Category: Western NY

  • Cab Calloway: The Hi De Ho Man

    Cabell “Cab” Calloway III was born on Christmas Day, 1907 in Rochester, living on Sycamore Street. His mother was a teacher and church organist and his father was a lawyer. When Calloway was 11, they moved to Baltimore. After he was caught playing dice on the church steps, his mother sent him to a reform school in Pennsylvania.

    When he returned to Baltimore, Calloway began private voice lessons and continued his study of music throughout school. He soon began performing at nightclubs in Baltimore and was mentored by Chick Webb and Johnny Jones.

    cab calloway

    In 1927, Calloway joined his older sister, Blanche, in a tour of Plantation Days. She achieved success first, he often credited her as an inspiration to enter show business. His parents wanted him to follow in his father’s footsteps and become a lawyer. Therefore, he enrolled to college in Chicago, but spent his nights at the Dreamland Ballroom, Sunset Cafe, and the Club Berlin. At the Sunset Cafe, he was an understudy for Adelaide Hall. He also met and performed with Louis Armstrong.

    Harlem

    In 1929, Calloway moved to Harlem, performing with the Alabamians band. They opened at the Savoy Ballroom and broke up soon after. With help from Armstrong, Calloway established himself as a vocalist by singing “Ain’t Misbehavin’” by Fats Waller. Soon after, The Missourians asked Calloway to join and front them.

    The following year, the band name shifted to Cab Calloway and His Orchestra. In 1931, the band replaced the Duke Ellington Orchestra at the Cotton Club while they were on tour. Due to the increased popularity, they were offered a permanent position there.

    cab calloway

    The band also performed regularly on radio broadcasts on NBC. Calloway also appeared on radio programs with Walter Winchell and Bing Crosby became the first African-American to have a nationally syndicated radio show. During the heights of the Great Depression, Calloway was earning $50,000 per year at the age of 23.

    The 30’s and 40’s

    In 1931, Calloway recorded his most famous song, “Minnie the Moocher.” This is the first single song by an African-American to sell one million records. Three of his songs, “The Old Man of the Mountain,” “St. James Infirmary Blues” and “Minnie the Moocher”, were performed in Betty Boop cartoons.

    Calloway soon received the nickname “The Hi De Ho Man.” He performed in the 1930s in short films for Paramount. In these, Calloway performs a gliding backstep dance move, a possible precursor to Michael Jackson’s moonwalk.

    Calloway’s band in the 1930s and 1940s included many notable musicians, such as Ben Webster, Ed Swayze, Cozy Cole, and Dizzy Gillespie. In 1940, Strike Up the Band, starring Mickey Rooney and Judy Garland, has a line of “You are not Cab Calloway” after playing poorly.

    In 1941, Calloway fired Gillespie from his orchestra after an onstage fracas erupted when Calloway was hit with spitballs. He wrongly accused Gillespie, who stabbed Calloway in the leg with a small knife.

    cab calloway

    In 1956, Clarence Robinson, who produced revues at the original Cotton Club and the Apollo Theater, and choreographed the movie Stormy Weather, cast Calloway as the main attraction for his project in Miami. The Cotton Club of Miami featured a troupe of 48 people, including singer Sallie Blair, George Kirby, Abbey Lincoln, and the dance troupe of Norma Miller. The success of the shows led to the Cotton Club Revue of 1957 which had stops at the Royal Nevada Hotel in Las Vegas, the Theatre Under The Sky in Central Park, Town Casino in Buffalo.

    Later Years

    The Cotton Club Revue of 1959 traveled to South America for engagements in Rio de Janeiro and Sao Paulo. They also stopped in Uruguay and Argentina before returning to North America which included a run on Broadway. Directed by Mervyn Nelson and choreographed by Joel Nobel, this edition featured Ketty Lester, The Three Chocolateers. The revue toured Europe in 1959 and 1960, bringing their act to Madrid, Paris, and London.

    Calloway remained a household name due to TV appearances and occasional concerts in the US and Europe. In 1961 and 1962, he toured with the Harlem Globetrotters, providing halftime entertainment during games.

    cab calloway

    In 1985, Calloway and his Orchestra appeared at The Ritz London Hotel where he was filmed for a 60-minute BBC TV show called The Cotton Club Comes to the Ritz. Adelaide Hall, Doc Cheatham, Max Roach, and the Nicholas Brothers also appeared on the bill. A performance with the Cincinnati Pops Orchestra directed by Erich Kunzel in August 1988 was recorded on video and features a classic presentation of “Minnie the Moocher”, 57 years after he first recorded it.

    On June 12, 1994, Calloway suffered a stroke at his home in Westchester County. He died five months later from pneumonia on November 18, 1994, at age 86, at a nursing home in Hockessin, Delaware.

    Awards and Accomplishments

    In 1990, Calloway was presented with the Beacons in Jazz Award from The New School. The NYC mayor at the time, David Dinkins, proclaimed the day “Cab Calloway Day.”

    The Cab Calloway School of the Arts was founded in Wilmington, Delaware in 1992.

    The New York Racing Association (NYRA) annually honors the jazz legend, a native of Rochester, with a stakes races restricted to NY-bred three-year-olds, as part of their New York Stallion Series. First run in 2003, The Calloway has since undergone various distance and surface changes. The race is currently run at Saratoga Racecourse, one of America’s most popular, premier racetracks. The Cab Calloway Stakes celebrated its 13th renewal on July 24, 2019.

    He is also a recipient of an Outer Critics Circle Award (1967), member of the Big Band and Jazz Hall of Fame (1987), Beacons in Jazz Award (1990), National Medal of Arts (1993), International Jazz Hall of Fame (1995), Grammy Hall of Fame for “Minnie the Moocher” (1999), and a Grammy Lifetime Achievement Award (2008). “Minnie the Moocher” was added to the Library of Congress National Registry in 2019.

  • A Joyful Holiday with Samara Joy and The McLendon Family

    Samara Joy and The McLendon Family, accompanied by Buffalo’s George Brown and the God’s Purchase Choir, took the stage at UB’s Center of the Arts on December 17. The night was full of smooth jazz and Christmas spirit.

    samara joy

    As the audience were walking into the auditorium, Samara had a slideshow going of some of her family photos, giving the audience an insight into her family and her upbringing.

    Once the audience settled in their seats, the band, composed of Shedrick Mitchell on Piano, Eric Wheeler on bass, and Charles Haynes on drums, came out first and started to play the intro to “Christmas Time is Here,” then Samara came out and began to sing, getting everyone right into the holiday spirit with her jazz rendition of the song.

    samara joy

    After the song, she introduced herself and brought out members of her family to sing a few songs with her. She brought out her father, Antonio McLendon, her uncle, Laurone McLendon, and her cousins Tommy Niblack and Tierra “Lovey” Rowe, and rounding out the crew is Stephy Bloom Samara’s vocal director. She then brought out Buffalo’s George Brown and the God’s Purchase Choir who filled in the riser in the back. With her family and the choir, they perform “O Holy Night” and “Everybody Knows It’s Christmas.” Their renditions of these songs had such a warm gospel feel to them with the full auditorium enjoying every moment.

    samara joy

    The night wasn’t just full of Christmas spirit as Samara and her band sprinkled in other songs including songs “You Stepped Out Of A Dream,” “Peace Of Mind/Dreams Come True” and “Now And Then” from her recently released album Portraits. They also performed renditions of “Reincarnation of A Lovebird” by Mingus, “Chega de Saudade,” also known as “No More Blue”s by Antonio Carlos Jobim, and Billie Holiday’s “Left Alone.”

    Samara Joy, truly has a once in a generation voice. At such a young age of 25, she already has such a seasoned voice. Being able to resemble some of the great jazz artists, such as Ella Fitzgerald and Billie Holiday, and still having her own sound is a true testament to her talent. Throughout the whole performance, from the moment she started singing, her voice automatically just took you on a journey with her all night.

  • Rochester Composer mainTheme Drops Rich New Groove Track “Take Over Me”

    Rochester-based composer mainTheme has announced the release of his rich new groove track “Take Over Me” (feat. Donno Jay).

    Dan Romans plays drum set, synth, keyboard, and voice; composes and arranges music; and performs all styles. He has a diverse musical vocabulary and versatile playing style that is dynamic, expressive, and compositionally focused. mainTheme is a carte blanche repository of sounds and songs drawn from eclectic influences and presented as an approximation of pop music. mainTheme is another variation of Dan Romans’ compositional voice as he dons the figurative producer’s hat.

    His latest track “Take Over Me” (feat. Donno Jay) encapsulates mainTheme’s minimal, rich groove and features storytelling and vocal talents of Miami-based hip-hop artist Donno Jay. The track is slated to release on most streaming services by December 27. The track is a powerful, introspective look at the core of one’s life, and the state of the world we all share. With Donno Jay’s cadence and hard-hitting, somber lyrics spit over the desolate electro-synth melodies, this track is strong, catchy, and meaningful.

    mainTheme creates music that, to me, breaks down walls. His eclectic, diverse and dynamic range of music paints wondrous soundscapes in each piece of music released. This track, “Take Over Me” is a prime example of this idea. The instrumental to the track is smooth, unique, and presents a vibe that I can best describe as galactic. It is a spacey, synthy, psychedelic piece that contains climbing and falling volumes, with a heightened energy in the middle before slowly dying out like a dimming light. The track is brilliant in both instrumental sound from mainTheme and lyricism from Donno Jay.

    For more information on mainTheme’s music and to keep up with “Take Over Me” which releases on December 27, click here.

  • Dogs In A Pile Announce Extensive Spring 2025 Tour

    Up and coming jam band Dogs In A Pile have announced their plans for a 2025 Spring Tour which includes an opening two-night stand at Brooklyn Bowl in New York City. The spring tour also includes a number of return trips to cities with shifts up in venue sizes as well.

    The two tour opening shows at Brooklyn Bowl will mark the band’s headlining debut there and first visit back since October 2021. The band will then make stops in Bethlehem, PA (April 3) and Buffalo, NY (April 5). In between those dates, they’ll play their largest indoor space in Western PA yet at Mr. Smalls in Pittsburgh (April 4).

    The spring tour then sees Dogs In A Pile playing exclusively Midwest gigs with shows in Ferndale, MI (April 8), Cleveland, OH (April 9), and Columbus, OH (April 11), before heading further west to Kalamazoo, MI (April 12), Madison, WI (April 13), and Indianapolis, IN (April 15). The spring run also includes several Southern shows, including Charlottesville, VA (April 18) – where a massive October 2023 performance at The Southern Café and Music Hall has earned them a headlining slot at the Jefferson Theater.

    The tour later wraps up with two shows in New Orleans, LA during Jazz Fest at Chickie Wah Wah on April 29 and May 3, before the band heads to Mexico for Viva El Gonzo in San José Del Cabo on May 8, 9, and 10. See below for all newly added dates.

    Presale ticketing is already underway and tickets will go on sale to the general public this Friday, December 20 at 10 am ET. To view all tour dates and learn more, visit dogs-tour.com.

    Dogs In A Pile Spring Tour 2025

    3/8 – Chicago, IL – Salt Shed (indoors)*

    3/28 – Brooklyn, NY – Brooklyn Bowl

    3/29 – Brooklyn, NY – Brooklyn Bowl
    4/3 – Bethlehem, PA – Musikfest Cafe
    4/4 – Pittsburgh, PA – Mr. Smalls
    4/5 – Buffalo, NY – Buffalo Iron Works
    4/8 – Ferndale, MI – Magic Bag 

    4/9 – Cleveland, OH – Beachland Ballroom
    4/11 – Columbus, OH – Woodlands Tavern

    4/12 – Kalamazoo, MI – Bell’s Eccentric Cafe

    4/13 – Madison WI – High Noon Saloon
    4/15 – Indianapolis, IN – HI-FI

    4/16 – Chattanooga, TN – Barrelhouse Ballroom

    4/18 – Charlottesville, VA – Jefferson Theater

    4/19 – Raleigh, NC – Lincoln Theatre

    4/20 – Wilmington, NC – Bowstring Wilmington

    4/22 – Charleston, SC – Charleston Pour House

    4/24 – Fort Lauderdale, FL – Revolution

    4/25 – St. Petersburg, FL – Jannus Live
    4/26 – Orlando, FL – The Social
    4/27 – Jacksonville, FL – Jack Rabbits

    4/29 – New Orleans, LA – Chickie Wah Wah

  • Daughtry brings “Adrenaline Gone Ballistic” Holiday Tour to Del Lago

    Daughtry brought their “Adrenaline Gone Ballistic Tour” to Del Lago Resort & Casino in Waterloo on Saturday, December 14, bringing a mix of nostalgia, adrenaline, and excitement to the stage.

    Daughtry opened the night with “The Reckoning”, a newly written song on their EP Shock To The System (Part One). The packed venue rose to their feet as head singer and North Carolina native Chris Daughtry entered the stage.

    The thrilled Del Lago crowd wanted more from Daughtry, shouting requests in between songs. Chris interrupted the setlist to fulfill the crowd’s request, playing a heartfelt rendition of his acoustic song “September”, written in 2009. The fans didn’t just come for a show, they came for an exciting interaction.

    The alternative rock band was formed in 2006 after Chris Daughtry made it to the finals in the fifth season of American Idol. His vocals and newly formed recognition earned him a record deal with RCA Records, and the band’s self- titled debut album would go on to sell more than a million copies after just five weeks of release, becoming the fastest selling debut rock album in Soundscan history.

    As Daughtry waved the crowd goodbye and thanked the Waterloo fans for having him, the crowd stuck around as they cheered for an Encore, wanting more. With the eager fans on their feet, Daughtry rushed back out on stage to close out the show with their song “Artificial”, the first single to reach the number one spot on the Mainstream Rock chart. The band will gear up for upcoming shows in Nebraska and Minnesota, concluding their 2024 tour in Green Bay, Wisconsin.

  • Shania Twain Extends Tour, Two Dates in New York

    Celebrated country pop artist Shania Twain has extended her current U.S. tour into the summer of 2025, including two shows in New York.

    A country superstar, celebrated songwriter, and style icon, Shania Twain has been making major waves across the industry for over 40 years now.

    With six albums and more than 100 million albums sold, Twain is the top-selling female country pop artist of all time- not to mention her five GRAMMY wins and several charting tracks including “You’re Still the One” and “Man! I Feel Like A Woman!”. 

    Releasing her sixth album Queen of Me in 2023, she embarked upon a tour of the same name in celebration- and this party hasn’t stopped. With an unprecedented two years of sold-out extensions to her travels thus far, Twain has announced one final leg that brings her to several spots across the east coast, including nights in Buffalo and Saratoga Springs.

    Gracing the stage of the Darien Lake Amphitheater in Buffalo on July 19 and the Broadview Stage at SPAC in Saratoga Springs on July 20, the conclusion to Shania’s two-year run of shows is not to be missed.

    Tickets for the two dates in New York as well as other spots along the east coast go live on Friday, December 20 at 10:00 AM. For more information and ticket purchasing, visit Shania Twain’s official website here..

    SHANIA TWAIN 2025 TOUR DATES

    Sat Jul 19 – Buffalo, NY – Darien Lake Amphitheater

    Sun Jul 20 – Saratoga Springs, NY – Broadview Stage at SPAC

    Tue Jul 22 – Bangor, ME – Maine Savings Amphitheater

    Thu Jul 24 – Gilford, NH – BankNH Pavilion

    Sat Jul 26 – Hershey, PA – Hersheypark Stadium

    Tue Jul 29 – Jacksonville, FL – Daily’s Place

    Fri Aug 01 – Hollywood, FL – Hard Rock Live

  • Nelly Announces 2 NY Shows in “Where The Party At” Tour

    Music superstar Nelly will hit the road in 2025 with his “Where The Party At Tour.” The tour will celebrate the 25 anniversary of Nelly’s debut studio album, Country Grammar and includes dates at the Darien Lake Amphitheater in Buffalo on Aug. 1, and Northwell at Jones Beach Theater in Wantagh on Jul. 27.

    Nelly

    Known for iconic 2000’s hits such as “Hot in Herre” and “Dilemma,” Nelly will perform his catalog across New Zealand, Australia, Canada, Europe, and the United States in 54 shows in the “Where The Party At Tour.” The tour will marks Nelly’s return to headlining following his success as a special guest for Janet Jackson’s Together Again Tour.

    An incredible lineup of special guests will accompany Nelly across the various legs of the tour. Fans can look forward to electric performances from collaborators and friends such as Ja Rule, Eve, St. Lunatics, Fabolous, Jermaine Dupri, Chingy and Additional surprise guests.

    The show will take fans on a journey through Nelly’s career, including chart-topping hits like “Hot in Herre,” “Dilemma,” and “Ride wit Me.” Known for his larger-than-life personality and ability to bridge genres from hip-hop to country. Nelly promises a show packed with surprises.

    Learn more and purchase tickets here.

    “Where The Party At Tour” U.S. Dates:

    Jul. 23 – Bristow, VA – Jiffy Lube Live  

    Jul. 25 – Virginia Beach, VA – Veterans United Home Loans Amphitheater at Virginia Beach  

    Jul. 26 – Holmdel, NJ – PNC Bank Arts Center  

    Jul. 27 – Wantagh, NY – Northwell at Jones Beach Theater

    Jul. 31 – Toronto, ON – Budweiser Stage  

    Aug. 01 – Buffalo, NY – Darien Lake Amphitheater  

    Aug. 02 – Hartford, CT – Xfinity Theatre^  

    Aug. 03 – Mansfield, MA – Xfinity Center  

    Aug. 05 – Cuyahoga Falls, OH – Blossom Music Center  

    Aug. 06 – Bethlehem, PA – Musikfest*~

    Aug. 08 – Oshkosh, QI – Crossroads 41 Festival*~

    Aug. 09 – Clarkston, MI – Pine Knob Music Theatre  

    Aug. 10 – Cincinnati, OH – Riverbend Music Center  

    Aug. 13 – Tinley Park, IL – Credit Union 1 Amphitheatre  

    Aug. 14 – Noblesville, IN – Ruoff Music Center 

    Aug. 16 – Greenwood Village, CO – Fiddler’s Green Amphitheatre*^ 

    Aug. 22 – Concord, CA – Toyota Pavilion at Concord  

    Aug. 23 – Los Angeles, CA – Intuit Dome  

    Aug. 27 – Chula Vista, CA – North Island Credit Union Amphitheatre

    Aug. 28 – Phoenix, AZ – Talking Stick Resort Amphitheatre  

    Sep. 04 – Houston, TX – The Cynthia Woods Mitchell Pavilion presented by Huntsman^ 

    Sep. 05 – Dallas, TX – Dos Equis Pavilion  

    Sep. 06 – Oklahoma City, OK – Zoo Amphitheatre*#

    Sep. 09 – West Palm Beach, FL – iTHINK Financial Amphitheatre  

    Sep. 12 – Atlanta, GA – Lakewood Amphitheatre  

    Sep. 13 – Raleigh, NC – Coastal Credit Union Music Park

    Sep. 14 – Charlotte, NC – PNC Music Pavilion  

    Sep. 16 – Nashville, TN – Ascend Amphitheater  

    Sep. 18 – Birmingham, AL – Coca-Cola Amphitheater 

    Sep. 19 – North Little Rock, AR – Simmons Bank Arena 

  • Ian McCuen Releases Scathingly Topical Album

    Buffalo based singer-songwriter Ian McCuen has returned with their latest release, the utterly emphatic and scathingly topical As the Oceans Rise and the Empire Falls

    ian mccuen

    Buffalo-based Ian McCuen has been wowing listeners since 2017 with the release of their debut album Songs of Fleeting Permanence, Vol. I, the next two installations following in 2019.  

    A master of the soundscape, McCuen is no stranger to telling tales with their musical skill- which is a strength that lends itself perfectly to their latest release, the 22-track album As the Oceans Rise and the Empires Fall.

    Utterly cinematic, As the Oceans Rise and the Empires Fall pulls listeners through each and every notion of emotion with an admirable span of instrumentation, tracks full of lyricism and others left purely instrumental- all-encompassing in an admirable and awe-inspiring critique on the state of the United States and its politics today.

    “A Fairy Tale for the Obedient” makes deft use of the Omnichord, drawing upon sounds of whimsy and childhood nostalgia alongside haunting horns which carry directly into the simmering brush percussions and foreboding baselines of the instrumental “Indoctrinated, Propagandized.”

    The omnichord returns in “I Don’t Know What Will Kill Us First,” this time taking on an undertone of grimness as McCuen ponders which environmental disaster will be the one to finally do us all in over the sounds of acoustic guitar and later horns, which have evolved into a sound almost funerary in sentiment.

    “The Intermission” and “The Underture,” unsurprisingly enough mark the midpoint of the album, at which point McCuen takes the time to remind you that as much as their lyrical pieces stun, soundscapes are well within their wheelhouse too.

    “Fear & Loathing (in the Home of the Brave),” while certainly not subtle in its messaging, makes a staunch statement regardless. McCuen pulls no punches in critiquing the hypocrisy found in defending the status quo blindly and existing in fear of anything new without interrogating the reason as to why either of those reactions were elicited- as they conclude, “in the home of the brave, it’s all we’ve got.”

    They lean fully into the ominous for “A Ghost Story for the Sheltered,” telling a horrifying story of some untold monster that’s sweeping through your town, hunting you down- a haunting parallel to the paranoia kicked up and experienced by the “Sheltered” of America and a striking narrative on fear-mongering and its consequences.

    “Death Is a Business and Sales Are Up” is not only incredibly topical but stunningly produced- headphones are highly recommended for this track, as the panning utilized creates an all-encompassing listening experience that’s practically impossible to pause.

    The final lyrical track “A Swan Song for Quittin’ Time” feels like a conclusion in every sense of the word. Featuring a line that became the album’s title, this track feels simultaneously hopeful and hopeless, as McCuen struggles to come to terms with the state of the world- even for those with so much fight in them, there comes a point where the draw of nihilistic acceptance is unavoidable. 

    The song concludes in an anthemic culmination of all of the album’s instrumentation as McCuen accepts the state of the world as one full of strife and struggle, yet finding a determination to go on in the hope for a better future, they sing “just in case, stick around for the encore.”

    There’s a certain cognitive dissonance to Ian’s work- if you let yourself be distracted by their calming vocals or gentle instrumentation, you may just miss their scathing critiques on today’s society. Haunting, scathing, and effortlessly engaging, As the Oceans Rise and the Empire Falls captures the full range of emotions felt within and in critique of the United States today.

    To learn about Ian McCuen’s past work, more about As the Oceans Rise and the Empire Falls, and all of their future endeavors, be sure to keep up with them on their official Instagram page here.

  • Dopapod Brings Best Friends Tour to Rochester

    Dopapod brought it’s Best Friends Tour to Essex in Rochester on Tuesday, December 3.

    About a month away from their last shows before an indefinite hiatus, guitarist Rob Compa brought the band to his hometown for a throwdown at the newish venue, Essex. Before the show, Rob asked the crowd if they wanted one long set or two, and of course the crowd voted for the usual jamband two set format. The band warmed the crowd from the frigid cold with a heater of a first set before bringing out their ex-employee, Goose’s Peter Anspach. Anspach first shredded guitar on “Nuggy Jawson” before jumping on keys for the set closer, “Indian Grits.”

    Dopapod leaned heavy on the classics for set two, including versions of “8 Years Ended,” “Bubble Brain” and a Zappa cover in the middle of a song, “FABA” > “I Am The Slime” > “FABA.” They brought up Anspach again for the encore, and he helped them with “Best Friends” and “Runny” for the encore.

    Dopapod next head west to Colorado, before wrapping up the year in the Midwest. They are playing their final shows on New Year’s Eve in Columbus, Ohio, so catch them if you can.

    Dopapod – Essex, Rochester, NY – Tuesday, December 3, 2024

    Set 1: Welcome to Paradise, Draculas Monk> Nerds> Two Somebodies> Nerds, Wizzy, Turn By Turn*, Metal Nuggy Jawson^, Indian Grits$
    Set 2: Cloud World, 8 Years Ended, Brand New Home, Test of Time, Bubblebrain, FABA> I Am The Slime> FABA
    Encore: Best Friends#, Runny^

    * MGMT Kids tease
    ^ Peter Anspach on Guitar
    $ Peter Anspach on Keys
    # Peter Anspach on Vocals and Guitar

  • Phish Dives Deep In Rochester: December 11, 1997

    There are certain years in Phish lore that are held in higher esteem than some others. 1997 would certainly be one of these. The Fall Tour this year, aka “Phish Destroys America,” produced some of the greatest moments in the band’s storied history. 23 years ago today, the legendary tour stopped in Rochester, NY and delivered a few monumental jams as well as the debut of a soon-to-be Phish regular.

    Phish runs right out of the gates tonight in Rochester and sets the tone early with a massive three-song opening sequence. A raucous War Memorial crowd is greeted with a quick trip to Gamehendge first via “Punch You In The Eye.” The popular opener choice revs the crowd up even more with its signature lyrics, fun calypso rhythms and, of course, the customary Mike and Trey salsa dance.

    Phish Rochester

    While “Punch” may not have been a surprise, the absolutely monstrous “Down With Disease” that immediately follows surely must have been. Phish’s second song in Rochester was played like a second set with an electric Anastasio-driven jam that starts around the five-minute mark. From there on out, it’s a masterclass in controlled chaos with the band firing on all cylinders. This eventually devolves into an ambient-type jam replete with digital delay loop effects, giving it that vintage late 90s sound.

    20 minutes and one funky start-and-stop jam later, the “Disease” slowly crawls to an end. At this point, anything is possible. But then the familiar high-hat drum pattern of “Maze” arises from the mist. The dark organ tones produced by Page on keys combined with Trey’s relentless guitar rhythms shine on this one. This marks the end of a mesmerizing, and certainly exhausting, opening 1-2-3 on the lineup card tonight in Rochester.

    Things understandably cool down a tad afterwards, starting with the “Dirt” that follows. Trey leads the band on a quick trip beneath the surface with this new tune that debuted earlier in the year. Afterwards, another new tune makes an appearance in “Limb By Limb.” This one is supplied with a quick, blissful jam on the back end. “Limb” would later be featured on Phish’s The Story Of The Ghost album released the following year.

    These two up and coming songs are then followed by two cover selections to close out the opening stanza. McConnell and his baby grand piano take charge and lead the way on a take of The Rolling Stones’ “Loving Cup.” And a rip-roaring “Rocky Top” then closes the book on a first set that’s certainly going to be most remembered for its impeccable start.

    Phish Rochester

    Phish goes deep once again to start the second set with a thorough take on yet another cover, The Who’s “Drowned.” Trey wastes no time before unleashing a plethora of notes with the rest of the band close behind in another frenetic early set jam in Rochester. This yields a pleasant, improv-heavy jam that once again devolves into a loop-heavy ambient segment, stretching to the 20-minute mark once again.

    Suddenly, Trey begins strumming a distinct melody as they segue a bit awkwardly into the next number. But it’s one they’ve clearly been practicing (Mike especially), as memorialized in this clip from the movie Bittersweet Motel seen below.

    A cover that few saw coming, Phish takes on Ween’s “Roses Are Free” for the first time ever. They get through it ably enough and some more inspired guitar play from Trey drives it home nicely. Quite suddenly, it then shifts from a debut to bust out of sorts as “Big Black Furry Creatures From Mars” rears its head for the first time in 118 shows. The old school, nonsensical rocker shows no real signs of dust as the usual mayhem it produces ensues.

    Out of the feedback-heavy ending arises “Ghost,” the title track of the aforementioned 1998 album. This lays the groundwork for one last notable Rochester jam. Mike’s thunderous bass play and Page’s work on the electric keys lead the way early on. A beautifully patient and slowly progressing sequence then takes shape as Trey and Fishman begin to get more prominently involved.

    At the end of yet another monstrous jam, a distinct “Down With Disease” section is played, as if in a nod towards its first set brethren. An incredibly random but blistering take on Chuck Berry’s “Johnny B. Goode” then closes out the second set in grandiose fashion. This would be the second to last time it’s ever been played at a Phish show, to date. And as a complete juxtaposition, the delicate ballad “Waste” wraps things up as the encore selection on this chilly Rochester evening.

    Phish Rochester War Memorial – Rochester, NY 12/11/97

    Set 1: Punch You In The Eye > Down With Disease -> Maze, Dirt, Limb By Limb, Loving Cup > Rocky Top

    Set 2: Drowned -> Roses Are Free -> Big Black Furry Creature From Mars > Ghost -> Down With Disease -> Johnny B. Goode

    Encore: Waste