The Northwest Jazz Festival in Lewiston, NY will host an exciting celebration tribute of The Great American Songbook Aug. 23-24. The festival will include six performances across the two days of beloved music, taking place on Center St. in Lewiston.
Coming to Lewiston for the upcoming festival is a group of extremely talented musicians, whose work excels in the jazz community.
On Friday, Aug. 23 at 6 PM, Pete Malinverni and his trio will open the festival. The performance will then be followed by Pete Malinverni, Peter Bernstein, and Anaïs Reno performing a selection of jazz standards from the Great American Songbook. The first night of the Northwest Jazz Festival brings a unique collaboration from three significant artists.
The next day, Saturday, Aug. 24, festivities get an earlier start. At 2:15 PM, attendees will witness Elliot Sneider perform the music of George and Ira Gershwin. This delightful start to the day will excite the audience, preparing them for the extraordinary shows ahead of them. Throughout the rest of the day, the Jazz at the Ballroom organization will present three shows with different American Songbook themes.
Starting at 4 PM, Adrian Cunningham, Wyatt Michael, and the Konrad Paszkudzki Trio will present “Get Out of Town.” This show will feature songs like “Route 66” and “Stars Fell On Alabama,” giving attendees a musical tour of the country.
At 6 PM, Champian Fulton along with Olivia Chindamo, and Vanessa Perea will pay homage to the women who paved their way from big bands to becoming household names. “Flying High” features the music of Ella Fitzgerald, Anita O’Day, Billie Holiday, Rosemary Clooney, and many more.
Lastly, at 8:30 PM “Accentuate the Positive” to close the night out and end the enchanting weekend of music. Led by pianist, Konrad Paszkudzki, the performance will include uplifting songs from back in the day such as. Joined by the full Jazz at the Ballroom ensemble, the festival will undoubtedly end on a high note.
To reserve a seat for the Northwest Jazz Festival, visit lewistonjazz.com.
For 50 years, Lewiston’s Artpark has been one of the premier concert venues for Western New York. Juxtaposing local and internationally renowned artists with the scenic landscapes of the Niagara River, the venue seamlessly mixes nature and art. On this Silver Jubilee, let’s look back to the founding of Artpark and trace how it became a hub for visual and performing arts.
An aerial view of the Artpark Theater
25 miles north of Buffalo in the heart of Niagara County lies Lewiston. While the town of 16,000 was founded in 1818, it holds a much deeper natural and precolonial history. The town overlooks one of New York’s natural wonders: The Niagara Gorge. The rapid Niagara River cuts a large canyon dividing Lewiston from Ontario, Canada on the other side. Surrounding this striking canyon are pristine woods, home to over 450 species of plants and animals. The area’s forests, containing stunning rock formations, are a reminder of Western New York’s prehistoric glacial history.
Long before Artpark – or even Lewiston’s – founding, this area has been home to countless cultures. On Artpark’s current site, excavations have uncovered over 2,000 years of indigenous history. The most striking monument to this is an 1,800 year old burial mound within the park. Recognizing this important indigenous history, Artpark frequently collaborates with indigenous artists. In addition to displaying works by indigenous artists, Artpark hosts the annual Strawberry Moon Festival. The Festival highlights the arts and culture of local indigenous groups, while highlighting the interconnectedness of humanity.
A view of the Niagara River Gorge from Lewiston
While the beauty of Lewiston has drawn visitors for countless decades, Artpark dates its history back to 1974. In that year, the New York State Parks Commission and nonprofit Artpark & Company collaborated to found the park. In that year, the Earl W. Brydges Artpark State Park was established, encompassing 150 acres of arts, music, and nature spaces. The park’s current facilities consist of land reclaimed following the construction of hydroelectric power plants along the river.
Since its beginning, artpark’s mission has been to “produce and present excellence in the performing and visual arts, and create a unique cultural experience in a casual, natural setting.” Tracing its artistic history, Artpark has succeeded in this mission.
Dispatch at Artpark, photo by Patrick Htoo
Artpark began as a hub for avant-garde visual artists. Inspired by its natural surroundings, many of the park’s early exhibitions dealt with the impermanence of art. Due to this, many of the pieces were destroyed, removed, or left to decay. Bolstered by robust state-funding, the site attracted hundreds of artists throughout its first decade in operations.
Among these early works was Adam Sonfist’s Pool of Virgin Earth. The piece – consisting of a 25 ft diameter – basin was meant to catch seeds falling from the area’s trees. By making art from the natural surroundings, Sondfists’ works highlighted the ethos behind Artpark’s early years.
Adam Sonfist’s “Pool of Virgin Earth”
These experimentations continued, attracting 200 artists through the 1980s. In 1974, artist Gordon Matta-Clark erected “Bingo,” a criticism of urban decay and government handling of the Love Canal Crisis. Art took all forms at the park, with artists even burying an “oldsmobile time-capsule” under the soil as part of artistic experiments.
The 1990s marked a shift in Artpark programming. With a funding cut to visual arts, the park began to highlight outdoor concerts more and more.
While music was highlighted more starting in the 1990s, it played an important role in Artpark’s operations from the start. The park’s opening included the construction of its MainStage theater. The theater hosts an 82” by 96” stage and indoor seating for 2,400 people. Additionally when the theater’s rear gate was opened, an additional 2,000 could watch from the outdoor lawn. With these immense facilities, Artpark’s mainstage was one of the largest theaters in the state.
The venue opened to the world on July 25, 1974 with a performance from the Buffalo Philharmonic Orchestra. Opening with “O Canada” and the “Star-Spangled Banner,” the orchestra performed nine pieces ranging from Tchaikovsky to Chopin.
A paper program for the Buffalo Philharmonic Orchestra’s opening performance at Artpark
The venue’s first year of performances is a who’s who of the greatest names in music history. Miles Davis, John Prine, Don McLean, Blue Öyster Cult, and more all played at Artpark, bringing audiences everything from jazz to hard rock. Included within these legends was a young Bonnie Raitt, selling tickets for only $3.
In addition to concerts, Artpark’s theater was a haven for stage performance. 1975 was the first full year of stage performances, including five performances of Man of La Mancha. These performances drew over 10,000 visitors to the park. Since then, Artpark has produced 104 productions, attracting 2.5 million to the venue. Performances have included Shakespeare’s Hamlet and Todd Almond & Lear Debessonet’s The Odyssey. These performances have highlighted local talent, broadway stars, and even international legends like ballet dancer Mikhail Baryshnikov.
As part of Artpark’s shift towards live performances, a second concert venue was constructed. Built on top of the aforementioned “oldsmobile time capsule,” the outdoor amphitheater more than doubled Artpark’s capacity. Sitting directly over the Niagara Gorge, the amphitheater can host up to 10,000 concert-goers in its outdoor facilities. Since its construction, the amphitheater has become a haven for Artpark’s concerts. It has hosted musical legends like Ringo Starr, Bob Dylan, and Aretha Franklin. Additionally, newer artists including Arctic Monkeys and Lizzo have performed at the venue.
An aerial view of the Artpark Amphitheater, Lewiston, NY
On top of concerts, Artpark remains dedicated to its avant-garde roots. Artpark regularly features experimental musicians, including Null Point, Alarm Will Sound, and Laurie Anderson. Anderson’s “Stereo Decoy” is of note, featuring a piano and violin duet played on opposite sides of the US/Canada Border. The performance used broadcasting technology in tandem with the Niagara Gorge’s natural acoustics, keeping the tradition of environmentally inspired art at the site alive.
Artpark additionally remains dedicated to exhibiting visual artists. Walking around the park today, visitors will encounter a number of art pieces – both new and old. Among the new additions is a sculpture titled Murmuration, which mimics the appearance of a flock of birds. Beyond sculpture, The Solo Roths Waltz Across the Red Colossus Lot and Unity In Diversity highlight colorful calligraphy and paintings on pavement.
Among the works on display today are two from 1979. Gene Davis’ Niagara 1979 consists of 364-foot multicolored lines next to the mainstage theater. At 43,000 square feet, it was the largest painting at the time of its completion. Due to the importance of this piece, hundreds banded together in 2017 to restore it to its original beauty.
Gene Davis’ Niagara 1979
Even the park facilities are works of art. Most notable is Scott Burton’s Picnic Table and Four Benches also from 1979. The piece consists of a minimalist picnic setting, inspired by European avant-garde movements. This work is just another testament to Artpark’s famed blending of art, nature, and leisure.
Throughout its shows and exhibitions, Artpark places a special emphasis on community involvement. This takes the form of the “Artpark Bridges” program. The program’s goal is simple: Connect, Empower, Create. In order to do this, Artpark connects people from the diverse population of Western New York, empowers them to display their talents, and create art for the public. This involvement has taken many forms, including both the aformeneitoned stage production The Odyssey and visual art piece The Solo Roths Waltz Across the Red Hot Colossus Lot.
Norah Jones performing at Artpark in 2024
2024 marks an important year for Artpark. Beginning in late May, Artpark has held its annual Summer Concert Series. So far, artists like Sarah McLachlan, Bonnie Raitt, and Norah Jones have all performed. There are still two months of concerts left, offering visitors the chance to see country, psychedelic, opera, and more. In addition to upcoming Summer concerts, Artpark has special programming to celebrate its 50th birthday. July 24th will feature a special Birthday Bash event. The exclusive fundraiser event will feature food, drinks, and festivities throughout the day. At the center of this event is a performance by Pat Benatar and Neil Giraldo, followed by a special fireworks show.
Fore more information on Artpark, its history, and upcoming events, visit its website here.
Pink Talking Fish – the Pink Floyd, Talking Heads and Phish tribute fusion act – has announced a huge fall tour running all the way into December, with five stops in New York State. Along with last monthâs New Year’s Run announcement, the rest of 2024 is mapped out for the hybrid phenomenon.
Known for their mind-blowing live performances, the three-act tribute band Pink Talking Fish has announced a two-leg tour, with stops in Lafayette, Lake George, Tarrytown, Buffalo and Brooklyn.
Pink Talking Fish is a must-see for any fan of the three bands they cover: Pink Floyd, Talking Heads and Phish. The band features Eric Gould on bass, Richard James on keyboards, Zack Burwick on drums and Cal Kehoe on guitar.
The Pink Talking Fish fall tour kicks off in late September and brings the band coast-to-coast through 12 states around the country. Shows start on the East Coast in Tarrytown, NY, and Harrisburg, PA, with the band then heading to the Midwest through Ohio, Illinois and Kentucky.
For Halloween, the band will be in Portsmouth, NH, at The Music Hall, directly following the annual Portsmouth Halloween Parade. In November, Pink Talking Fish will head to California for the Golden Road Festival in Sanger, along with other shows in San Luis Obispo, Menlo Park, and Auburn.
Later in November marks a return to the Brooklyn Bowl in NYC with special guest Trukken, a band that performs heavy metal versions of Grateful Dead songs.
After the fall tour, Pink Talking Fish will close out the year with a New Year’s Eve run, which includes two-night runs in Mill Valley, CA, and Seattle, WA.
For those eager to catch a show as soon as possible, Pink Talking Fish will be performing this weekend in Atlanta, GA, at Buckhead Theatre and Charleston, SC, at The Refinery, joining Allman Brothers Band tribute band Trouble No More for a double bill.Â
Visit here for tickets to any of the shows. See below for the tour graphic and a full written list of dates.
Pink Talking Fish Tour Dates
Summer Tour:
7/19: Atlanta GA at Buckhead Theatre – double bill with Trouble No More
7/20: Charleston SC at The Refinery – double bill with Trouble No More
7/25: Jackson WY at Snow King Mountain – King Concerts Series with Moe. & Melvin Seals JGB
7/26: Steamboat CO at Steamboat Square – Stranahanâs FREE Concert Series
7/27: Denver CO at Cervantes Other Side
8/02: Atlantic City NJ at The Tropicana Showroom
8/03: Westport CT at Levitt Pavilion
8/04: Lafayette NY at Wonderland Forest – Grateful Getaway: The Eleven
8/10: Dover NH at Revel In The Meadow
8/30: Salisbury MA at Blue Ocean Music Hall
8/31: Lake George NY at Adirondack Independence Music Festival
9/01: Murphysboro IL at The Shawnee Cave Amphitheater – Weekend At The Cave
The Canandaigua Business Improvement District has announced the 2024 Art and Music Festival, celebrating local musicians, artists, and businesses throughout the city.
The festival begins on Friday, July 19 at noon and goes through the weekend, ending on Sunday July 21. From 12 pm-7 pm on Friday and 10 am – 5 pm on Saturday and Sunday, Historic Downtown Canandaigua will feature over 150 restaurants, artists, and musicians.
For 34 years, the historic sidewalks of Downtown Main Street have hosted the Art and Music Festival, aimed to celebrate the works of artists belonging to several mediums. Although its start was small and featured a few artists scattered around the region, the festival has grown into a mounting success in the last three decades. Now in its 35th year, Downtown Main Street is home to over 150 artists and musicians and includes activities, classes, demonstrations, and raffles.
After an extensive jury process, artists are selected to display their works throughout the entirety of the festival. Each year, new artists in almost every category, including ceramics, pottery, jewelry, woodworking, fiber, glass, photography, and gourmet foods, showcase and sell their creations at booths. Art students at local schools join in on the fun, too, showing off their coursework for all to see.
Musical acts at the festival will take place for the entire weekend on the Maxion Stage at Commons Park. The concerts start at noon every day. This year, the Art and Music Festival features select musical acts from all genres, including Bluegrass, Blues, Rock & Roll, Jazz, and singer-songwriter Acoustic performers from all over Upstate New York. Returning performers and newcomers alike, the musicians performing at the Art and Music Festival will be bringing their best for the entire weekend.
Throughout the entirety of the festival, a wide range of activities are available in Historic Downtown. Activities include a musical petting zoo, an interactive experience complete with instruments to explore. Demonstrations of pottery making, candle creation, and glass flameworking are readily available. Lastly, the Golden Palette Studio Trail includes special events and access to original art, crafts, classes, services, and unique gift items.
For more information, visit the city’s website, linked here.
Playing to a sold-out crowd, Chris Stapleton brought his country rock show to Darien Lake Amphitheater on July 11. With support from Marcus King and Nikki Lane, the crowd of nearly 21,000 was treated to a night of amazing music and perfect weather to compliment.
Not really new to music, Marcus King is taking country music scene by storm in recent years. With heavy mix of southern rock and classic country licks, King delivers a stellar performance as he precedes the headliner on stage.
King’s touring band includes, Jack Ryan on drums, Stephen Campbell on bass, Drew Smithers on guitar, Mike Runyon on keys, and Chris Spies on sax.
Heavily influenced by acts like the Allman Brothers and Waylon Jennings, King produces the perfect sounds for a hot summer day.
Chatting up conversation with fans lined up at the photo pit barricade, I came across young and old fans like. There was a young lady dressed as Stapleton, who was attending her first concert. There were best friends who splurged to get up close, and there were families front and center ready to tap their boots to some “Tennessee Whiskey.” Parenting done right, it will always bring a smile to my face to see children at the front the shows. Music is awesome, but live music like that is on a whole other level.
Running about 15 minutes late, Stapleton hit the stage to a loud and boisterous round of cheers and applause as he immediately rolled into “White Horse”, “Nobody to Blame”, and “Second One to Know.” For some it was the first time seeing the country star, for others it was another notch in the belt. Either way, Stapleton had the fans on their toes for the next 90 minutes.
Not one for much chatter during the set, Stapleton rolled through the 23-song set with his wife, Morgane, within arm’s reach. Providing background vocals as well as duets with her husband on most songs, she makes them quite a dynamic duo.
21,000 fans packed into lawn and shell seats for a night of amazing music and 21,000 fans were treated to an unbelievable show by a country mega star and a mega star in the making. This was a night to remember for so many, especially for that young lady in front who got see Chris Stapleton from the very front row.
Leaving the show a little early avoid the notoriously horrific Darien Lake parking lot traffic, you could still hear Stapleton belting out “Fire Away”, “Tennessee Whiskey”, and “Broken Halos”. As I made my way to my car, the crowd was perfectly in sync, just as they were from the first note of the night.
Stapleton continues his tour with Lane and King this summer, as well as stops to perform with George Strait along the way.
Chris Stapleton setlist: White Horse, Nobody to Blame, Second One to Know, Millionaire (K. Welch cover), Crosswind, Trying to Untangle My Mind, South Dakota, Might as Well Get Stoned, What Am I Gonna Do, Think I’m In Love With You, Whiskey and You, Arkansas, Starting Over, Joy of My Life (J. Fogerty cover), Parachute, Mountains of My Mind, You Should Probably Leave, Cold, Free Bird/The Devil Named Music, Traveller, Fire Away, Tennessee Whiskey, Broken Halos
Marcus KingMarcus KingMarcus KingMarcus KingMarcus KingMarcus King1Marcus King
Two-time Grammy Award winner, Jason Mraz, hit the stage at CMAC on Wednesday, July 10. Bringing a night of positive and inspirational messages, Mraz rocked the Northeast shore of Canandaigua Lake, along with Ripe and The Molly Miller Trio in support of his 2023 release, Mystical Magical Rhythmical Radical Ride.
Jason Mraz
With the threat of tornados from Buffalo to Canandaigua throughout the day, Mraz and fans were keeping a close on the weather. As Mraz hit stage around 830, it was clear that many fans decided to stay home. Thanks to venue staff for doing the right thing, as many lawn patrons were offered seats under the cover of the shell.
Getting the night started was Ripe. Fronted by Robbie Wulfsohn, Ripe is a highly energetic pop-funk band from the Boston area. Formed while studying at Berklee College of Music and working through the pandemic, Ripe has developed a mini cult-like following of music fans of all ages that keeps on growing. Pairing with the powerful voice of Wulfsohn were Christian Yogi Saint-Louis on guitar, Sampson Hellerman on drums, Jon Becker on Bass, Calvin Barthel on Trombone.
Opening for an act like Jason Mraz might be intimidating for some, but for these guys, not even the weather was intimidating as they dominated their set. Both Wulfsohn and Becker were all over the stage, never skipping a beat.
Ripe Setlist: Flipside, Stanky, Passerby, Say It To Me, Sussudio (P Collins cover), First Time Feeling, Noise in The Forest, Downward, Settling, (Goon Squad)
As Mraz took the stage donning a retro looking fit, the crowd is energized and ready to dance the night away, a common theme at Jason’s shows. Joining him on the stage that was backlit by large display screen was his Superband, a collection of nine other artists who were all ready for a workout, including Molly Miller, Billy Galewood, and other members of Bushwalla.
“Getting Started” and “Feel Good Too” was the ideal pair of songs to get the set started. Both songs carry poppy, trippy, and happy vibes which set the tone for the next 90 minutes.
Before song three began, insight was offered up on the meaning of “The Remedy.” He went on to talk about a conversation with a high school friend who had a deep conversation with him around age 20 and told Mraz of his recent cancer diagnosis. Definitely, not something anyone wishes to deal with but sadly becomes part of life. In an ode to his friend and the most positive outlook one could have in his situation, “The Remedy” was born. Mraz continued on saying that this friend is alive and well today, and recently celebrated his birthday.
Admittedly, I could not name more than one song from Jason Mraz before the show. As the night progressed, I recognized several, not realizing who the artist was. Not realizing the level of talent I was listening to. Guitarist, lyricist, dancer, and story teller, Jason Mraz offers it all and delivery is second to none.
As he continues his set, he adds in wit and banter related to each song, or the weather as he cracked a couple tornado jokes. He even ‘Rick Rolled’ the Canandaigua crowd. Introducing a song, he began to talk about a special guest who join in him on stage, as he called out Colbie Caillat, an artist who he has collaborated with previously. After a brief pause, he added “…Could not make it tonight” and immediately went into Rick Astley’s “Never Gonna Give You Up.”
Keeping the jokes going, he offered alternate lyrics to “Pancakes & Butter,” his song about waiting for someone special because they pair well together. Trying to keep straight face, Mraz started singing about Rochester and garbage plates instead of “Pancakes & Butter.” Apparently, the former didn’t flow, and he had to scrap the idea.
As the night concluded with “I Feel Like Dancing,” Mraz was joined on stage with Ripe and they danced the night away. Artists pairing up with each other and creating an amazing scene on stage as the entire crowd is up screaming for more. A very fitting conclusion to a very uplifting show.
Jason Mraz setlist: Getting Started, Feel Good Too, The Remedy (I Won’t Worry), 3 Things, Living in the Moment, Good Old Daze, Be Where Your Feet Are, Look For The Good, Make it Mine, Butterfly, Pancakes & Butter, Disco Sun, 93 Million Miles, I Won’t Give Up, Have It All, You Might Like It, I’m Yours, I Feel Like Dancing
Jon and Alonzo – RipeCalvin & Yogi -RipeCalvin Barthel – RipeAlonzi Demetrius – RipeSampson Hellerman – RipeJon Becker, Robbie Wulfsohn – RipeRobbie Wulfsohn – RipeJon Becker – RipeJason MrazJason MrazJason MrazMolly Miller Jason MrazJason MrazJason MrazJason MrazJason Mraz
On a perfect summer night for a rock concert, the Red Hot Chili Peppers delivered a sensational sold-out show at Darien Lake Performing Arts Center on Friday, July 12, marking a standout stop on their 2022-2024 Global Stadium Tour.
The concert kicked off with bassist Flea handstand walking over to his bass and immediately jumping into an electrifying and psychedelic jam with guitarist John Frusciante and drummer Chad Smith. This set an upbeat tone that seamlessly transitioned into “Around the World” as vocalist Anthony Kiedis took the stage to a massive roar.
From the very start, the band’s energy was at full blast, capturing the crowd’s enthusiasm. Fan-favorite “Dani California” followed, turning the amphitheater into a sea of singing and dancing.
The setlist showcased the Chili Peppers’ versatility, balancing timeless hits with fresh material. “The Zephyr Song” offered mellow vibes, while “Aquatic Mouth Dance” introduced a new, experimental flavor. The crowd was treated to a heartfelt cover of “I Remember You” by The Ramones, a nod to the band’s punk influences.
The performance continued to build momentum with “Hey” and the band followed up with another Ramones cover, “Havana Affair,” keeping the energy high. The raw power of “Suck My Kiss” and the emotive “Soul to Squeeze” provided a mix of intensity and introspection. The anthem-like “Carry Me Home” led into fan favorite “Californication,” which had the entire amphitheater singing along.
The night’s encore began with a stirring rendition of “Under the Bridge” and concluding on a high note with “Give It Away”, capping off a night of high-energy rock and funk.
The Red Hot Chili Peppers’ performance at Darien Lake was a testament to their long career and legacy. Their setlist combined classic hits with newer tracks, ensuring a memorable experience for fans. The band’s dynamic stage presence and ability to create an engaging atmosphere reinforced their status as one of rock’s most enduring and exciting acts.
Red Hot Chili Peppers – Darien Lake Performing Arts Center, Darien Center, NY – Friday, July 12, 2024
Setlist: Intro Jam, Around the World, Dani California, The Zephyr Song, Aquatic Mouth Dance, Universally Speaking, I Remember You (Ramones cover), Eddie, Hey, Right on Time, Havana Affair (Ramones cover), Suck My Kiss, Soul to Squeeze, Carry Me Home, Californication, Black Summer, By the Way Encore: Under the Bridge, Give It Away
More than two decades of Disco Biscuits music festival memories converged in Central New York over July 4-6. Combining the rocky terrain of Skye Top Festival Grounds in Van Etten, the hills of Hunter Mountain, the prime rural location of Mariaville and the heat and humidity of Montage Mountain, Camp Biscos of years past were recalled throughout the weekend, these elements compacting into a look at a bright spot in the once boisterous Northeast music festival scene.
Even with all music bumped to be an hour or so earlier than announced, the full Camp Bisco Biscoland experience was on tap. New artists to discover, veteran jam and funk acts to catch up with, Tractorbeam, various DJ sets, a Silent Disco for the post-11 pm noise curfew, and adding in the humidity and heat coupled with the threat of rain/storms, and it was like Camp Bisco 2008 all over again.
Wonderland Forest, which has the potential to be the Caverns of the Northeast, makes the experience not just inside the venue, but the location includes a drive into the rural foothills in southern Onondaga County, with a unique and accessible layout found nowhere else in the Northeast. A byproduct of the Covid-pandemic, the venue’s management thinks differently about the events they plan, the fans they cater to, and the experience that everyone has upon arrival and throughout the weekend. With a summer calendar of events lined up that rivals amphitheaters around the state, Wonderland Forest is shaping up to make Central New York a true live music destination.
Thursday arrival was smooth whether you were car camping or bringing the RV along. Staff solved preferred camping shuttle issues quickly to get fans to their sites and out to see the music.
The initial afternoon slate of music featured opening acts from JImkata, a nationally touring electro-rock band with ties to nearby Ithaca, and Kitchen Dwellers a very non-local band from Montana continually growing in popularity and serving up a blend of bluegrass and psychedelic rock.
Day 1 also featured two sets from a pair of renowned DJs, starting with Mark Farina who played an hour’s worth of house music and his signature “mushroom jazz” at the Saloon Stage. Nora En Pure, a deep house producer known for her signature style of downtempo techno, followed on the Main Stage with a set of music that served as a fitting appetizer for the main course that evening.
That would be Tractorbeam, the Disco Biscuits musical alter ego per se, which features a more techno/dance heavy and lyric-less approach to their music mixed along with other electronica inspirations. Tonight leaned heavily on the “other” with a slew of first timers making their way into the two-hour set that never truly stopped at any point until Katy Perry belted out “Firework.”
A first-time cover of Porter Robinson’s “Language” started the set and funneled perfectly into the techno-styled “Confrontation” that the band has mixed into Disco Biscuits sets as of late. The rest of the set followed suit, blending a mix of electronica classics like Fisher’s “Losing It” that segued effortlessly into a rousing “The Great Abyss” with the laser light show now at full strength. The set even featured a cover of Darude’s “Sandstorm,” also played for the first time.
With the band fittingly adorned in blue and red Adidas track suits for the holiday, they continued to effortlessly churn through new additions to the Tractorbeam musical repertoire, like their take on Fred Again & Baby Keem’s “Leavemealone” that featured some incredible work on the e-drums from Allen Aucoin. The following segment of “Monster” > “Uber Glue” > “Photograph” flowed seamlessly and was the only true run of Biscuits originals. And although there would be no professional pyrotechnics set off on the 4th, the Tractorbeam set ended with a proper cover of Katy Perry’s “Firework” that put an end to the first night of music at Biscoland.
Friday warmed up fast and brought along that Camp Bisco humidity of legend and ill repute. Early sets from Dizgo and RAQ brought out those looking to get out of their campsites and hotels. Lespecial kept the crowd engaged, with bassist Luke Bemand poking fun at himself for wearing black jeans on such a hot day, bringing up Cloudchord on guitar during “Enter Sandstorm,” calling back to the Tractorbeam debut of “Sandstorm” the night before. Bemand and Co. flattered the sun-baked crowd throughout the set, reminding those gathered at the main stage “your body is a Wonderland Forest.” Sets from Lettuce and Break Science framed the night ahead, a warm up in the evening daylight for the Biscuits.
For the first proper weekend set of Disco Biscuits, a 14-minute “Vassillios” opened things up with the classic old school tune, something rare to find on this night of fresh/er Biscuits. However, we could not confirm at press time that first set highlight “Dino Baby” was influenced by regional brisket. The smoothly flowing “Dino Baby” stretched itself into an inverted “Crickets,” and once the jam was found, gave a bridge to the first (lyrical) debut of the night, “In the End We Have Forever,” although it had been played fully instrumental at Electric Forest two weeks prior. “No Recollection” closed the set with bassist Marc Brownstein encouraging the crowd (and band) they’d keep the setbreak short at 20 minutes, which they nearly delivered on.
The second set saw the debut of “Another Spin” spanning more than 30 minutes,and based on the March 9, 2024 “No Recollection” jam, per Biscuits Internet Project. Working into the end of “Another Plan of Attack”, the band debuted “Losing It,” again with lyrics, after presenting the instrumental version during Tractorbeam on Thursday night, a rare double-debut for a band that has been unloading fresh new material on fans like an A-list comic hitting the Comedy Cellar night after night for 15-minute sets.
Dipping back into the beginning of “Another Plan of Attack,” the only other old school Biscuits song of the night, “Catalyst” made itself welcome, grinding the end of the set towards “Ring the Doorbell Twice.” You’d be hard-pressed to find a dull moment from these sets, with plenty to unpack from the debuts upon relistens.
The last day of this year’s Biscoland offered a brief respite from some of the humidity and more varied musical acts leading up to two more sets of Disco Biscuits. Saxsquatch, which is exactly what it sounds like, braved the weather and delivered covers on the sax at the Saloon Stage in the early afternoon. Later on the Main Stage, albeit after a bit of a delay, The Breakfast reunited for a set of psychedelic-infused rock that included a spot-on cover of MGMT’s “Time To Pretend.” Afterwards, Space Bacon played to a full and lively crowd back on the Saloon Stage, setting the stage perfectly for the headliners with some Bisco-esque guitar riffs and impressive jamming overall.
The Biscuits continued to mesh the old with the new in their last two sets of the weekend, starting with a true old school number in “Basis For A Day.” The show began with a cohesive instrumental jam that started off fast and never let up for well over 10 minutes until the familiar chorus, with some added orchestral effects from Magner on keys, rang out. The jam out of “Basis” was patiently crafted and segued seamlessly into “Freeze,” from the band’s recent Revolution In Motion release. The extended jam out of “Freeze” led into “Better In Doses,” a completely brand new song debuted, featuring Barber on lead vocals and an infectious beat that seemed like it could have easily fit alongside other “Motion” songs on the album.
The second set began with one last nod to the days of old with a massive “House Dog Party Favor” opener that reached almost 30 minutes in length. From the ashes of the second “House Dog” jam arose yet another new song making its live debut, “Trap Door.” This elicited an intense, slow build of a jam that steamrolled perfectly into a “Cyclone” that continued to build the momentum and even used samples of Outkast’s “So Fresh, So Clean.”
An inverted “Above The Waves’ followed and served as the other massive jam vehicle of the second set. After one last introduction to “Trap Door,” the show came to a close with one last silky smooth transition into “Digital Buddha,” which allotted one last opportunity of samples and true Biscuits rock.
For those that still had a little left in the tank, a Cloudchord silent disco set was the final performance of this year’s Biscoland due to the last minute change in schedule. The Revolution in Motion producer was armed with a guitar and a drum machine and even brought up Barber for a short few minutes on a run through of “Shocked,” giving those in attendees one last chance to soak up the very last remnants of Biscoland 2.
The Disco Biscuits community has rallied to support a fan who was injured by a tree that fell in the night of July 5. A GoFundMe has been set up. Learn more here to help Mary Wallace on her road to recovery.
Disco Biscuits 2024 Tour Dates 7/11 – Selbyville, DE – Freeman Arts Pavilion 7/12 – Atlantic City, NJ – Bourbon Ballroom 7/13 – Richmond, VA – The National 7/14 – Wilmington, NC – Greenfield Lake Amphitheater 7/15 – Isle of Palms, SC – The Windjammer 7/18-19 Thornville, OH – Secret Dreams Festival 7/20 – Patchogue, NY – Great South Bay Music Festival 8/9-11 – Long Pond, PA – Elements Festival 8/29-30 – TBA 8/31-9/1 – Murphysboro, IL – Weekend at the Cave 9/6 – Dillon, CO – Dillon Amphitheater 9/7 – Bellvue, CO – Mishawaka Amphitheatre (SOLD OUT) 9/8 – Bellvue, CO – Mishawaka Amphitheatre (SOLD OUT) 9/11 – Salt Lake City, UT – The Depot 9/13 – Livingston, MT – Pine Creek Lodge (TRACTORBEAM) 9/14-15 – Livingston, MT – Pine Creek Lodge
Western New York’s summer got a little brighter as Norah Jones’ latest tour with Mavis Staples blew through CMAC in Canandaigua and ArtPark in Lewiston on July 5th and 6th, despite the rains pouring down Friday night in Canandaigua.
Gospel legend, civil rights icon and sole surviving and torch-bearing Staples Singer, Mavis Staples and her band of bass, drums, guitar and backup singers, took the stage first. She needed assistance walking to the front of the stage, and took some breaks with a seat and some sips of tea in between songs, but when the mic was in front of her, she was a ball of fire. The stage, and the entire venue, was in her control.
Her voice, gravelly and soulful, belted out affirmations of love, for oneself, others, and of course God. Like a preacher from the pulpit, in case you missed the message, she repeated it a couple more times in her banter.
The set mixed Staples classics like “I’m Just a Soldier,” and “Heavy Makes Too Happy,” with Gospel standards like “I Belong to the Band, Hallelujah!” and more contemporary rock hits like Funkadelic’s “Can You Get to That” and the Talking Heads’ “Slippery People.” Mavis molded these latter tunes to her will, secular messages becoming spiritual. “What’s the matter with him? He’s alright. How do you know? The Lord won’t mind.” hits a little different coming from mouth of Mavis Staples than it does from David Byrne.
As Mavis was helped back off stage after her 45 minutes, she and her band received a rare and well-deserved opening-set standing ovation. One performance from a legendary lady in the books, one more to come.
After a short break, Norah Jones took the stage with Brian Blade behind the drums and Josh Lattanzi on bass, opening their set with “What Am I To You” off Jones’ second album Feels Like Home. Then just minutes in, Mavis Staples came back out to perform “I’ll Be Gone” which she recorded with Jones in 2019. Certainly an early-set show highlight to be blessed with both iconic voices playing off each other. Pete Remm, who wrote the song, was also on board on organ for that and off and on for the remainder of the show.
With that out of the way, Jones’ invited the rest of her band out, Sasha Dobson on guitar and vocals and Sami Stevens on keys and vocals. They kicked into some material from her stellar new release, Visions, with “Paradise” and “Running” before dropping back to early hit “Sunrise.”
The set continued to span her entire catalog, each song it’s own gift. Perfect little moments of musical joy popped out here and there, each tied off in a colorful bow, like from the streamers hanging as a backdrop. A singular smile-inducing note to close “Running,” beautifully bowed bass in “Sunrise,” Blade’s infectious groove in “Staring at the Wall,” the three-part vocal round on “I’m Awake.” Attentive ears were rewarded with these plentiful gifts throughout the night.
As Staples could bend a songs meaning to her will, Jones could likewise bend entire genres to her will. On the hushed and haunting “Little Broken Hearts,” she took on an indie-rock persona, strapping on a guitar. Then on “Queen of the Sea” she was belting out a country ballad. Her classic “Come Away With Me” was stripped back to the trio, with spare upright bass notes and subtle drums, it was Jones at her jazziest, taking control with her piano and voice. But she isn’t a rocker, singer/songwriter, country crooner, jazz musician or pop star. She’s Norah Jones and there’s no one else sounding quite like her.
She waited until the encore for the lone cover of the night, Tom Waits’ “Long Way Home,” before closing out the night properly with her classic hit “Don’t Know Why,”
Note: Review from CMAC, all photos from ArtPark by Patrick Sone Lin Htoo.
CMAC Setlist: What I Am To You, I’ll Be Gone (with Mavis Staples), Running, Sunrise, Begin Again, Tragedy, I’m Awake, I Just Wanna Dance, Out on the Road, Little Broken Hearts, Queen of the Sea, Staring at the Wall, Come Away With Me, All This Time, Happy Pills, Carry On E:ncore Long Way Home (Tom Waits), Don’t Know Why
In Buffalo, from July 5-7, the Savannah Bananas‘ made their latest stop as part of their 2024 world tour. Moreover fans eagerly anticipated the arrival of Banana Ball’s newest team, the Firefighters. This series marked three games out of 19 on the Bananas’ tour schedule.
The previous series saw the Bananas and the Party Animals clash in Savannah and Las Vegas, with the Bananas also having faced off against the Firefighters in Nashville and Savannah.
The Firefighters made their much-anticipated debut on May 30, shaking up the tour dynamics. Traditionally, the Bananas exclusively faced the Party Animals in each World Tour game until now. With the introduction of the Firefighters, both the Bananas and the Party Animals will compete against this new team. Notably, the Party Animals are set for their own 12-game headline leg of the Tour.
Over the course of this three-game series at Sahlen Field, more than 49,000 fans were entertained. The Bananas currently lead the 2024 Tour with a record of 31-22, having recently clinched a series victory in Indianapolis. The Bananas have now won all three of their games played in Buffalo.
Who are the Savannah Bananas?
For local interest, pitcher Ryan Kellogg of the Bananas hails from Whitby, Ontario, Canada. The Bananas’ journey began in 2015 in Savannah, where they revitalized baseball with a focus on fun and fan engagement. Despite early challenges, including financial strain that led owners Jesse and Emily Cole to sell their home, the team gained national attention upon adopting the name Savannah Bananas in 2016. Initially controversial, the name brought significant media coverage and packed stadiums, setting a precedent for their success.
After seven seasons in the Coastal Plain League, during which they won three Petitt Cup Championships and saw over 35 players drafted, the Bananas transitioned to year-round Banana Ball, a faster-paced and more entertaining version of baseball. Now fielding three independent professional teamsâthe Savannah Bananas, the Party Animals, and the Firefightersâthe organization continues to innovate and expand its impact on the sport.
Banana Ball is defined by its unique set of 11 rules aimed at keeping the game exciting and competitive. This year, a new rule called the GOLDEN BATTER has been introduced, allowing each team one opportunity per game to send any hitter to the plate, regardless of their position in the lineup or the game situation. This rule is designed to intensify close games and offer a strategic advantage to either team.
