Phish guitarist Trey Anastasio is once again going out on a solo acoustic tour in 2025, his first one in three years. The tour starts on March 8 in Springfield, MA at Symphony Hall and will cover a large swath of the Midwest and Southeast regions of the country through early April. It includes one New York gig on March 12 in Rochester at Kodak Hall at Eastman Theatre. See all tour dates listed below.
Real-time presales begin Wednesday, December 4 exclusively via treytickets.shop.ticketstoday.com. All remaining tickets will go on sale to the general public on Friday, December 6 – check venues for on-sale times. For complete details, please see trey.com/tour.
TREY ANASTASIO – SOLO ACOUSTIC TOUR 2025
MARCH
8 – Springfield, MA – Symphony Hall
9 – Boston, MA – Wang Theatre at Boch Center
11 – Wilkes-Barre, PA – The F.M. Kirby Center
12 – Rochester, NY – Kodak Hall at Eastman Theatre
14 – Columbus, OH – Mershon Auditorium
15 – Milwaukee, WI – Riverside Theater
16 – Nashville, IN – Brown County Music Center
18 – Chicago, IL – Orchestra Hall
19 – Kansas City, MO – Uptown Theatre
21 – New Orleans, LA – Saenger Theatre
22 – Birmingham, AL – Alabama Theatre
23 – Nashville, TN – Ryman Auditorium
26 – Orlando, FL – Walt Disney Theater at Dr. Phillips Center for the Performing Arts
28 – Clearwater, FL – Ruth Eckerd Hall
29 – Savannah, GA – Johnny Mercer Theatre
30 – Charleston, SC – Gaillard Auditorium
APRIL
1 – Knoxville, TN – Tennessee Theatre
2 – Greenville, SC – Peace Concert Hall
4 – Washington, DC – Warner Theatre
5 – Red Bank, NJ – Count Basie Center for the Arts
The SAMMYS board has announced the dates of the 2025 Syracuse Area Music Awards Hall of Fame Dinner and subsequent Awards Show.
The Syracuse Area Music Awards, more commonly referred to as the SAMMYS, is an annual awards show created to honor and celebrate the works from the brightest musical minds of the Syracuse area.
Newly announced, the 2025 SAMMYS Hall of Fame Dinner will be held on Thursday, March 6, and The SAMMYS Award Show will be held the following night on Friday, March 7.
The award show will feature performances by local musicians interspersed throughout awards presented in a wide variety of categories including four People’s Choice Awards, the Brian Bourke Award for Best New Artist, the Jack O Bocchino Spirit of the Sammys Award, and the SAMMYS Community Spirit Award.
The SAMMYS People’s Choice online open submission phase will open on January 1. Everyone is encouraged to nominate their personal favorite artist, band, event, music series, academic/musical organization, and live music venue. For more information on how to submit and vote for your favorites, visit here.
From the Central New York area and want to have your work considered for a SAMMY? Online-only recorded submissions will be accepted from December 1- January 3. Each artist must select one category they wish to be judged in, and eligibility for submission is limited to commercially released albums or EPs that were published between January 1- December 31, 2024. The online entry form is live now, accessible here.
We are proud to announce that NYS Music is now a 501(c)(3) charitable organization! This Giving Tuesday, we are looking to raise $1,000 to continue to expand our coverage and support our team across the state.
We’re pushing into our 10th year in 2025 with a renewed focus on music and arts journalism. New York State Music is the ONLY publication that focuses coverage on up and coming bands, rising artists, breaking music news and celebrating music history from every region in New York State.
Support NYS Music’s mission for Independent Music and Arts Journalism across New York State!
NYS Music empowers new and aspiring music and arts journalists with a passion for all things music through coverage of concerts, festivals and live music of all genres. Serving as an incubator for independent journalism is more important now than ever before. NYS Music is proud to help build the next generation of writers and photographers while covering the best music coming from all parts of the Empire State.
Next week we will be previewing what’s to come in our 10th year! The team at New York State Music is grateful for your support. Be sure to check out our merchandise options as well!
The Park Theater Foundation of Glens Falls has announced its end-of-year lineup of shows and events for December.
A non-profit organization dedicated to hosting events that enhance the Glens Falls community, The Park Theater Foundation brings quality and affordable entertainment as well as performing arts educational opportunities to folks within the city and beyond.
With a wide variety of events and entertainments gracing their space, The Park has it all. In preparation for the conclusion of their 2024 schedule, the Foundation has announced its final shows of the year happening throughout December.
On December 5, The Park will present national mandolin championship winner Ethan Setiawan and Fine Ground with opening support from Alan Epstein. The show will begin at 7:00 PM with doors opening at 6:00 PM, and tickets are priced at $20 for early bird attendees or $25 at the door.
A throwback show will take the stage on December 7 featuring Eric Carlin’s Half-Dead- an authentic Grateful Dead concert experience. Tickets are $25 for early bird pricing or $30 at the door. Showtime will be at 7:30 PM, and doors will open at 7:00 PM.
December 19 will host an evening of jazz featuring The Music of Thelonious Monk with the Matt Niedbalski Trio alongside Adam Siegal and Jason Emmond. Tickets for this event are priced at $10, with doors at 7:00 PM and a showtime of 7:30 PM.
Concluding the year and The Park’s 2024 events will be their ‘New Year’s Eve Dinner & Comedy Show’.
Featuring a performance by the highly-acclaimed comedian Sean Donnelly, audience members will be able to enjoy a preliminary cocktail hour, a full three course pre-fixe menu dinner curated by Park Street Hospitality’s executive chef Matthew J. Delos, and a complimentary champagne greeting station along with the night’s entertainment for an all-inclusive price of $99.
Tickets for The Park Theater Foundation’s year-ending events are live now. For ticket purchasing and further information, be sure to visit their official website here.
In the fall of 2010, I became acutely aware of a ringing and slight pain in my ears. I ignored it yet it persisted the next few days as well. Over the next week, the ringing faded to non-existence, but a week later at a club show, I found myself taking pictures near a speaker and later that night, I felt the ringing come back, quite strongly. The ringing this time did not go away and I continued to see live music but kept away from speakers.
In December of that year I contacted an ear/nose/throat specialist and he informed me that I likely had tinnitus, the constant ringing sensation in my ears that would not go away, and was noticeable, especially in the silence before I went to sleep each night. Earplugs were in order.
This is when I decided it was time to invest in a good pair of ear plugs. For nearly every show since December 2010, I have worn earplugs and not missed a note of music and as a result, the ringing has subsided somewhat. While I have a couple of pairs of ear plugs that work well, I continue to notice, more than four years later that many of my friends and regulars at shows do not wear earplugs. The typical response is because they didn’t want to miss the sound of the show. The benefits of earplugs cannot be understated, as they filter out some of the unnecessary noise and improve the quality of the live music experience rather than hamper it. Around the time of this diagnosis, I sought out different styles and brands of earplugs to test which ones worked best and to share the benefit of earplugs with others so that fewer do not succumb to tinnitus, or worse, hearing loss. Four years later and I still have tinnitus but my hearing is no worse than it was in late 2010, but it would be a different story without a small investment in earplugs.
For parents who wish to bring their children to concerts and live music events, hearing protection is of paramount concern, as younger ears are more easily susceptible to damage. Doctors advise choosing to protect children’s hearing especially, noting “Had I not been educated as to how fragile a child’s hearing was, I may have not protected both my kids early enough to ensure they won’t have hearing loss. Now, they wear them to fireworks, music, anything loud. My son even has them on right now while doing his homework in his bedroom.” For parents looking into hearing protection for their children, a variety of earmuffs are compared here.
However, musicians are in a precarious position, especially bands that are just starting out, because they are faced with three choices – earplugs (affordable), in ear monitors (expensive) or no hearing protection at all (expensive in the long run). Each musician is different, where in ear monitors work for one, earplugs work for another. In the case of some musicians, needing to hear the subtleties of every note played is necessary and can be an issue when playing on stage, but still carry the side effects of being subjected to loud decibel levels of music for hours at a time, both in practice and during a performance. The dilemna for musicians is real.
I spoke with Dr. Michael Devito, an ENT specialist, or Otolaryngologist, practicing in the Capital District of New York regarding hearing protection, the benefits of earplugs and what can happen without proper hearing protection.
“Tinnitus is a subjective noise that some people describe as a motor running, a high pitch, etc…, but because it is subjective, there is no real objective way to solve it, and thus, treatment is difficult. It was originally thought Tinnitus came from the ear cells in your inner ear as they get floppy and move around, which gives a neural impulse to the brain and the sound is then interpreted as a ringing. However, instead it may originate in the auditory cortex of the brain.”
Dr. Devito notes that the hazards associated with lack of hearing protection are quite severe.
“If it is continuing to ring for a month, then the ringing might not go away at that point. Hearing loss is the other concern for protracted, long-term noise exposure. Depending on the music, artists and your proximity to the speakers, the sound can greatly impact you. The more decibels, the worse it can be on unprotected ears.”
With that in mind, let’s talk ear plug basics:
Attenuation
When looking at earplugs, the most important thing to look for on a package or website is the Mean Attenuation. This refers to how many decibels (dB) the hearing protection will reduce the sound, or how much the sound will be dampened based on quality of hearing product. If a given earplug gives you 20 db of attenuation, it will make 100 dB sound like 80 dB, without lessening the sound.
Proper insertion
Make sure to insert all earplugs properly. This is done by putting your left arm behind your back and pulling your right outer ear backwards from the lobe. Gently insert the earplug with a light twist with your left hand. Repeat with the opposite hand for the other ear. This is sometimes called the ‘monkey grip’ (per KillNoise). Do not over-insert into the ear, only to the point where you can remove them successfully.
Proper care
Keep earplugs in a case (most of those sampled below come with cases) and gently wash with soap and water – earplugs do need to be cleaned from time to time. If you use disposable ear plugs you can wipe them off, but they don’t need to be washed since they are designed for single use.
Brands
Of the brands surveyed below, none of these will fall out or feel like they might slip, provided they are properly inserted. Dance, rock out, rage proper and the earplugs will stay securely in your ear.
Matrix Orange (single use), made by HowardLeight.com. This pair is firmer and may be tough to get into your ear but once in, they do not dull the music much and it feels almost the same as not having them in.
Mean Attenuation at 2000 hertz: 36 db
Ear Peace: These are the smallest pair sampled for this article and very light. They can hide in your ears so well that no one can see them at all and it can feel like you are seeing a show without earplugs inserted. Being so small, they can be a bit weird to remove, as there is a tiny rubber end that allows you to pull the entire plug out at once. Removal becomes easier the more you use them. Bonus – these come with an awesome case on a small key chain. One size fits all.
Mean Attenuation at 2000 hertz: 22 db
HEAROSHigh Fidelity for small ear canals: It’s not the size of your ear canal that matter – get what feels best and fits best. These earplugs can be angled at three depths, denoted by soft ridges on the plugs. Comes with a case
Mean Attenuation at 2000 hertz: 22.5 db
Etymotic High-definition Earplugs: This pair of earplugs comes with a cord that attaches the two earplugs together, so that you can put them in and take them out and let them hang around your neck when the music isn’t playing. They fit in nicely, much like the HEAROS mentioned above (Etymotic also makes HEAROS) and keep the static out evenly without lessening the music experience.
Mean Attenuation at 2000 hertz: 20 db
HEAROS Xtreme Protection: Made out of soft squishy foam, these make music easier to tolerate close up, without making it quieter; they simply take away the bass and static that you wouldn’t recognize otherwise. When away from the music, it can be difficult to hear so you may have to take them out and reinsert them. They also roll up nicely, fit tight and are soft to touch. No case, but they fit easily into a wallet or purse.
Mean Attenuation at 2000 hertz: 38.6 db
Kill Noise: Developed in Sweden, these small rubbery earplugs fit in easily with four depth levels and a rubber disc to stop them from going in too far. They definitely kill the noise, but only the bad stuff; the music gets through cleanly and clearly. It may take a few tries to get them in right, since they are a bit flexible and could have more rigidity but once they are in, they fit just right. They come with flat a snap-shut case.
Mean Attenuation at 2000 hertz: 23 db
Keep a pair in your backpack for a festival, your glovebox for club and theater shows, and a pair in your purse or wallet – cover all your bases. Don’t see live music without them if you want to continue hearing live music for many years to come. Taking care of your hearing is the most important thing live music fans should do for themselves, to ensure that the music never stops.
Time Limits For Hearing DamageBelow are the accepted standards for recommended permissible exposure time for continuous time weighted average noise, according to NIOSH (National Institute for Occupational Safety and Health) and CDC (Centers for Disease Control and Prevention), 2002. For every 3 dBs over 85dB, the permissible exposure time before possible damage can occur is cut in half.
On Friday, November 29, perhaps the two biggest rising stars in the jam-band scene – Dogs in a Pile and Eggy – took another giant leap, packing out The Capitol Theatre to near capacity.
The first time both bands were set to headline the iconic venue, Dogs In A Pile and Eggy had their fans pour in early to check out a pre-show at Garcia’s featuring Residual Groove. The link between the two fanbases was as clear as day, as was the decision to make the two evenings a co-headlining spectacle.
As announced on social media by Peter Shapiro a few days prior via a coin-toss, Dogs In A Pile were set to open Day 1 with Eggy following, and the reverse happened the next day.
Dogs In A Pile hit the stage at 8pm sharp on Friday night, busting of the gate strong with “Look Johnny ll”. Hailing from Asbury Park, New Jersey, Dogs In A Pile have become a nationally recognized act, touring all around the country with great frequency. Certainly no stranger to the New York music scene, playing huge shows like the Phish after show last year at Sony Hall, Great South Bay Music Festival, as well as going on tour with Andy Frasco at Pier 17 and The Capitol Theatre itself, though this time, under a very different circumstance.
Childhood friends who met fellow students at Berklee, the band consists of Jimmy Law on Guitar and Vocals, Joey Babick on Drums, Jeremy Kaplan on Keys and Vocals, Sam Lucid on Bass, and Brian Murray on Guitar and Vocals. Ending on a real high note, a difficult task was set upon Eggy, following what had just occurred was no small feat.
Eggy gracefully took the stage to great anticipation. In quite fitting fashion, “Here and Now” was the designated opening number as dancing re-emerged throughout the audience. Fresh off the release of their new album, “Waiting Game“, the band consists of Jake Brownstein on Guitar and Vocals, Dani Battat on Keys and Vocals, Mike Goodman on Bass and Vocals, and Alex Bailey on Drums and Vocals.
New York is a frequent stop for Eggy, and its easy to see why. Their impressive song writing abilities, along with deep experimentation of the material, a fantastic tour-de-force is always on full display. As the first set winded down, Dani Battat slowed things down, paying tribute to his bandmate and dear friend, Jake, to celebrate his birthday.
A cake was brought out as this touching moment was rang in by Bailey switching to his cajon and Goodman to his standup bass. An acoustic set brought the evening home, but the festivities were not over just yet.
For an encore, Dogs In A Pile came back on stage to join Eggy in family band style fashion. Paying homage to the day, “Black Friday” by Steely Dan rang out, followed by the Hunter/Garcia classic, “Bird Song”.
The evening concluded with strong enthusiasm as another epic night of music awaited everyone the following evening. Though the two bands have similar fanbases and style, their momentums are respectively separate and strong.
Dogs In A Pile go on to play more dates throughout December, including a 4 night run through New Years in Saratoga Springs at Putnam Palace. Eggy will also be playing in New York at the end of this month, hitting Electric City in Buffalo on the 27th, and Levon Helm Studios in Woodstock on the 29th. Tickets for all shows are available now.
Brooklyn-based Indie Pop artist Ski Team (Lucie Lozinski) has announced Dec. 3. as the release date for the music video of “Me”.
“Me” is about “the struggle of adjusting someone’s role in your life, or your own role to them, and giving up control in that process,” shares Lucie Lozinski, otherwise known as Ski Team. “It’s about realizing if you have to assign roles, maybe it’s not as special as you think. And, like, challenging this idea of roles being the whole of someone’s identity. It’s scary to not know who’s on your roster, or who you are without a particular person/job/trait/whatever, and just go forth into life’s abyss as a human, but it’s often better for everyone involved to get on with it.”
While the song is classified as experimental, there is enough common elements to make the song relatable to the average listener. The saxophone that begins the song is a nice touch and each time the sax makes an appearance in the mix it is always a welcome addition. The lyrics take the song to a personal level that gives the feeling of listening to a journal entry.
The video reflects the isolation and mundanity of the roles we play in everyday life by the use of the grey office space, escalators, and packed public transportation. Lozinski wears her hair pinned back as tight as can be and an all-white suit and tie combined with a long flowing skirt and a fo-leather jacket. All this draws stark connections to Apple’s famous “1984 Macintosh” commercial in the sense of routine and technology controlling life. With fantastic editing and shots that beautifully depict the liminal, the music video is an incredibly impressive achievement.
Lozinski found the saxophone player on Hinge. He had a bunch of videos of him playing sax, and she reached out saying, “hey I don’t want to date each other, but can you come put down some saxophone on this song?” And he did. Ski Team collaborated with popular producer Daniel Knowles (Sharon Van Etten, Cigarettes After Sex) on the new single. Ski Team has received praise from the likes of American Songwriter, Atwood Magazine and more.
On December 2, 2012, the King of Blues, B.B. King played Westbury Music Fair, which is now know as NYCB Theatre in Westbury, New York. At the time he was 87 years but still enjoyed playing for his adoring fans.
King started his music career in 1949 on Beale Street in Downtown Memphis, Tennessee. He named his first guitar Lucille when he ran into a burning building to save it, and later learned that the fire was caused by two men knocking over a barrel of kerosene while fighting over a girl named Lucille. His guitars were usually black Gibson guitars and in 1980, Gibson introduced a B.B. King custom model.
King recorded some of the greatest rock n’ roll hits of all time like “3 O’Clock Blues,” “You Know I Love You,” “Woke Up This Morning,” “Please Love Me,” “Every Day I Have the Blues,” “You Upset Me Baby” and of course his signature hit single “Lucille,” just to name a few. He also found commercial success through a series of all-star collaborations.
On his 1997 album Deuces Wild, he enlisted artists such as Van Morrison, Bonnie Raitt, Eric Clapton, Joe Cocker, The Rolling Stones and Willie Nelson. In 2000, he collaborated again with Eric Clapton for the Grammy winning album Riding with the King. He has released 43 studio albums and 16 live albums and a number of compilations.
AllMusic recognized B.B as “the single most important electric guitarist of the last half of the 20th century.” He was inducted into the Blues Hall of Fame in 1980 and the Rock and Roll Hall of Fame in 1987. He is one of he most influential blues musicians of all time. He is also ranked at No. 6 in Rolling Stone magazine’s 100 Greatest Guitarists of All Time. Over the course of his 60 year-plus career, he has received 18 Grammy awards, the Presidential Medal of Freedom and the Kennedy Center Honors, among many other awards.
King died in May of 2015 at the age of 89. His body was flown to Memphis and a funeral procession went down Beale Street with thousands of people watching and a brass marching band playing “When the Saints Go Marching In.” His body was then driven down Route 61 to his hometown of Indianola, Mississippi where he was laid to rest.
The New York Philharmonic‘s January schedule has been fully announced and will feature 20 concerts throughout the month from Nathalie Stutzmann, Kevin John Edusei, artist-in-residence Yuja Wang, and many more.
The Wu Tsai Theater at David Geffen Hall will host these performances in January:
From January 2–4 and 7, Kevin John Edusei, in his New York Philharmonic debut, will conduct Samy Moussa’s Elysium, Berlioz’s song cycle Les Nuits d’été featuring mezzo-soprano Isabel Leonard, and Richard Strauss’s Also sprach Zarathustra.
On Jan. 8, 9, and 11, Daniele Rustioni, also making his Philharmonic debut, will lead the Overture to Castelnuovo-Tedesco’s The Merchant of Venice, Dvořák’s Violin Concerto featuring soloist Joshua Bell, and Tchaikovsky’s Symphony No. 4.
On Jan. 12 at 3:00 pm, as part of the New York Philharmonic Ensembles series at Merkin Hall, Philharmonic musicians will perform Haydn’s String Quartet in G major, Turina’s Piano Trio No. 2, Moszkowski’s Suite for Two Violins and Piano, and Britten’s String Quartet No. 1.
On Jan. 16, 18, and 19, Nathalie Stutzmann, a 2024–25 Artistic Partner, will conduct The Ring Without Words, Lorin Maazel’s orchestral arrangement of Wagner’s Ring Cycle.
On Jan. 17 at 7:30 pm, the Bach: From Darkness to Light concert, presented by the Anna-Maria and Stephen Kellen Foundation, will take place at The Cathedral Church of Saint John the Divine. Conducted by Nathalie Stutzmann, the program includes Cantata BWV 56 (Ich will den Kreuzstab gerne tragen) featuring baritone Leon Košavić (NY Phil debut) and singers from Voices of Harlem, directed by Malcolm J. Merriweather, as well as Cantata BWV 51 (Jauchzet Gott in allen Landen) with soprano Talise Trevigne (NY Phil debut). The evening will also feature Bach’s Sonata sopra il soggetto reale from Musical Offering, performed without a conductor.
From Jan. 23–25, pianist Yuja Wang will debut as the Philharmonic’s 2024–25 Mary and James G. Wallach Artist-in-Residence. Her residency includes a Kravis Nightcap performance on Jan. 25 at 9:30 p.m., featuring choreographer and ballerina Tiler Peck alongside musicians from the Philharmonic. Additional details about her residency will be announced soon.
On Jan. 25 at 2:00 pm, David Robertson will present a program celebrating the centennial of Pierre Boulez, featuring works originally curated by the late NY Phil Music Director in 1974. This Sound On series concert includes J.S. Bach’s Brandenburg Concerto No. 3, Schubert’s Symphony No. 2, Webern’s Symphony Op. 21, Boulez’s Pli selon pli: Improvisations sur Mallarmé I and II with soprano Jana McIntyre (NY Phil debut), and Stravinsky’s L’Histoire du soldat Suite.
Finally, on Jan. 29, 30, and Feb. 1, and 2, Marek Janowski, another NY Phil debutant, will conduct Weber’s Oberon Overture, Mendelssohn’s Piano Concerto No. 1 featuring Beatrice Rana, and Schumann’s Symphony No. 3 (Rhenish).
Just prior to Thanksgiving, the Disco Biscuits wrapped up their final tour of 2024, with shows in Rome and Buffalo. Over the next few weeks, the band enters the studio and have four final shows to close 2024 out.
photo by Pete Mason
Held at the Capitol Theatre in Rome, situated just west of Utica, the venue has been open since 1928, originally part of a chain of movie houses and screening films through 1974. The venue reopened in 1985 as the Capitol Civic Center, when live music and theatrical performances were offered in addition to classic films.
The show in Rome – a first for the band, and at the ‘other’ Capitol Theatre – was a high point from the start, with a 27-minute “Magellan” opening the show. Feeling rarer these days, “Magellan” hit home with the veteran fans in the audience, many of whom made the Upstate trio of shows a weekend adventure.
With the energy shifting out of “Cyclone,” a peak jam of the first set arose in “Times Square,” before passing the torch to “Bombs,” a once-shelved fan favorite that was brought back in May 2021 thanks to a fan request. “Shelby Rose” rounded out the first frame of music, which was full of songs for the older heads in attendance this evening.
Set 2 opened with the slow burn of “Fire Will Exchange,” setting forth a 95-minute torrent of music. This opening 25-minute version was patient as it built and ended up giving way to a full version of “Shem-Rah Boo” that clocked in at over a half-hour, “No Rain” tease and all.
Less than a month old, the Disco Biscuits version of Richard Strauss’ “Also Sprach Zarathrusta” is a hybrid of “Orch Theme” and Phish’s own version, “2001,” but this industrial version of “Also Sprach Zarathrusta” is nothing like what Strauss or your average Phish fan would expect. Darker, heavier and exploring the darkness between ascendent peaks, this “ASZ” in the industrial/classical crossover we didn’t know we needed.
Sandwiched in between “ASZ” were “No Recollection” and “Catalyst,” each keeping the fire burning in the set, and bringing it to an exultant finish. And with under 10 minutes left to wrap the show up, the band opted to stay old school with “Rock Candy” in the encore slot, and the show ended promptly before 11pm.
Disco Biscuits – Rome Capitol Theatre – Rome, NY – Friday, November 22, 2024
Soundcheck: The Very Moon -> Sirens Sing
Set 1: Magellan > Cyclone > Times Square > Bombs > Shelby Rose
Set 2: Fire Will Exchange > Shem-Rah Boo1 > Also Sprach Zarathustra > No Recollection> Catalyst > Also Sprach Zarathustra
Encore: Rock Candy 1 with âNo Rainâ (Blind Melon) teases
While NYS Music was not on hand for the Buffalo shows the next two nights, the two shows are each an adventure in their own right. Saturday night’s show features a reworked “Sirens Sing” (formerly, “The Champions”) with an inverted “Munchkin Invasion” in the second set.
Disco Biscuits – The Town Ballroom – Buffalo, NY – Saturday, November 23, 2024
Soundcheck: Little Lai, Rainbow Song, Frog Legs
Set 1: House Dog Party Favor > Grass Is Green 1 > Sirens Sing 2 > Falling 3 > House Dog Party Favor
Set 2: M.E.M.P.H.I.S. 4 > Trap Door 5 > Pimp Blue Rikki > Munchkin Invasion 1 > Floes
Sunday’s show was comprised of songs written by Joey Friedman over the last two years, in honor of his 500th show. The full show gives a faint picture of what to expect from the Biscuits time in the studio this month – get a full breakdown here via Relix.
2024 is nearly in the books and the Disco Biscuits barnburner of a tour is for now, to be continued.
Disco Biscuits – The Town Ballroom – Buffalo, NY – Sunday, November 24, 2024
Soundcheck: Park Ave -> Running, Confrontation
Set 1: To Be Continued > Ring the Doorbell Twice > Country Royale 1 > One Chance To Save The World > Risky Business 1 > Another Plan of Attack 2
Set 2: The Wormhole > Twisted in the Road 3 > Dino Baby > Another Plan of Attack 2 > One Chance To Save The World > Photograph > To Be Continued
Encore: Buy The Time > Ring the Doorbell Twice 1 1st time inverted 2 dyslexic (ending first, then beginning) 3 inverted
This is when I decided it was time to invest in a good pair of ear plugs. For nearly every show since December 2010, I have worn earplugs and not missed a note of music and as a result, the ringing has subsided somewhat. While I have a couple of pairs of ear plugs that work well, I continue to notice, more than four years later that many of my friends and regulars at shows do not wear earplugs. The typical response is because they didn’t want to miss the sound of the show. The benefits of earplugs cannot be understated, as they filter out some of the unnecessary noise and improve the quality of the live music experience rather than hamper it. Around the time of this diagnosis, I sought out different styles and brands of earplugs to test which ones worked best and to share the benefit of earplugs with others so that fewer do not succumb to tinnitus, or worse, hearing loss. Four years later and I still have tinnitus but my hearing is no worse than it was in late 2010, but it would be a different story without a small investment in earplugs.
For parents who wish to bring their children to concerts and live music events, hearing protection is of paramount concern, as younger ears are more easily susceptible to damage. Doctors advise choosing to protect children’s hearing especially, noting “Had I not been educated as to how fragile a child’s hearing was, I may have not protected both my kids early enough to ensure they won’t have hearing loss. Now, they wear them to fireworks, music, anything loud. My son even has them on right now while doing his homework in his bedroom.” For parents looking into hearing protection for their children,
Etymotic High-definition Earplugs
HEAROS Xtreme Protection
Kill Noise:
