challenges as much as it entertains. Setlist staple, “A Nervous Tic Motion of the Head to the Left” was a perfect example of this, while the lush and layered textures of “3 White Horses” delves into themes of mortality, using vivid imagery to create an atmosphere of eerie calm. “Give It Away” and “Orpheo Looks Back,” a pair of songs from 2012’s Break It Yourself, would feature Alan Hampton switching from bass to acoustic guitar and sharing vocal duties on the main microphone with Bird. The two of them clearly having a blast together, singing with smiles and passion. Bird would then tell the crowd he’s been working on some old classical jazz tunes with these fellas, and they’d like to try one for us called “Caravan,” by the legendary Duke Ellington. Finally, bringing the main portion of the show to a close was another personal favorite, “Tables and Chairs.” Offering a glimpse into a post-apocalyptic world, the song still manages to find hope in the idea of human connection, and if you’re asking, yes, there will be snacks!
Andrew Bird and Alan Hampton performing together on 8/13/2024.
Returning to the stage to a prolonged standing ovation, Andrew Bird would humbly thank the crowd at Frog Alley Brewing. Saying it was his first time playing in Schenectady and he didn’t really know what to expect, he seemed genuinely appreciative that people showed up and packed out the place. Rewarding them with perhaps his biggest song to date, Bird would paint a picture of “Pulaski at Night,” before the punchy, bittersweet Are You Serious anthem “Capsized” would send them home feeling inspired, fulfilled and maybe a little froggy, too.
Andrew Bird, Alan Hampton and Ted Pool performing together in Schenectady on 8/13/24.
Andrew Bird’s concert at Schenectady’s Frog Alley Brewing Summer Stage was a showcase of his exceptional talents as a musician and lyricist. A journey through his extensive catalog, the setlist was carefully curated, blending newer tracks with fan favorites. Supported by a stellar band and with an unforgettable opening act in Amadou & Mariam, the evening was a celebration of diverse musical traditions and innovative artistry. Bird’s ability to captivate an audience with his intricate melodies and thought-provoking lyrics is a rare gift, making this concert a highlight of the summer music season and further cements Bird’s growing reputation as one of the most important songwriters of our time.
Andrew Bird | August 13, 2024 | Frog Alley Brewing | Schenectady, NY
Setlist: Softly as in a Morning Sunrise, I Fall in Love Too Easily, Why?, Bloodless, You’d Be So Nice to Come Home To, Atomized, Sisyphus, Underlands, The Night Before Your Birthday, A Nervous Tic Motion of the Head to the Left,3 White Horses, Give It Away, Orpheo, Manifest, Caravan*, Tables and Chairs.
Encore: Pulaski at Night, Capsized.
*Duke Ellington and His Orchestra cover
Amadou & Mariam | August 13, 2024 | Frog Alley Brewing | Schenectady, NY
At the start of August 2024, Buffalo announced the enforcement of an “Amusement fee” on all ticketed events. This announcement was met with immediate backlash from venue owners, local politicians, and musicians across the city. Now, the city has placed a pause on fee collections, seeking other methods of raising revenue. This whole saga still raises some questions: Why did Buffalo implement such an unpopular policy and what is the best way forward?
Letters sent to venue owners alerting them of the amusement fee. Source: Investigative Post
The first question is: Why did Buffalo decide to enforce this unpopular amusement fee? The simple answer is that the city is in desperate need of money. Buffalo currently has a $40 million budget gap that it needs to fill. The city’s current budget adopted on July 1st, depends heavily on a 4.2 percent hike in property taxes and an increase in garbage collection fees. An additional $32 million in federal pandemic relief money, and nearly $15 million from the city’s reserves supplement these taxes. Past attempts to raise revenue, like a 9% tax hike in 2023, have all failed to fix this issue. Despite attempts to raise money, the city’s Control Board still identified over $131 million in potential shortfalls within the next four years. Due to this, Buffalo has attempted to raise money anywhere possible.
The city decided that the best way to tackle these fiscal issues was to enforce an archaic law. The law was the obscure Chapter §75-1. Amusements Classifications of City code, also known as the “Amusement fee.” The law allows the city to charge fees for amusement licenses on all ticketed events. This not only includes music, but also “lectures, exhibitions, theater, sports, comedy…and other shows that charge a fee for entry.” In correspondence to venue owners, the city included a schedule of fees based on show size. For example, an event with tickets below $25 would have an additional $55 fee. Larger events, with tickets over $100, would likewise have higher fees, upwards of $350.
Critics of the law have pointed out its outdated nature. As Assemblymember Jon D. Rivera and Senator Sean Ryan noticed the law includes language referring to “minstrel shows,” and “kinetoscope” exhibitions. As this language implies, the city has not enforced the law in living memory. Many venue owners felt blindsided by its enforcement, never having to pay the amusement fee previously.
State Senator Sean Ryan (center) is one of the amusement fee’s major opponents
While the city has only newly enforced this law, increased event fees are not uncommon in the city. In 2019, the city proposed a surcharge on all events held at city-owned venues. This proposal would have taxed tickets on a sliding scale, ranging from $.50 to $3.50.
Following the enforcement of the amusement fee, musicians and venue owners immediately fired back. Many pointed out that this new fee would cost venues tens of thousands of dollars each year. Not only would these fees put venues at financial risk, but they would waste owners’ time. As Babeville’s operator Scott Fisher pointed out “The burden [is] not only the money, but the time that our staff would have to spend making sure we’re compliant.” If venues fail to comply with event licensing, they could face fines from the city.
Musicians have likewise pointed out the harm on music fans. Buffalo-based musician Dave Thurman speaking to WIVB said “We are talking about asking somebody to pay a $30 ticket instead of a $20 ticket.” These amusement fees threaten to put Buffalo’s music scene at risk, dissuading people from attending concerts due to the elevated prices. As Thurman continues, he noted how this also hurts local business, “Well, that’s probably going to cut into the bar owners’ receipts at the end of the night too, because that person isn’t going to spend that much more.”
Some have also criticized the law as misguided. Riverworks CEO Bill Casale said that money is better off “being reinvested into our facilities and investing into our communities, into our staff and our people.” Instead the city is using “taxes that they want to summon us with that we are unaware of with no notice.” The financial data backs up these points. In 2023, only .01% of the city budget came from event fees. Additionally, in the past 15 years, the city has raised less than $27,000 annually from these fees.
Buffalo Riverworks – one of many venues impacted by the amusement fee
Alongside musicians’ criticisms have been those from Buffalo’s elected officials. At the forefront of the anti-amusement fee push are Assemblyman Jonathan D. Rivera and State Senator Sean Ryan. Ryan has stated that the city’s budget shortall “isn’t a problem that can be solved with quick fixes, and Buffalo can’t afford to keep kicking this can down the road.” He additionally points out that “Reviving an obscure amusement fee to plug budget gaps is the same type of short-term thinking that got the City into this mess in the first place.” Ryan believes that fees like this distract city officials from dealing with serious problems. “Buffalo’s leaders need to permanently scrap this fee and stop trying to put this burden on the backs of small business owners when they should be working on solving the root issues that got us here.”
Assemblyman Rivera likewise pointed out the fee’s threat towards Buffalo’s unique character. Rivera stated that Buffalo needs to “Find a suitable way to improve the City’s finances without sacrificing the vibrant cultural and economic landscape that makes Buffalo unique.” This sentiment was echoed by Scott Fisher of Buffalo’s Asbury Hall. At a local press conference, he said “I have an idea of how to help Buffalo – find a way to raise the city’s population from 280,000 to 380,000 people by making it a friendlier place to live and enjoy the culture, instead of simply nickel-and-diming that culture toward the brink of extinction.”
Asbury Hall’s Scott Fisher has been critical of the amusement fee
The response to the amusement fee goes past criticism, with some local politicians seeking solutions. Buffalo Common Councilman Joe Golombek told Buffalo Rising that he “look[s] forward to working with [his] colleagues in the Common Council and the City administration to find a solution that is both equitable and consistent.”
As a result of the backlash against the amusement fee, actions have already been taken to solve the issue. As of August 7th, the city of Buffalo has placed a temporary pause on amusement fee collections. This move has already gained praise from local venue owners. Jason Hall of Sportsmens Black Rock said to ABC7, “I’m very happy that the city came together really quickly to solve what would have been a real problem to businesses like mine.” Additionally, Venu’s Tim Walton added “It shows they are listening to businesses, shows they’re willing to work with small businesses.”
While a pause has been implemented, the fight is not over according to local politicians. Both Rivera and Ryan have called for a permanent termination of amusement fee collections. WNY music journalist Jeff Miers reports “They vowed to fight side by side with our community of music venues to make this cessation permanent.” For now, this fight will have to wait, as the Common Council is on recess for the remainder of August. As Councilman Golombek pointed out “We can’t change anything until September…but we are very open to doing that.”
This saga begs new questions for the future, specifically regarding how the city will deal with its budget shortfalls. As shown by the swift and unanimous backlash against the amusement fee, any new taxes on live events seem unlikely for the near future. As Common Council President Christopher P. Scanlon stated, any future moves would have to “ensure these vital venues and our arts and cultural scene continue to thrive and remain assets to our city and region.”
A new venue in Westport, NY known as The Mill provides a place for live music, visual arts and all-around creative endeavors for the Adirondack community.
The Mill, as suggested by the name, was originally built in 1952 as a grain mill for the Champlain Valley Seed Cooperative. In 2021, the abandoned building was repurchased and in a collaborative effort between creative director Taylor Haskins and local contractors, they rebuilt the building up as a new cultural hub.
The listening gallery is described as a cathedral-like room. With its high ceilings and wood paneled walls, the space has great acoustic sounds, but has an intimate feel. Haskins conducts the music programming for The Mill’s listening gallery. He is an accomplished musician himself and has released 11 albums under his name. In 2005, he won a Grammy award for playing lead trumpet on Dave Holland’s jazz album Overtime.
The Mill also has a place for visual artists to showcase their work at one of the seven galleries that make up Process Art Space curated by Catherine Ross Haskins.
For visitors looking for a drink and a bite to eat, The Knock is a speakeasy inside the venue that has a sultry 1920’s prohibition aesthetic. The menu of small plates made in house are all created from locally sourced ingredients.
The Mill has a diverse lineup of musicians for the rest of the summer and into their fall season.
Coming up on Aug. 16, singer and songwriter Camila Meza will perform her lyrical, latin jazz fusion repertoire. On Aug 23. Haskins will play alongside another accomplished jazz artist, Ben Monder.
To purchase tickets or to find out more about all The Mill has to offer, you can visit the website here.
It’s clear that Jay Skeese intends to follow the Griselda model of flooding the market. The first signee to Conway The Machine‘s Drumwork Music imprint, Jae Skeese, is set to release his 2nd project of the year, Ground Level, on August 16. The new album comes on the heels of his first project of the year, Testament of The Times, released in March. In light of the new album, the Buffalo native, has gone on to release several singles with a list of exclusive features as part of this underground effort,.
About Ground Level
With this in mind, Jae Skeese teased the upcoming album with the calculated release of a single roughly every2 weeks. Beginning with the project’s lead single and video, “Situated” featuring Big K.R.I.T. and Sauce Walka, to set the tone for Ground Level. He later retuned with the projects second single, the star-studded “Sara Lee.” Featuring Dave East, Jay Worthy and a sultry chorus from r&b singer Lloyd, the record offers an alternative side to Jae Skeese. “Sara Lee” is a vibe that I don’t think you haven’t got from me yet. I wanted to show another side of who I am as an artist and give the ladies something to think about,” Jae Skeese comments.“
The lastest single, “Brick After Brick (Ground Level),” also doubles as the intro track for Ground Level. Featuring thunderous, tone-setting horns, Jae Skeese hopes to set the tone with this into record. Moreover, Skeese takes the next step in his career with Ground Level. After all, he has spent the last three years laying the foundation for his breakthrough — which includes Skeese’s Drumwork debut, Abolished Uncertainties, and his collaborative album with Conway The Machine Pain Provided Profit. Thus, Ground Level‘s release this Friday is a testament to Jae Skeese’s evolution as an artist, as he continues to stack up high-profile collaborations
