Synonymous with quirky lyrics and dreams of being rich, The Barenaked Ladies brought their “In Flight” tour to Rochester on Wednesday, October 2. Passengers on this tour are fellow 90’s alt-rock band, Toad the Wet Sprocket.
Toad the Wet Sprocket
Quietly gaining a strong following since 1986, Toad the Wet Sprocket has released seven studio albums and has had solid success on the pop charts with hits like “All I Want,” “Good Intentions,” and “Walk on The Ocean”. Playing for about 45 minutes, Glen Phillips and crew serenaded the sellout crowd as they filed to their seats to see the Canadian headliners.
Jamming through a 12-song set, lead singer Phillips is joined on stage by Dean Dinning on bass and rhythm guitar, Todd Nichols on guitar and mandolin, Josh Daubin on percussion, and Jonathan Kingham on keys.
After a brief delay in set up, Barenaked Ladies took the stage for nearly 2,000 fans shortly before 9pm. Starting out with “One Night” and 2003’s “Testing 1,2,3,” Ed Roberston and team were quickly thrown off script as there were more issues with sound, mostly with Jim Creegan’s bass. Luckily for them and the enthusiastic audience, BNL kept the show going as if nothing was wrong. Some ad-libs, a little magic trick and banter with bandmates paired with a less scary rendition of Michael Jackson’s “Thriller” kept the fans entertained.
With the sound issues taken care of, Robertson along with Tyler Stewart on drums, Jim Creegan on bass, and Kevin Hearn on keys rocked through their 19-song set, with tracks from nearly every album, dating back to 1992’s Gordon.
With nobody exempt from the wit of Robertson, including Robin the sound guy, “History Of Everything” theme from the Big Bang theory began with a jab at the opening band. While thanking Toad The Wet Sprocket for being on tour, he brags that although they are amazing in their own right, they don’t have a TV theme song.
Having been around for over 30 years, many like myself, will recall a time when fans would bring in boxes of Kraft Macaroni and Cheese to heave during the set, as they belted out “If I Had a $1,000,000.” Those days are long gone, but the days of fan screaming out lyrics remain. With some guidance from Robertson, tonight was no different. Right on cue, the crowd gave BNL exactly what he wanted, minus the dijon ketchup.
If I had a million dollars We wouldn’t have to eat Kraft Dinner But we would eat Kraft Dinner Of course we would, we’d just eat more
Rounding out the classic, quirky set, the guys came out for a two song encore of “Tonight is The Night I Fell Asleep at The Wheel” and “Lovin Life.” The latter couldn’t have been better song to end the night, speaking about lovin’ the life you have and making the most of it, no matter what happens.
Nearly 40 years, 17 studio albums, and millions of downloads later, Barenaked Ladies are still the goofy band from Canada that loves to have fun on stage and can make even a rough start (thanks, Robin) turn into a night of improv and laugher from start to finish. Make sure you go check them out if you haven’t already seen Barenaked Ladies.
Toad the Wet Sprocket setlist: Come Down, California Wasted, Inside, Transient Whales, Nanci, Good Intentions, The Moment, Walk on The Ocean, Nightingale Song, Something’s Always Wrong, Fall Down, All I Want
Barenaked Ladies setlist: One Night, Testing 1-2-3, Thriller (M. Jackson cover), For You, The Old Apartment, Big Back Yard, Boomerang, Just Wait, Toe to Toe, Brian Wilson, Fifty for a While, Aluminum, Pinch Me, Odds Are, History of Everything (Big Bang Theory theme), One Week, If I Had $1000000, Tonight Is The Night I Fell Asleep at The Wheel, Lovin’ Life
Ed Robertson – Barenaked LadiesBarenaked LadiesKevin Hearn – Barenaked LadiesHearn and RobertsonTyler Stewart – Barenaked LadiesJim Creegan Barenaked LadiesTyler Stewart – Barenaked LadiesEd Robertson – Barenaked LadiesKevin Hearn – Barenaked LadiesTyler Stewart – Barenaked LadiesKevin Hearn – Barenaked LadiesJim Creegan Barenaked Ladies
Brooklyn-based experimental musicians Desvelada and Sprælle have released their first joint EP, escaping from the body of a sleeping hummingbird on label Contain, a podcast and multi-media project based in Austin and Los Angeles.
Artwork for ‘escaping from the body of a sleeping hummingbird.’
Born from Austin’s fledgling experimental music scene, Sprælle’s art rock beginnings and distended guitar and production work fold lovingly into Desvelada’s choir upbringing and live vocal processing to create a unique feeling of uncertainty and discomfiture.
The 5-song EP moves through obscure, sometimes painful natural landscapes – it feels like the pair are here to ask questions to which there are no answers. On opening track épié (‘spied’) Desvelda and Sprælle wade with us through a treacle of confused dreamscape. Who is spying? Who are they spying on?
The pair say of their work that “spare synth bass and mournful drones create for us a hinterland of abandoned narratives, of characters unsure or unaware or unwilling to see that they are ghosts, but carrying with them a fatigued and defiant air of hope throughout.” épié’s lyrics compound this sense of ambiguity:
in the labyrinth of my mind (I dreamt of you) / what else is there? / you burn in my being / there is nothing more to say.
The EP sounds like a kind of reverie of the natural world, or at least some version of it. In tree up ahead, birdsong floats overhead while we, perhaps like the rivers referred to earlier in turn to talk, meander slowly into an anarchic canon of Desvelada’s voice. It feels like the pair want to remind us of the chaos of the natural world and our influence on it.
Desvelada and Sprælle (photo credit: Anthony Flores)
Turn to talk is the project’s most joyous moment, spending some minutes finding its feet before slowly expanding into a blissful release. But it is a tentative release, as if the pair are afraid of having whatever it is they have nurtured snatched away again. The production is generally sparse throughout, with playful and sometimes surprising use of pads and tones that you might expect to hear in 80s productions.
Desvelada and Spraelle cite Tricky (of Massive Attack), Ryuichi Sakamoto and David Berman as influences. This eclecticism underpins the music, with each song carrying a resistance to containment reflecting the natural world that Desvelada and Spraelle want us to think about.
While asleep, hummingbirds enter a state of torpor – some kind of hibernation – where their body temperature can drop by as much as 50 degrees. Is this how Desvelada and Sprælle feel? Does this torpor reflect, in their eyes, the state of the natural world, as humans encroach inch by mile? Is escaping from the body our only option left?
The New York Philharmonic recently announced the ratification of a new three-year contract, effective September 21. The new contract includes a plan to compensate and recruit in a transparent manner through collaboration, thanks to partnerships with the Associated Musicians of Greater New York, the American Federation of Musicians Local 802, and the Musicians of the New York Philharmonic.
Local 802 President Sara Cutler highlighted the substantial wage increases as essential for safeguarding the futures of musicians and the institution as a whole. Hence, under the new contract, the musicians’ salary will see an increase of just over 30 percent. There is also a 15 percent raise in the 2025 fiscal year and 7.5 percent increases in both 2026 and 2027 fiscal years. Additionally, the contract outlines a commitment to fairness and transparency especially for the hiring process.
Deborah Borda, Executive Advisor of the New York Philharmonic, expressed her satisfaction with the recent settlement, stating that it aligns musicians’ compensation more closely with that of their peer orchestras. She noted that this negotiation process was the most collaborative she has experienced in her career. Borda also praised the Board of Directors for their strong support of the musicians and the organization as they look toward the future.
The main focuses moving forward are prioritizing diversity, equity, and inclusion. Board Co-Chairmen Peter W. May and Oscar L. Tang expressed their commitment to equality and excellence. The new contract requires a review of the tenure process as well as mandates that all auditions rounds be conducted behind a screen to prevent bias.
This historic agreement positions itself as a crucial step for attracting and retaining top talent within the philharmonic, especially as the orchestra gears up for Gustavo Dudamelâs arrival as its next Music and Artistic Director. Both the musicians and Local 802 are optimistic that this agreement will enhance the future of the musicians and the New York Philharmonic, paving the way for a vibrant season of music and community engagement.
Grammy-nominated singer/percussionist Everett Bradley’s persona Papadelic as funk’s Father Christmas, bringing funk-lore to Sony Hall for a Holidelic holiday show on Sunday, December 22.
Having performed with the likes of Bon Jovi, Bruce Springsteen and the E Street Band, and SEAL among others, Everett’s use of funk is cleverly told through 70’s and 80’s inspired originals, with reimagined classics celebrating diversity and love as one nation under a groove.
Everett Bradley brings to life the role of Papadelic, funk’s Father Christmas, a combo of George Clinton and a soulful Santa. He weaves this psychedelic holiday tale with humor, heart and booty shakin’ grooves played by a P-funk clad band of top shelf misfits Papadelic affectionately calls dysFUNKtional. Sony Hall will be an ideal setting for Bradley’s favorite two worlds, a theatre with a club dance floor.
Bradley has perfected his funk holiday magic into a Christmas classic, called “A flashy, bass-heavy retro-futuristic take on the holidays” by The New Yorker and “A holiday funk-tacular” by Time Out New York.
An additional show has been announced on December 20 in Red Bank, NJ at LIVE at The Vogel. Tickets for Holidelic are available here.
Union College and The Egg have announced details for the four-day residency by Eisenhower Dance Detroit from October 15-18.
The residency includes community outreach, a professional experience for local dancers and a public performance at The Egg.
A mini-residency in mid-September included an audition for local college dancers and a rigorous weekend rehearsal process for those selected. Jolita Brettler, Melanie De La Cruz, Ava DuBoff, Hailey Dunn, Livi Gwinnett, Grace Newcombe, Emily Tobar and Abby Wilder, all Union College dancers, will perform “State of Mind” by Eisenhower Dance Detroit (EDD) Executive Director Stephanie Pizzo alongside members of EDD at The Egg on Friday, October 18.
About working with the Union students, EDD dancer Lillie Hamilton said, “We admired their eagerness, dedication, maturity and focus.” About the experience of learning and rehearsing the work in a brief period of time, De La Cruz claimed, “Honestly, I feel stronger, both physically and mentally.” Dunn added that the intensity of the process was “challenging emotionally, physically and socially but I feel as though I have grown both as a dancer and as a human being.”
The residency is made possible by the partnership of the venue and college as well as a major gift from Gus (Union class of ’59) and Sue Davis (Sage class of ’60) in memory of their daughter Stephanie.
The residency culminates at The Egg on Friday, October 18. From 7:15pm to 7:45pm, Laurie Zabele Cawley, Interim Dance Director at Union College, will partake in a pre-show talk with EDD’s Pizzo conversing about the company and the evening’s program. The 8pm performance will feature “Legacy Island” by Filipino Norbert De La Cruz III; “En-code” by Australian, disabled choreographer Marc Brew; “Hyper” by hip-hop ballerina Micaela Taylor and “See Me” by the athletic Christian Denice. The aforementioned “State of Mind” will close out the evening.
Returning to the Capital Region in mid-October, the company will conduct three lecture/demonstrations, three movement workshops and eleven master classes at Union College and seven other locations in the local area. The activities will reach participants from elementary age to senior citizens.
The schedule of activities is found below. Activities with an asterisk are free and open to the public
Tuesday, October 15
Two movement workshops at Mont Pleasant Middle School from 1:09pm to 2:42pm
Two dance technique classes at Schenectady High School from 1:08pm to 2:41pm
An advanced modern dance class at Skidmore College from 3:40pm to 5:30pm
An intermediate ballet class in Union’s Henle Dance Studio from 5pm to 6:30pm
Wednesday, October 16
An intermediate modern dance class at Skidmore College from 10:10am to 12pm
An intermediate ballet class at Emma Willard School from 3:45pm to 5:15pm
A movement workshop for Proctors’ Acting Academy from 4:15pm to 5:15pm
An intermediate modern class in Union’s Henle Dance Studio from 5pm to 6:30pm
Thursday, October 17
An introductory modern class at UAlbany from 10:30am to 11:50am
An adult/senior class in Union’s Henle Dance Studio from 11:15am to 12:30pm
Two lec/dems at the Albany Academies between 11:30am and 12:30pm
A mixed genre exploratory class for adults & seniors at SPAC’s School of the Arts from 12:45pm to 2pm*
An open master class in Union’s Henle Dance Studio from 6pm to 7:15pm*
A lec/dem in Union’s Henle Dance Studio from 7:30pm to 8:30pm*
Tickets for the Eisenhower Dance Detroit performance are $35 and $45 and may be purchased in person at The Egg box office at the Empire State Plaza, by calling 518-473-1845 or online.
Tuesday, October 1st saw The Red Clay Strays and The Glorious Sons make a stop at Brooklyn Paramount on their “These Moments Tour,” playing a sold-out show to almost 3,000 fans.
The Glorious sons are a rock band based in Ontario with Brooklyn Paramount their first show on the “These Moments Tour,” singing their most popular songs and sharing the story’s behind creating each song with each other.
The Glorious Sons were the perfect opening act as few fans knew them prior, but after hearing them live, the audience was drawn in by songs like “My Poor Heart” and “Pink Motel” and became new Glorious Sons fans.
The Red Clay Strays are a country rock from Mobile, Alabama who gained popularity with their hit single “Wondering Why,” a song about the bands commitment to their music and success and the toll it has taken on their romantic relationships. The song opens with the stark contrast between the protagonists and two lovers upbringings. The chorus shows the amount of love this person has for the protagonist as they just sit back and allow the band members to follow their dreams, all left “Wondering Why.” Red Clay Strays have since put out another album and have been touring around the world sharing their unique music.
Brandon Coleman (lead singer) shared a story of them previously performing at Brooklyn Paramount to a very small crowd, yet this time performing to a sold-out crowd. Throughout the show you could see the band’s passion for the music they are creating together, each song having a meaning and backstory related to the band’s history.
The Glorious Sons Setlist: My Poor Heart, White Noise, Josie, Mama, Mercy, Mercy, Kill the Lights, S.O.S (Sawed Off Shotgun), Ruby, Pink Motel
The Red Clay Strays Setlist: Ramblin’, Moment of Truth, Stone’s Throw, Disaster, Good Godly Woman, Heavy Heart, Between the Lines, Drowning, Devil in my Ear, Sunshine, Ghosts, I’ll Drown in My Tears (Sonny Thompson Cover), No one Else Like Me, I’m Still Fine, Doin’ Time, Will the Lord Remember Me, God Does, Moments, Wondering Why, Don’t Care
Western New York alternative rock band Uncle Ben’s Remedy have released their sixth album, Saturday Night Swindle.
Rooted in the small towns of Western New York, Uncle Ben’s Remedy provides lively performances and unparalleled storytelling to their enthusiastic fanbase throughout the area. With a fascinating blend of punk rock energy and the twang of swampy-backcountry alternative rock, members Ben Westlund, Harmony Griffin, Shawn Huestis, Brendan O’Connor, and Josh Mullin deliver riveting performances of catchy songs and rowdy theatrics time and time again.
Uncle Ben’s Remedy has returned once more with their newest release, Saturday Night Swindle. Their sixth release since their debut in 2014, the path to this album was not an easy one. With a drummer swap due to their previous decades-long partner having to pass the baton from tinnitus and the recovery of their soundman/busdriver after a bout of cancer, Saturday Night Swindle has certainly been an emotional one to produce- a testament to the band’s dedication to one another and the music they share.
A masterful entwining of rock, blues, and country sounds, Saturday Night Swindle captures the listener in an indescribable experience of understanding. Perhaps through the emotionally charged lyrics, or the effortlessly moving instrumentals; whatever the reason, Uncle Ben’s Remedy brings you into a conversation that can only be truly communicated through sound. Strings, keys, drums, guitar, horns, vocals that perfectly toe the line between southern twang and alternative rock, and more culminate in Saturday Night Swindle.
Opening with the narrative-focused “Never Get Caught,” Uncle Ben’s Remedy perfectly balances the story unfolding in the lyrics with kicking instrumentals that perfectly set the tone for the rest of the album, one that promises to take you along for an exciting six track adventure.
On “From The Outside” and “While Back”, the band leans into the more rock-influenced-country aspect of their sound. “From The Outside” takes on a cowboy on the frontier attitude paired with a concluding echoing duet that reinforces this feeling, the narrator refusing to listen to the words of those meant to tear them down as they trek towards their future unflinchingly.
“Heartbreaker’s Heart,” leans full-in to the country twang energy with a bright tone and layers upon layers of guitar and strings that practically beg to be stomped along to, and Uncle Ben’s Remedy follows this immediately with “Liquor Wrote These Records”, the kind of song that starts off hard-hitting and concludes by pulling you to the dance floor with an infectious liveliness you can’t refuse.
The album closes out with “Coming To The Show,” a deeply vulnerable track that perfectly explains why it’s never just music to artists like themselves, wrapping the project in a bow of self-assurance and careful optimism that leaves listeners with a sense of satisfying completion.
Saturday Night Swindle is out now. To learn more about Uncle Ben’s Remedy their newest release, and future endeavors, visit their website here.
Albany buzzed with excitement from beyond the solar system as Big Something and Consider the Source brought their signature high-octane and other-worldly grooves to Albany on a brisk Wednesday night, October 2, as part of the Headspace 2024 Tour.
Lark Hall, recently revitalized by the set designers of HBO’s The Gilded Age, provided an intimate yet stunning backdrop for the night of sonic exploration and some seriously heady jams.
Ready for Blast-Off: Big Something and Consider the Source bought the Headspace tour to Lark Hall on 10/2/24.
NYC’s Consider the Source kicked off the evening, captivating the audience with their intricate fusion of sci-fi inspired progressive rock, jazz, and world music. The dynamic power trio, comprised of virtuoso guitarist Gabriel Marin, bassist John Ferrara, and drummer Jeff Mann, delivered an exhilarating performance that showcased both their next-level musicianship as well as their entire new album, The Stare, which was released in mid-September. The band had previous played Lark in April of 2022 as part of their intimate acoustic hybrid run, but on this night, it was straight balls-to-the-wall electric.
Bassist John Ferrara, and drummer Jeff Mann performing with Consider the Source in Albany on 10/2/24.
Continuing to push the boundaries of instrumental music with complex time signatures and intricate melodies, songs like “Trial By Stone” and “Mouthbreather” shook the venue to its core with their heaviness, while simultaneously creating a sonic tapestry that was both captivating and challenging to the listener.
From Marin’s expressive and distinctive double-neck guitar playing, to Ferrara’s melodic and thunderous finger-tapping bass solos, to Mann’s exceptionally creative drum fills, Consider the Source was firing on all cylinders at Lark Hall and it showed.
Treating the audience to spellbinding renditions of “Preemptive Vengeance” and “Unfulfilled and Alienated,” the intricate interplay between each member created a cosmic journey that resonated with both the soul and the mind. If you haven’t seen this band play before, you really need to. Helping the audience slip into the perfect headspace for what was still to come, Consider the Source was an excellent choice to kick the party off proper.
Watch fan shot footage of Consider the Source perfomring “Unfulfilled and Alienated” at Lark Hall on 10/2/24.
Transitioning to Big Something’s headlining set with a glorious circus-like introduction by crew member William, the colorful Burlington, North Carolina six-piece band delivered a masterclass in genre-blending with their unique brand of space-infused funk rock. Supporting the release of their ambitious new album, Headspace, the band is currently riding a wave of creativity and evolution.
Consisting of founding members Nick MacDaniels (guitar, vocals) and Jesse Hensley (guitar, vocals), the mesmerizing multi-instrumentalist Casey Cranford on saxophone and electric wind instrument (EWI), alongside the dynamic rhythm section of Ben Vinograd (drums), Matt Laird (bass), and Josh Kagel on keys and trumpet, Big Something have firmly established themselves as tried and true veterans of the jam band scene and a popular staple at music festivals around the country, including their own, The Big What, hosted annually in Mebane, NC.
Big Something made their Lark Hall debut on Wednesday, 10/2/24.
Back in the Capital Region for the first time since playing the Putnum Place in May of 2019, the band wasted no time reminding us they still can throw down with the best of them. Showcasing layers of sonic intricacy, catchy hooks and danceable grooves on the opening combo of “Algorithm” and “Love Generator” form 2014’s Truth Serum, Big Something then surprised everyone by slipping into a cover of “Blast Off” by another fan-favorite funk band, Lettuce.
Nick MacDaniels performing with Big Something at Lark Hall on 10/2/24.
Taking a moment to introduce the band and thank everyone for coming out on a Wednesday, the left-handed MacDaniels, who could be the long-lost brother of actor Michael Cera, hyped up the latest Big Something album, Headspace, before going into its opening track.
Until this point in the show, lead guitarist Jesse Hensley had been relatively reserved, but as “The Mountain” climbed to its peak, so did Jesse, uncorking an absolutely monstrous solo as the band reached its first true stretch of sustained improvisation.
The Curse of Julia Brown: Gabriel Marin of Consider the Source sat in with Big Something on 10/2/24.
Name dropping longtime friends and tour buddies Andy Frasco and The U.N. prior to “Clouds,” a song the two bands collaborated on, Big Something would get some more help from their friends in Consider the Source, inviting out guitarist Gabriel Marin to sit in on 2013’s “The Curse of Julia Brown.” resulting in one of most unique and memorable highlights of the show.
With the buzz in the hall now reaching a fever pitch, Big Something took the vibe even higher, reaching into their back catalog and pulling out their biggest hit to date next, “A Song For Us,” which all but blew the roof off the place. You can watch fan shot footage of that in the clip below.
Watch Big Something perform “A Song For Us” live at Lark Hall on 10/2/24.
Big Something’s performance was a celebration of their growth, with tracks from Headspace seamlessly woven into the fabric of their established hits with songs like “Megalodon” blending beautifully into their cover of David Bowie’s “Moonage Daydream.” With the always smiling MacDaniels’ charismatic stage presence igniting the crowd, the synergy between the band members was palpable, as they effortlessly navigated through their setlist, blending styles from jam rock to funk and even hints of reggae and electronic influences.
Big Something’s Casey Cranford plays the EWI 4000 at Lark Hall on 10/2/24.
Stealing the show all night long though was multi-instrumentalist Casey Cranford on saxophone and the electric wind instrument. Running his EWI 4000 through an array of effects pedals, Cranford effortlessly created sounds and textures straight from another dimension.
That should come as no surprise, as the band has long had a fascination with all things extraterrestrial. From their alien-spired logo, to samples referencing U.F.O.’s and crash landings to the stuffed little green man sitting on top of the amps throughout the show, Big Something has crafted a stellar, interstellar sound fit for the future and a galaxy far, far away.
Big Something made their Lark Hall debut on Wednesday, 10/2/24.
Adding depth to the evening was the poignant backdrop of recent flooding in North Carolina, which has forever changed the landscape of the bands home turf and brought an air of solidarity among the musicians and fans. Seemingly using the music as a means to escape, the band never directly referenced Hurricane Helene, but noticeably shied away from playing water-based favorites like “The Undertow,” “Waves,” “Starts to Rain,” and “The Flood.” Instead Big Something would close out the main portion of their set with a big version of the infectious hand-clapper, “Timebomb.”
After a bit of deliberation backstage, the band would return for a final curtain call encore of “Tumbleweed,” the title track from their 2017 album of the same name. Afterwards, the band made sure to let everyone in Albany know how appreciative they are for the support and could be seen hanging out late into the night taking selfies and signing limited edition posters and tour merch.
As the night drew to a close, the concert proved to be more than just a display of talent, but a celebration of the power of music to unite and uplift. Both Big Something and Consider the Source left the stage with the audience buzzing, showcasing that in a world often overshadowed by challenges, the joy of live music continues to shine brightly.
The Headspace Tour continues on through October, and fans in Albany can only hope for a swift return of both bands, where their cosmic sounds will continue to resonate long after the lights go down.
Big Something | October 2, 2024 | Lark Hall | Albany, NY
Setlist: Intro by William, Algorithm, Love Generator>Blast Off [1] , The Mountain, Clouds, The Curse of Julia Brown [2] , Song For Us, Megalodon>Moonage Daydream [3] , Timebomb.
Encore: Tumbleweed
Notes:
[1] Lettuce
[2] w/ Gabriel Marin (Consider The Source) on guitar
[3] David Bowie
Consider the Source | October 2, 2024 | Lark Hall | Albany, NY
Setlist: Trial By Stone, I Can See My Eyes, Mouthbreather, New World Čoček, Preemptive Vengeance. Unfulfilled and Alienated.
Grammy-winning artist Trombone Shorty, alongside his foundation, is once again embarking on a cultural exchange known as “Getting Funky in Havana” in Cuba.
From January 16-20, Trombone Shorty, his band Orleans Avenue, a group of young musicians from New Orleans, all members of the Foundation, and critically acclaimed Afro-Cuban/funk fusion star Cimafunk will come together for a unique cross-cultural experience. This trip will bring together artists, students, and supporters for a transformative journey of music and cultural connection.
Photo by: Ed Aranz
The event will feature a lineup of celebrated artists, including Taj Mahal, Grace Potter, Julius Rodriguez, Keyon Harrold, Robert Randolph, Yola, and others. Jam sessions, cultural exchanges, and performances will highlight the deep historical and musical connections between New Orleans and Cuba, fostering collaboration and creativity among all participants.
This marks the fourth trip of its kind, inspired by Trombone Shorty’s personal connection to Havana which dates back to his childhood when in 1999, alongside his brother James Andrews, he embarked on a transformative journey to Cuba as part of a cultural exchange program.
The music of Cuba was “hidden away from American ears on the island” for decades, but this exchange explores the musical influences and connections that have persisted between New Orleans and Cuba. The music and culture of Cuba are already infused into the larger New York City area with over 140 thousand people of Cuban heritage in the area. Our own editor-in-chief highlighted the importance of this in his own transformative journey through Cuba. You can check this story out and more in our NYS Music Goes To Cuba series.
Approximately 100 supporters will join the musicians and students, forming a VIP travel group to Cuba. Funds raised from this effort will support educational programs led by Cimafunk and the Trombone Shorty Foundation, benefiting young artists and musicians in both Cuba and New Orleans. These efforts will include instrument donations and partnerships with local Cuban music schools and community programs, further strengthening ties between the two vibrant cultures.
Getting Funky in Havana is organized by Cuba Educational Travel, the leader in travel and cultural exchanges between Cuba and the United States.Learn more here.
Get ready, Jimkata fans! The Psychedelic super pop jam band is back with a fresh new single, “Off The Rails” that’s set to be the soundtrack of your fall.
Known for their electrifying blend of indie rock and synth-driven beats, Jimkata has been a staple of the indie music scene, and their latest track doesn’t disappoint. The single offers a glimpse into their upcoming album, Running In Place which is released Friday, October 4th and is packed with the band’s signature energy and fresh new vibes.
To celebrate the release, Jimkata is hosting an Album Release Party Friday at Asbury Hall aka Babeville in Buffalo, and you won’t want to miss it! This is your chance to catch them live, hear your favorites plus hits off the new album, and experience the magic that only Jimkata can deliver. Big Something is opening the show.
NYS Music spoke to Jimkata ahead of the show and album release.
NYSMusic: What kind of themes or stories are fans going to hear on this new album? Did anything unexpected inspire you guys this time around?
Jimkata: I think as musicians and individuals we’ve all been navigating our way through a lot of changes and challenges the last few years. We started working on this album as a three piece, sort of doing what we could here and there while touring and Packy and Aaron becoming new fathers, while also trying to fund the process entirely independently. It hasn’t always been easy the last few years but it feels like a “pressure makes diamonds” type of situation. In that time, we added Cooper into the band full time on bass/synths and have been discovering a new sound or really, just advancing it to a new level. It’s hard to sum it up musically or lyrically since I think it’s pretty diverse between songs but I know for sure I pushed myself into some new territory at times while writing and recording this one. There were plenty of unexpected “aha” moments.
NYSMusic: If you could describe the new album in three words, what would they be? What kind of wild ride can Jimkata fans expect?
Jimkata: Full Spectrum Jimkata. We chose to incorporate both studio and live tracks to try to encompass where we’re at right now. It felt natural to end the album with the live stuff since this process began with a lot of isolated sessions, often just one or two of us working on a demo at home or with a producer. Then after playing a bunch of shows on the fall tour, building some chemistry on stage between the four of us, we knew we needed to get all of us in a room to work on the remaining new songs as a band and capture the vibe. I think the emotion of our songs gets amplified at shows because of the energy in the room and we wanted to show what that currently sounds like literally but also channel that into the studio stuff too.
NYSMusic: How do you decide which older songs to include in the setlist alongside the new tracks? Are there any fan favorites you always keep in rotation?
Jimkata: Sometimes it’s by fan request. Someone messages us about wanting to hear a certain song one night and we say, yea lets do it. Sometimes it’s something one of us brings up in a rehearsal. Like, “Hey what about this song?”. Sometimes we feel like we need a certain tempo or vibe at a specific time in a set and there are a few that always seem to do the trick. Its kinda tough because we have so many to choose from now but we’ve been embracing the whole catalog a lot more these days. We definitely know which songs seem to be clicking with the crowd but are always testing out new ideas or further enhancing an old song.
NYSMusic: Any songs on the new album that ended up surprising you or going in a completely different direction than you thought?
Jimkata: Almost all of them but probably the song Running in Place was the big surprise. It came together after a frustrating day in the studio where we seemed to be losing creative steam on a different song. We thought about what kind of song we needed vibe wise to round out the album and it just wasn’t it. Jocko (producer) asked if I had any other demos laying around and I rifled through a bunch of song ideas for them and the immediate reaction to Running in Place (aka ‘Spirals’) from everybody was, “Yea this one!”. We were getting really close, if not already past the deadline we gave ourselves so I went home and finished writing the song over the weekend and sent it around to everybody. We went back in and tracked it in a day and overnight we had this brand new tune that didn’t exist a week ago. Lyrically we felt like this idea of Running in Place resonated with how we felt about life lately- working your ass off trying to keep up with everything and in some ways feeling like you’re moving forward but other times like you’re just running on a treadmill.
The middle section on “Off the Rails” was also an unexpected moment of inspiration. We stumbled into the breakdown section while playing it live in the studio. Then weeks later, I’m driving there to record vocals, listening to the song, and I come up with this vocal idea. It’s almost insane sounding and we wanted to lean into that unhinged character. I really enjoyed yelling like a crazy person in the vocal booth, something I’m not sure I’ve done before but clearly was exactly what I needed to do and is probably a more accurate portrayal of how stressful life has been at times in the last few years for me. “
NYSMusic: What’s one piece of advice you’d give to upcoming and inspiring indie artists trying to find their voice and grow their audience in today’s music scene?
Jimkata: We don’t really know what to tell anyone since it seems like today’s landscape is very different from the one we started with and even the “professionals” are always trying to figure out what the hell is going on. However, we’ve seen a lot of things come and go in a short amount of time and things change, but some things remain true. Obviously social media is important, but I’d say don’t forget to just get out there and play a show, a party, whatever. Get together with friends and jam, go to shows and meet other musicians, other bands. Don’t be afraid to make mistakes, suck, mess up in front of people, write songs you might not like later. Just laugh and learn from it. With a world of talented people on a screen in our pockets it can be intimidating and feel like maybe you’ll never be “good enough” to put yourself out there. But music is art, expression. It’s not always about technical ability although that’s important too. It’s about expression and having fun and sharing an experience with others not just on a screen, but in person.”
