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Keegan James – An Xperience Interview

Sara Busone
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Keegan James – An Xperience Interview

Photo by Stephanie J Bartik

Summer Personified

Keegan James talks with Sara Busone about “Sea Level,” supporting local artists, and Jive Hive

By Sara Busone.

RRX: I am very taken by your inherent creativity. I find it interesting that for your merchandise, you offer vests instead of, like, the traditional T-shirt, pin, etc. What was your inspiration for that?

KJ: Thank you!  So, the vests are actually the clothing that I have on my website. When it comes to selling merchandise and trying to make money as an artist, you really gotta do everything you can to pull in every dime. So, I’ve had a lot of comments from people on my style and … expressing their envy and admiration for the clothing that I pick out. So, when I am putting together my outfits for different shows, I often will grab a couple extra pieces that stand out to me. And they’re usually, like, vintage pieces that are very unique. I decided that, in efforts of creating a business around being an artist, it could be a good idea to put some different things on the site that are not as traditional. I feel like it’s a lot harder to market when you’re just trying to be like, “Yup, here’s a shirt with my name on it and a pin with my name on it,” versus like, “You can go to my website, and I have this curated collection; you can buy clothes directly from my closet.” I don’t know, it feels a little more personal to me.

RRX: I agree. I think it’s such a good idea. Another person that I think, like you, just seems inherently creative is Shannon Tehya, and I’m just curious how you guys met.

KJ: So we met just by fate of crossing paths. She and I were booked to do the Troy Farmers Market on the same day a few years ago. And we ended up chatting with each other because I was trying to find the event organizer, and I had my boyfriend with me and I told him who I was looking for, and he got his wires crossed in his head and he goes up to the tent where Shannon was performing and goes, “We’re trying to find Shannon,” and she looked up and was like, “That – that’s me,” and I walked over and I was like, “No, I’m sorry, Shannon, we’re not looking for you, we’re looking for somebody else.” And ever since then, we got coffee a few days after that, and yeah, we’ve been besties ever since then!

RRX: I was looking at your website again, and it gives you ideas for how to spread the word three different ways, and you mentioned word of mouth. I was so taken by the line, “it costs nothing to be kind.” And I love that you gave people these suggestions. Do you feel that a lot of interest in you has come from those channels, from people spreading word of mouth? 

KJ: Absolutely. Especially in an area like the Capital Region where people have a sense of, I’m gonna use the word nationalism, but I’m sure there’s a better word I could come up with.  But basically, what I’m trying to say is, people are very protective over their hometowns and the places where they grew up. And so when it comes to trying to establish yourself, especially in art, in an area like this… I’m from the area, but I didn’t really expand musically in the area until recently. So, the most organic and solid way, the most effective way in my opinion, to stand your ground is to have other people who will root for you. So that word of mouth, having people who you’ve worked with before, people who saw you in shows, mention your name and build that familiarity, helps you get that rapport.

RRX: Right.

KJ: And I think it is the most valuable asset when it comes to building yourself up.

RRX: Talk to me a little bit, if you can, about “Sea Level.”

KJ: “Sea Level” … I am really so happy with that song.  I wrote it in a night. It really just, without even a hesitation, just one line after the next came out of me without even needing to second-guess or touch anything up.  The lyrics that you hear in this song are the lyrics that I wrote in that moment. Often when I write music, I’m trying to create a sense of either release or escapism, and with this song in particular, I was trying to build a world in my mind where everything had already worked out, where I didn’t need to worry because I knew that everything was going exactly my way. A song that, when I played it, brought a sense of peace over me and a confidence that can easily be replicated.

RRX: That’s really cool! I wanted to ask you a little bit about Jive Hive …

KJ: When it comes to the Jive Hive, I believe I got into it because of Keith Morales, the head of No One You Know Presents. He was doing a series called The Tortured Poet. And I believe Shannon Tehya was performing, and I was invited to come see the show then. The way Jive Hive works is like once you’ve been there, it’s like that’s your automatic ticket in.  So, if you know of events, you’re always welcome back once you’ve already been there. And then at that point, I made friends with Mikey, who is a guitarist and vocalist for the Sugar Hold. He reached out to me, and he has been such an awesome supporter, and he’s gotten me so many opportunities, and I’m so very grateful for everything that he’s done out of the kindness of his heart to help support local artists, just as he is one too. 

RRX: Sure.

KJ: Then I got to perform there for the first time … that’s pretty much how I ended up getting into there.

RRX: If someone had never heard of you before, how would you describe yourself?   And do you find people create an identity for you without getting to know you?

KJ: Oh, this is actually a question that no one’s ever asked me before. I’d say people often describe me as “Summertime Personified.”

I really like when I hear that … it makes me feel as though I have a calming presence for people.  I definitely don’t think that I am what meets the eye for a lot of people.  You know, like being a gay man in the arts in a small town, I’m often met with stereotypes. It’s like people create an identity for me without even knowing who I am. So, I’d say when it comes to seeing who I am … what was the wording of the question that you asked?

RRX: If someone had never heard of you before, how would you describe yourself?

KJ: This is what just came to me – I would describe myself as sand on the beach being warmed by the sun.  Very grounded. But also energized and seeing the bigger picture.   When you’re on a beach, there’s not a lot of things obstructing your view.

Shadow Estate / Habeus Porpoise @ Ophelia’s, 8/14/2026

Timothy Reidy
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Shadow Estate / Habeus Porpoise @ Ophelia’s, 8/14/2026

Shadow Estate and Habeus Porpoise were just two of the bands entertaining the crowd at Ophelia’s on August 14.

Photography by Timothy Reidy.

More from Ophelia’s here …

Prog Digest – An Xperience Column

Klyde Kadiddlehumper
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Prog Digest – An Xperience Column

By Klyde Kadiddlehumper.

Ladies and gentlemen (and I use those phrases loosely given the nature of most folks I meet reading these fine words), I fear this edition of Klyde’s musings brings bad news.

Horrible news.

News one cannot ignore nor fix.

News we all suspected, but that no one would readily admit.

Ready …

Humpty Dumpty didn’t fall.  He was pushed.

Yes, I know … I know.  Your childhood now seems like a complete lie.

How can you believe anything with this revelation?

Then again, how can you believe the cretins who go around on Facebook claiming to be the “Official Brand X” – which they are not.

Now, for those unfamiliar, Brand X was a brilliant jazz/rock/fusion band that is, in many cases, categorized as prog.  If Prog Magazine can say it and extol the virtues of a new, live album from 1977 – who am I to argue?  

Yes – I am directing that at you – the one known as “The Schwartz.”

Anyway …

There’s a history – and a sordid one at that.

OK, there are many bands with an ”X” in the name: X, X Japan, Generation X.  And my favourite – X-Ray Spex. Oh, how we miss you, Poly Styrene.

Anyway, these cats knew all kinds of interesting musicians and started as a band influenced by AWB and TOP – nice, huh?  

Originally consisting of Peter Bonas, John Dillon, Phil Spinelli, John Goodsall, Percy Jones, and Robin Lumley,  the as-yet-unnamed band signed a contract with Island Records.  With me so far?  Good.

Not having a name, it was suggested they get the generic moniker of – you guessed it – Brand X.

Drummer John Dillon wasn’t interested in moving to the jazz/fusion side of the aisle, and he was, ummm, quietly let go.  So, they needed a drummer.

Oh, where to find a good drummer in England in the mid ‘70s?

Bill Bruford was rather busy and declined.

There was this guy whose lead singer had announced leaving the band after their current tour.  Having some spare time, Phil Collins was the hired gun.  Never a member of the band per se, but Hit & Run became the management; Phil was signed through Phil Collins Ltd. from inside Hit & Run.  Can you see the financial issues that could arise from that?

Anyway – as one might imagine – a whole bunch of people thought “Oh, how nice, Phil has a little side project he runs.”  Not the case at all.  He never signed with (then) Charisma Records and was never a “real” member.

Goodsall, Jones and Lumley were very serious about the band.  As Phil Collins once said, he saw “Genesis as the wife, and Brand X as the mistress with the big t#*!”

As we all know, Phil stayed with Genesis and had a nice little solo career, thank you very much.

Music business monies, expired visas, “new” management for the reunion tours with no real members claiming to be the Official Brand X Facebook page, and more craziness have cost money and time. The last living member, Percy Jones, as well as the family members of the late John Goodsall and Robin Lumley, continue the good fight.

Now for the news that does not suck.

Available for purchase now at a rate that will go up at the end of August is “Theory of Nothing,”  a new 2-CD set of a live show from 1977.  Mostly music from the “Moroccan Roll” album as well as some nuggets from the not-yet-released “Masques.”  Damned fine records, to say the least.

Check these guys out at officialbrandx.com and order the new release from their Bandcamp site.

Music management is run by the same people who are from the government – they all say, “We’re from the government.  We’re here to help.”

Things you know about your old Uncle Klyde: this certainly does not make me a dime.  It’s fun and, sometimes, informative.

They say you have to break some eggs to make an omelet. 

Just don’t get pushed, like Humpty Dumpty.

Until next time.

Klyde

“New York State Food Festival” @ Empire State Plaza, 8/12/2026

Timothy Reidy
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“New York State Food Festival” @ Empire State Plaza, 8/12/2026

This year’s festival featured Starship (featuring Mickey Thomas), the Sound Minds, Whiskey Highway, and Slingshot Funk Band.

Photography by Timothy Reidy.

More from Timothy Reidy here …

The Mallett Brothers Experience

Charla Earney
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The Mallett Brothers Experience

Photo by Timothy Reidy

By Charla Earney.

I was first introduced to the Mallett Brothers Band almost two years ago. At the time, I had never heard of them. I didn’t know what genre they played, what songs they were known for, or where they fit in the ever-growing world of Americana music. I was at Music Bingo at UNIHOG when I noticed their name on the list of upcoming shows. I thought, Mallett Brothers… huh? Jasen, who I later learned was one of the people behind UNIHOG, noticed me looking at the sign as he walked by. “It isn’t a show you’re gonna want to miss. They’re awesome.” I didn’t know him then, but there was something whimsical and lighthearted about him, so I listened. I was already looking for an excuse to go. As far as I was concerned, it was a sign. So I went.

Several Mallett Brothers shows later, I can confidently say … I got hooked. The Mallett Brothers Band grabbed me in much the same way artist Matt Maeson did: honest lyrics, clean tones, beautiful harmonies, and songs that felt real. Trying to fit them neatly into one genre doesn’t really work. Country, blues, bluegrass, Americana, alternative, roots rock, and straight-up rock and roll all find their way into the mix. Sometimes they’re polished. Sometimes they’re backwoods hillbilly. Sometimes they’re just rock and roll. I love all of it. The first album I really dove into was “Gold Light.” Why that one? Because I liked the cover best out of aaaalllll the choices.

The artwork, “Of What Remains” by Morgan Cameron, first looked to me like a smudged painting of a buffalo. Only after really studying it did I discover the woman hidden within the image. I still stand behind my original opinion. It is my favorite Mallett Brothers album cover. For me, the artwork represented something unexpected: the delicacy that true masculinity can stand behind. Then I listened. To me, “Gold Light” became a love story. Not necessarily because that’s what every song was written about, but because before I knew the band’s stories, I attached my own. At the time, I was learning how to fall in love with myself. That album took me on dates. It walked me through the park. It reminded me to keep wearing my hats. Those songs have stayed with me ever since. Seeing them live clears my mind.

UNIHOG on July 17, 2026.

Crooked Letter John opened the evening with Jake Blouch on lead vocals and Andrew Crawford sitting on guitar. They took the heat and direct sunlight like champions, warming up the crowd with steady rock and roll before handing the stage over to the headliners. I’ve been following Andrew Crawford’s journey as a musician, so it was exciting to see him guesting with another group and playing some new gear. There was a pretty good trade story behind it, too. I love a good trade.

Then the Mallett Brothers Band walked onto the stage. One thing I’ve noticed since that first show is that I’ve changed the way I listen. I’m not just listening to songs anymore. I’m listening to arrangements. I’m listening to how the instruments talk to one another. I’m listening for what the band is trying to say. Luke and Will Mallett have an easy chemistry that only comes from years of making music together. Neither brother seems interested in competing for the spotlight. Instead, they trade vocals and guitars effortlessly, allowing the songs to become the center of attention. Andrew Martele’s fiddle, I feel, smiles as much as he does. He doesn’t sit in the background waiting his turn. He weaves through the songs, answers the vocals, soars over the guitars, and, when it’s right, he completely steals the show. Sometimes it sounds joyful. Sometimes haunting. Then there’s Nick Leen on bass. He kicks it down! His playing gives every song weight and motion. While everyone else is painting melodies, he’s quietly connecting them to the foundation underneath them, the drums. It’s the kind of bass I almost didn’t notice until I realized it was the glue. Brian Higgins keeps everything anchored behind the drum kit. His grooves never feel rushed or forced. He gives the rest of the band room to breathe, making even the biggest arrangements feel whole. That’s one of the things I appreciate most about this band. Nobody seems interested in showing off. They just do. They love making great music together. There are still plenty of songs I don’t know. That’s part of the fun. The Mallett Brothers Band now has eight studio albums stretching from their self-titled debut in 2010 to “Higher Up in the Hills,” released in 2025. Every time I see them live, I discover another song that I haven’t had time to hear. It isn’t the band I am bingeing. I am savoring the albums. Hearing an older song live is brand new music to me.

The July performance became another one of those nights where listening simply wasn’t enough for me. At some point, I found myself dancing on top of a shipping container. Yes … a shipping container. The lights were pretty intense even though we were outdoors, but from up high they weren’t nearly as bad. The music vibrated through the air. UNIHOG sits alongside active railroad tracks, and I know trains were rolling by that evening. I never heard one. I was having far too good a time. Discovering a new band in real life remains one of the purest sources of joy I know. There is something different about hearing a song for the first time while standing in front of the people who created it. No algorithm. No playlist. No one telling you which song you’re supposed to love. You simply hear it. Then you decide. That’s exactly how the Mallett Brothers Band entered my life. I didn’t research them. I didn’t know their history. I didn’t know their catalog. I simply went to a show. Then another. Then another.

I’m still learning the songs. I’m still listening to the arrangements. I’m still discovering them.

Not long ago, I stood in Unihog at Music Bingo, staring at the words “Mallett Brothers,” and wondering if I should take a chance on a band I’d never heard before.

A man walked by and simply said, “You don’t want to miss this one.”

Thank you.

You were right! 

Ronnie Baker Brooks / Misty Blues @ Music Haven, 8/9/2026

Timothy Reidy
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Ronnie Baker Brooks / Misty Blues @ Music Haven, 8/9/2026

Ronnie Baker Brooks and Misty Blues comprised two-thirds of the blues bill at Music Haven. Mulebone also played.

Photography by Timothy Reidy.

More from Music Haven here …

 

Mel Guarino of the Bluebillies – An Xperience Interview

Sara Busone
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Mel Guarino of the Bluebillies – An Xperience Interview

Photo: The Bluebillies – photo by Daniel Hinkle

It’s Never Been So Right

Mel Guarino from The Bluebillies talks with Sara Busone about WAMM, past and future projects, and their “third tone.”

By Sara Busone.

RRX: So how did you come to be involved with WAMM (Women Are Making Music)? Did Nikki Lee reach out to you?

MG: I introduced myself to her when I was at the first WAMM Festival. I was really excited about the whole WAMM concept and the way she was organizing everything … so I gave her a CD that I had produced in 2016, which was a CD of all women singers from the Lower Adirondack area called “Adirondack Angels – Legacy.” I really felt alone … I felt that being a woman musician around in the area, there was hardly any other women at any of the events that I was going to play, you know … to jams or anything like that.  So, I decided … knowing the women that I did know and how wonderful they are … I got a grant from LA to produce a CD of these women singers. So, that was great. It was a great event, and that came out in 2016. And so, I gave that to her … just to show her that, you know, I’m on board with this. I’ve been on board with this for a long time and … even my mother, who was a musician all of her life, she had an awful time. Can you imagine, you know, the ‘50s and the ‘60s being a woman musician, a solo artist?  It was very tough. 

RRX: Well, that is a perfect segue to another question I had!  Your band carries a deep family history. Your mom was part of an annual old-time gospel revue, and I was wondering if you could speak a little bit to that.

MG: Oh yes. So my mother was the youngest of six children, and my grandfather, her father, started a family band called the Bathurst Family Singers, and everybody was in it … Dad and Mom and the six kids, my mom being the youngest.  She was 5 when she started singing with the band, and they sang all of the old favorites like, “Every Time I Come To Town You Gotta Stop Kicking My Dog Around” and, you know … the classics of the day in the Midwest! This was in (like, they lived in) Sioux City, Iowa.  When that broke up eventually … because the kids, they formed different interests when they got older … my mother quit high school when she was 14 and went on to become a professional singer from then on. So, this year was the 100th year anniversary of the Bathurst Family Singers. We figured out from books that my aunt had written that the band was started pretty much in 1926. 

RRX: Speaking of family … you and your husband are together in the band. Do you feel like this adds to this deep understanding of one another musically, or to your stage performances? 

MG: Oh, definitely. Well, for one thing, I’ve always been into harmony. I mean, I was raised listening to the girl groups, and they did harmony … old classic country bluegrass, and they all were harmony … the Everly Brothers, everybody right across the board. And so, I fell in love with harmony and the older songs which we kind of stress in our group … Mark and I sing harmony together, and I find that when you’re singing harmony, you just get so close because you’re just singing together so closely. It really forms a bond, and we were close already … obviously, right? So, it just was natural. When we sing together … I just get the chills because sometimes the tone is just one tone and it’s not me and it’s not him, it’s like a third tone, and I just love it. So, it’s really exciting. And because we love each other personally, our fans get a kick out of that. 

RRX: “The Bluebillies”, that’s a mash-up of blues and hillbilly, right?

MG: Bluegrass and hillbillies.

RRX: I love that. That’s a cool name!

MG: Thank you! Well, they get it confused sometimes. They call us “Blueberries” or “Bluebellies,” you know … I’m always having to correct them. Since it’s a made-up word, they don’t get it.

RRX: That’s funny! Now you guys have played everything from intimate acoustic sets to larger setups with full instrumentation. Do you feel like you’ve learned more from one or the other? 

MG: I do like the smaller sets.  Smaller configurations are better.  I’d say, you know, three to four people is my favorite, but I’m thinking only because of rehearsal time, how much time you have to get together to rehearse … which means how tight you can get. Mark and I and Greg have played the most together and we spent the most time rehearsing, so we’re pretty tight, and so when we add a fourth person, like when we have our fiddler, Tucker, he’s just a fabulous musician and beautiful fiddler and beautiful person, I might add … when we add him … we don’t rehearse with him as often, but he knows right where to go on these songs, with such taste. But the more people you add, of course, the more time you have to rehearse because each person has their own place; they have their own solo, or they have their own place in the chord structure or whatever, and so I just let the guys work that out.  I have the soloists all work it out. And/or if I want to hear something, you know, we’ll work on it, whatever. At times we’ve had 55 musicians, but usually not over five people … just can’t …  just haven’t done it, actually. I don’t know, we could. But it takes a lot of work.

RRX: I get that.  So, the last album you put out was “Never So Right” in 2025. Tell us a little bit about that. When the album came out, did you have certain expectations? Do you feel like there’s a difference in your sound from the album prior?

MG: Yes, it’s totally different, our (first) albums … it was a gal from Iowa that was like an introduction, “Hello! Here we are!  I’m from Iowa, from Sioux City!”, and we did mostly bluegrass and old country, classic country, and the early tunes, and then we did a bluegrass gospel CD at that time too … and then a couple of years later the “Adirondack Angels,” which was not just me.  And what we did, what we released last year, was a single. It was a two-sided single, two-song single, and one of the songs was “Run Daddy Run (Mama’s Got a Gun).”  That was about a story from my childhood, my dysfunctional childhood. And the flip side of that was “Willow and the Oak”, which was a love story to my husband for when, at the time, he was working so hard during COVID … he was the only person going to work besides the bosses there, and he had to cover everybody’s jobs … and so it was a love song for our anniversary.  So that was the single, and we did both of those on the “AHA!” segment on WAMC. Those two songs are there, and so … we rerecorded those and released that single.  But we have three songs that we’re working on, also. The one that you mentioned … and a couple more tunes. So, what we want to do is finish those this year, and then next year, early 2027, release all five songs on a limited-edition CD. So that’s exciting.

RRX: That is exciting!

MG: I can’t wait.  We’ve been transitioning from old-timey traditional bluegrass and classic country to more of an Americana alt-country band. In our recordings that we released this spring, “Run, Daddy, Run (Mama’s Got a Gun)” and “Never So Right,” we use drums and some electric guitar, for instance … different than our simpler bluegrass lineup. Onstage, we have the same vibe, but we don’t always use those instruments. Our sound is definitely evolving, and I love it! We still concentrate on vocal harmonies.  Our other songs that we are finishing this year are (two more originals) “How’d I Ever Get to Bed,” “Willow and the Oak,” and a bluesy take on an old traditional gospel song, “When I Lay My Burdens Down.” We’re really looking forward to going back to Rockwell Pro Studios and working with Justin Metz on the finishing touches. When finished, we will be releasing these three songs plus the two songs on our single into an EP called “The Bluebillies in Paradise,” set to drop next spring.

RRX: Great!  Circling back to WAMM, just one more question. What are you most looking forward to at WAMM this year? 

MG: I want to watch all the bands. I want to watch all of the women playing music. That’s going to be the thrill for me and, of course, doing our songs.  Performing will be exciting, very exciting, and I know that it’s going to be a wonderful crowd. I love the audience there. Not just the singers and everybody, but the audience is so friendly. I was just really knocked over … friendly audience. Everybody was smiling. Everybody was happy, and it was a wonderful, wonderful get-together of everybody, and there were women, and there were men. There was just a mix of everybody in the crowd, so it was just a great human experience. So, I’m looking forward to having that happen again.

RECAP: Billy Idol / Devo @ Empower FCU Amphitheater, 8/15/2026

chadfromalbany
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RECAP: Billy Idol / Devo @ Empower FCU Amphitheater, 8/15/2026

By Chad from Albany.

On my first visit to Empower Federal Credit Union in Syracuse, NY, I was pleasantly surprised by a myriad of things. One of the prime experiences at a concert is a good tailgate. It’s the old-school tribalistic aspect of music that we still have (for the time being). Unfortunately, I showed up later than I would have liked, but saw people having the best time in the parking lots that I may have seen since the ’90s. That said, I will remember that the next time that I come here – and I will … soon. Another is the setup of the lawn. The pitch of the lawn was viewable at whatever angle you are sitting at. And the accessibility to restrooms and diverse eateries (at reasonable prices, considering) is all simple. A marvelous venue indeed.

Now, onto the show. Maybe it’s because I’m a massive DEVO fan – I saw this as more of a double bill than them as an opening act. I get it – Idol has the more recognizable catalog, but DEVO is amongst the most influential and pioneering bands in the history of popular music. I am stoked to see Billy Idol (and thankfully his guitarist/music partner Steve Stevens) go into the Rock and Roll Hall of Fame later this year, but I rank DEVO as my personal #1 snub for the Hall. Maybe 2027 will be kinder to them.

As the sun was starting to lower on a beautiful Syracuse evening, the famous video intro for DEVO started playing as people excitedly ventured to their seats, with red and blue energy domes starting to fill the first 15 rows, which was the vicinity that I was in. The band came out and started with the cheeky “Don’t Shoot (I’m a Man),” which was their most “recent” track, being from 2010’s “Something For Everybody.” They then brought us back to 1982 with “Peek-A-Boo” from “Oh, No! It’s DEVO.”

The visuals behind the band mixed their iconic imagery with modern high-definition digital animation, using the simplicity of primarily red, black, and white colors. Modern technology uses the simplest of concepts, which is not wholly unlike DEVO and their music themselves. The concept of DEVO itself refers to the concept of de-evolution, and how we aren’t evolving from ape to man, but de-evolving from man to ape. A humorous and cynical concept by design, but you look at our society today, and where we have been since DEVO came up with this idea in 1973, you have to ask yourself how cynical it REALLY was, because it sure does ring true now more than ever.

Classics such as “That’s Good” and “Girl U Want” followed before surprisingly playing by far their most well-known track, “Whip It,” in the first half of the set. They closed the first half with 1980’s “Planet Earth” before leaving the stage for a few minutes, with a video being played in between, displaying how small we are in the galaxy, and how tiny of a blip we are here in this universe. They came out in their iconic biohazard suits and blasted into their punkish and boisterous “Uncontrollable Urge,” with genius frontman Mark Motherersbaugh tearing parts of his and his bandmates’ suits off into shreds and tossing them into the crowd. And speaking of Mothersbaugh, at 76, his brother Bob (aka Bob 1) at 74, and Jerry Casale at 78, they were moving around like it was 1986 – with Mark frantically running between the front of the stage and his synthesizer in the back, and all of the three originals jumping around like they are on their own trampolines. It was simply outstanding. And they sounded perfect. Absolutely perfect.

The rest of the set included more DEVO classics: “Mongoloid,” “Jocko Homo,” “Smart Patrol/ Mr.DNA,” and closing with “Gates of Steel.” And again, being a more vintage act, they played their most punk-heavy, uptempo tracks at the end of the show, and none of the band members looked the slightest bit winded. Their encore was 1980’s “Freedom of Choice” – an underrated political song with the brilliant and incomparable lyrics about the lack of choices we have for political candidates, and how we are forced to take what we are given, and how we should revolt against that. “In Ancient Rome there was a poem/ About a dog who found two bones/ He picked at one and licked the other/ He went in circles and he dropped dead./ Freedom of choice is what you got. Freedom FROM choice is what you want.” Brilliant. And that’s what you get from a band that formed after witnessing the Kent State shootings while they attended that college.

Like DEVO before, Billy Idol took the stage with a track from his most recent album, “Still Dancing,” from the fantastic record “Dream Into It,” before launching into the untouchable classics “Cradle of Love” and “Flesh For Fantasy.” He returned for another track from “Dream Into It” – the single “77”, which he performed with Avril Lavigne on the album. That single was a bit of a hit last year when it was released, working its way to #22 on the US Adult Pop charts. Wonderful animated artwork appeared on his incredible stage display of him and Avril looking like they were sketched on notebook paper, walking the streets together. His video display was amongst the highest quality visuals I have ever seen in the modern age, often times looking like 1980s Times Square lighting and displays, or morphing into what looked like multiple tube-driven televisions stacked on each other, each playing different footage. I am still baffled how it was pulled off. It all looked real. The resolution was unlike anything I’ve seen. Amazing.

1984’s “Eyes Without a Face” followed, with Idol’s voice sounding great, and donning only a leather vest displaying a physique that I would be proud of at 45, let alone nearing 71. And when his shirt came off briefly, the ladies in the crowd erupted.

Steve Stevens, Idol’s songwriting partner and guitarist since the dissolution of Idol’s earlier punk band, Generation X, had his moment to shine, erupting into a guitar solo that had the amphitheater on their feet with respect, and dabbling into some Led Zeppelin and Van Halen riffs in the mix. It was the perfect precursor to the iconic cover of Tommy James and the Shondells’ party anthem “Mony Mony,” which highlighted his two incredible backing vocalists, Jessica Childress and Kitten Kuroi.

Speaking of Generation X, Idol soon went back to his roots with the 1978 punk rock staple “Ready Steady Go,” then into a flawless rendition of “Blue Highway.” And deep into the song, Stevens drifted into the “Top Gun Theme,” which earned him a Grammy in 1987 for “Best Pop Instrumental Performance” back in the day when the Grammys actually cared about rock musicians. The final song of the set was another sing-along classic – “Rebel Yell.” They concluded the show with Generation X’s iconic “Dancing With Myself” and my personal favorite, “Hot in the City” – the first song Idol wrote when coming to the US. And what better way to end the show than with one of the greatest songs of the ’80s – the song that won’t die, “White Wedding.”

Idol and Stevens were tremendous in look and sound, and it couldn’t have been a better time as they earn their place in the Hall of Fame this year. When the sub-genre of “Pop Punk” is brought up, you rarely hear Billy Idol mentioned, but when you see the show, you realize possibly nobody did that sound better than he and Stevens did. I can’t immediately think of a punk artist who has had so many songs that are sing-alongs that are played at weddings, sporting events, and have encompassed pop culture more than his. He literally defines the term with his catalog. This double bill was a fantastic night of nostalgia mixed with modern technology. Pioneering acts who not only left marks on culture, but molded it to what we have seen in the 90s and into today.

DEVO’s setlist can be found here:

https://www.setlist.fm/setlist/devo/2026/empower-federal-credit-union-amphitheater-at-lakeview-syracuse-ny-6375964f.html

 

Billy Idol’s setlist can be found here:

https://www.setlist.fm/setlist/billy-idol/2026/empower-federal-credit-union-amphitheater-at-lakeview-syracuse-ny-3b76c424.html

 

“Songwriters Showcase” @ Albany Elks Lodge #49, 8/10/2026

Timothy Reidy
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“Songwriters Showcase” @ Albany Elks Lodge #49, 8/10/2026

Featuring Rooftop Park, Sabrina Trueheart, and Josh Breden.

Photography by Timothy Reidy.

More from Timothy Reidy here …

 

The Irwins Do NYC: Bon Jovi, Cheap Pizza and Pregnant Mannequins

Jason Irwin
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The Irwins Do NYC: Bon Jovi, Cheap Pizza and Pregnant Mannequins

There are two kinds of people in this world. The first kind carefully researches every detail of a trip, creates spreadsheets, color-codes itineraries, and books reservations a year in advance. That was my wife, Lisa – before she met me. Now, we just “see what happens.” She loves it.

Monday

Our trip officially began on Monday, July 6, with a drive to Poughkeepsie, where we boarded Metro-North for what has become one of my favorite ways to enter New York City. Somewhere along the ride, I did what every responsible traveler does these days—I asked Facebook where we should go while we were in the city. The internet, as always, didn’t disappoint. There: a plan. After arriving at Grand Central, we made the walk toward our hotel, but not before making a quick stop in front of the iconic New York Public Library. Naturally, I posed for a picture holding the July issue of Xperience Monthly. You have to represent wherever you go, right? Our home for the next two nights was the Life Hotel, formerly the original headquarters of Life magazine. As someone who digs history, I loved knowing that journalists, photographers, and editors once walked those same halls producing one of the most influential magazines in America.

Once we got settled, we headed over to our first social media suggestion: The Museum of Sex. If you’re expecting some wild, over-the-top experience, it’s actually much more of an art exhibit than anything else. It was interesting and entertaining. That said … it could’ve been just a little “sexier.” I’m just saying. Rain rolled into the city for a while, forcing us to retreat back to the hotel. We responded the only way two exhausted tourists could—we cracked open a couple White Claws, watched “Everybody Loves Raymond,” and waited for Mother Nature to cooperate. Eventually, the skies cleared, and we hit the streets again.

We wandered by the Empire State Building. We admired it from the sidewalk but decided against climbing it—not because it’s illegal, well … it is, but mainly because some other couple had literally done that a few days earlier to propose. And now, King Kong has entered the chat. We moved on. Next, Lisa announced she needed to buy a bra. Simple enough. Or so I thought. If you’ve never wandered through multiple floors of Macy’s looking for women’s undergarments while pretending you know where you’re going, I highly recommend the experience. Somehow, we escaped that labyrinth without becoming permanent residents. After a while, hunger set in, so we ducked into a random diner that was … fine. It wasn’t terrible. Let’s call it aggressively average. Our next objective was to find a bar. Unfortunately, nearly every place we visited had transformed into World Cup headquarters. We aren’t exactly soccer fanatics, but we found one that wasn’t overflowing, grabbed a couple of Coors Lights, and watched a little of Team USA’s loss to Belgium. Later, we stopped at a neighborhood bar called Walters, where the bartender confidently informed us that getting pizza after 11 p.m. in New York City was basically impossible. Conveniently, his buddy happened to be selling slices right next door. We bought one. Then, a few hours later, we stumbled across another pizza place selling better stuff for $1.50 long after this supposed pizza curfew. Congratulations, dude—you got us. We happily devoured our bargain slices back at the hotel before calling it a night. 

Tuesday

Tuesday started early because we had a lot of the city to explore. Once again, Facebook was serving as our unofficial travel guide, and one recommendation that kept coming up was The Trailer Park Lounge down in Chelsea. On the way there, we made an important stop for Lisa. Anyone who knows her knows she’s fascinated by the story of John F. Kennedy Jr. and Carolyn Bessette Kennedy, so naturally she wanted to visit C.O. Bigelow Apothecaries—the historic pharmacy where Carolyn reportedly shopped for headbands. More my style was the legendary Chelsea Hotel. Now there’s a building dripping with rock-and-roll history. Bob Dylan. Leonard Cohen. Janis Joplin. Sid and Nancy … just imagine the untold stories. We looked around. The hotel has certainly become much fancier following its renovation, and while it was beautiful inside, part of me couldn’t help imagining what it must have been like during its chaotic rock-and-roll years.

Another stop on Lisa’s wish list was the Mind of a Serial Killer exhibit. Yes, my wife is fascinated with serial killers, and I try not to overthink that. The exhibit featured crime scene evidence, personal belongings, investigative material, and enough creepy artifacts to make you double-check every stranger walking past you afterward. Needless to say, it was cool as heck. Finally, we arrived at Trailer Park Lounge. What a place. Picture a roadside trailer park exploding inside a Manhattan bar, and you’ve got the general idea. We met an incredibly fun bartender named L.A., admired a 26-year-old pregnant mannequin who somehow managed to chain-smoke cigarettes while apparently surviving on a steady diet of Pabst Blue Ribbon, and laughed our way through one of the most unique spots we’ve ever visited. We’ll be back. Shockingly, while we were enjoying ourselves, a nearby building partially collapsed just a short distance away. Thankfully, everyone was okay. We completely missed that excitement, probably for the best. Ultimately, it was time to head back, clean up, and prepare for the main event. We grabbed a few pre-concert drinks at a bar across from Madison Square Garden before joining thousands of excited fans streaming into one of the world’s most famous arenas.

Lisa had never been to Madison Square Garden before, so talk about doing your first visit right. That night, Bon Jovi opened the first of nine sold-out shows, a pretty spectacular launch for their Forever Tour. The significance wasn’t lost on anyone. After years away from touring because of Jon Bon Jovi’s serious vocal issues and lengthy recovery, there was genuine emotion in the building before the first song even started. He sounded remarkably good. No, he’s not twenty-five anymore, but then again, none of us are (well, unless you are). Twenty thousand fans gladly handled plenty of backing vocals anyway. Considering everything he’s battled through medically, his performance was impressive, heartfelt, and filled with gratitude, and you could tell he appreciated every single person in that arena. It wasn’t perfect. It didn’t need to be. It was authentic. And it was fun. The set balanced classic hits with newer material, giving longtime fans exactly what they came to hear while reminding everyone that the band still has something left in the tank. Drummer Tico Torres and the keyboardist with the hair that looks like Ramen Noodles are the only classic lineup members left besides Jon, but his “new” band lineup was still pretty great. Phil X handled the impossible task of replacing Richie Sambora on guitar. There were definitely moments when you couldn’t help but imagine how much bigger those harmonies and guitar parts would’ve sounded with Richie there. Maybe someday. 

After the show, we wandered around, doing some more bar hopping. We ended up in a spot called Malone’s. There we met a friendly gentleman who bought us a round. He was very generous. Also … very serial killer-ish. Perhaps we’d spent too much time at that exhibit earlier in the day, but the dude was giving us some major freaky vibes. We thanked him, finished our drinks, returned safely to the hotel, cracked open a couple more cold ones, and celebrated another successful day alive.

Wednesday

By Wednesday morning, we were definitely feeling the effects of walking what seemed like forty-seven miles over two days. And probably the effects of other things as well. The biggest victory? We actually woke up in time for checkout. Before heading home, we crossed the street to Pershing Square, our traditional Grand Central breakfast stop. Normally, this is where mimosas enter the story. This time it was straight juice, breakfast, and responsible adult behavior – at least for one morning. With some time to spare before our train, we stepped inside the New York Public Library. That deserved far more than the abbreviated visit we gave it, but even a quick walk-through reminded us why it’s one of the city’s great landmarks. From there, we wandered into Bryant Park, grabbed a seat and did one of New York’s greatest free activities: people-watching. Nothing too exciting, but there was also a robot lawn mower hard at work, and I don’t know why we found that so fascinating – but it was.

Overall, we were pleased. We got lost in Macy’s, visited a sex museum, explored the minds of serial killers, walked through rock-and-roll history, found our new favorite dive bar, ate late-night $1.50 pizza, and saw Bon Jovi play Madison Square Garden. Somehow, we also managed to avoid losing any belongings (which I am famous for) and getting arrested (which I was formerly famous for), or ending up in a fight over Phil Collins (which my wife is famous for). I’d call that a successful vacation. So thank you, New York. The Irwins had an absolute blast. We hope you’ll let us back in.

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