Stringwynde packed the room at the Pine Hills branch of the Albany Public Library for some holiday tunes on Celtic harp and flute.
Photography by Timothy Reidy.
RECAP: Start Making Sense @ Cohoes Music Hall, 12/29/2024
Words and Photography by Stephanie J Bartik.
On Sunday, December 29, the historic Cohoes Music Hall in became a portal to the 1980s, as Start Making Sense transported a sold-out crowd into the heart of a Talking Heads live experience. This Pennsylvania-based tribute band doesn’t just play Talking Heads’ music—they inhabit it, blending technical precision with raw energy to create a performance that feels both nostalgic and exhilaratingly fresh.
From the moment they took the stage, it was clear the evening would be a special one. Fans who had traveled from across the region—and beyond—filled the hall, underscoring the band’s devoted following. It’s not every tribute act that inspires this level of dedication, but Start Making Sense is no ordinary cover band. With a seven-piece lineup, including Jon Braun on vocals and guitar, Brian Davis on guitar, Colin Miller on percussion, Alex Ayala on keyboards, Jenny Founds on bass, Jesse Braun on drums, and Kate Desisto on vocals, the band channels Talking Heads’ eclectic sound and dynamic stage presence with a meticulousness that borders on reverence.
Opening with “Psycho Killer,” the band set the tone for the evening, their tight musicianship and attention to detail immediately apparent. Jon Braun’s vocals mirrored David Byrne’s unmistakable cadence and quirky intensity, while the rhythm section—anchored by Jesse Braun’s driving drums and Jenny Founds’ groovy bass lines—kept the audience moving from the first note to the last.
The setlist spanned Talking Heads’ illustrious catalog, including fan favorites like “Burning Down the House,” “Once in a Lifetime,” and “Life During Wartime.” Each track was performed with an infectious energy that had the audience dancing in the aisles, many dressed in oversized suits and retro gear to pay homage to the band’s iconic aesthetic. The group also showcased their visual storytelling, with lighting and staging reminiscent of Talking Heads’ legendary Stop Making Sense concert film, adding an immersive layer to the performance.
One of the most remarkable aspects of the evening was the palpable sense of community in the room. Fans from out of state—some who had followed the band on tour—mingled with locals, united by their shared love for Talking Heads. This is a testament not only to the enduring appeal of Talking Heads’ music but also to Start Making Sense’s ability to foster that same universal connection through their performances.
The band’s dedication to their craft extends beyond their live shows. In addition to recreating Talking Heads’ music with astonishing fidelity, they have embarked on specialty projects, such as horn tours with original arrangements of the band’s songs and international trips with fans. Their upcoming Australian tour is yet another indication of their growing influence and ambition.
As the final notes of “This Must Be the Place” echoed through the Music Hall, the crowd erupted into applause, their faces beaming with joy and nostalgia. For two hours, Start Making Sense didn’t just play Talking Heads—they became them, capturing the spirit of a band that has inspired generations.
If David Byrne is a genius, then Start Making Sense is nothing short of a tribute to genius. Don’t miss the chance to catch them live—they’re not just a cover band; they’re an experience.
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More from Stephanie J Bartik …
A Bone Made of Stone – The Weird Side of the Internet
A Bone Made of Stone – The Weird Side of the Internet – by Liam Sweeny.
A man goes to the doctor complaining of knee pain. While he’s there, he tells the doc he’s got a little bit of pain in his penis (no, I’m not going to spend this entire article coming up with clever ways to say “penis.” We’re adults… I might do one or two.) So first thing doc thinks is Peyronie’s disease, which inflames your penis and you get scar tissue, it curves and you do fetish porn. And Peyronie’s disease isn’t totally uncommon. But they X-rayed him and found something not-at-all common. He was turning into a statue in one very specific area. As in, calcium was building up in his hose, which is called “penile ossification.” Only 40 recognized cases known.
He refused treatment, which may have included shockwave therapy to break up the calcium. So like this guy refused treatment and walked out of his doctor’s office. I don’t get it. A man’s penis is his pen and his sword. What is going on that you can have a doctor tell your bone glanced at Medusa and you just walked away? What’s so important in your life that you don’t have time to decalcify your manhood?
I have guesses, none of which are guaranteed to be true. First off, penis pills. A lot of scammy stuff in the penis pill world. Do dark web penis pills make you rock hard? Maybe he was smuggling milk, and he thought the doctor had found calcium and was going to blow up his spot?
He was sixty years old. That shouldn’t make a difference, because, with perhaps some little blue help, he could lead a normal sex life. Or maybe he wants a stone bone. I’m sure he could make a ton off porn if he marketed himself right.
If you see this guy on Pornhub, know of his sacrifice.
The Donna Tritico Band – Interview – Xperience
The Donna Tritico Band – Interview – Xperience – by Liam Sweeny.
RRX: What’s new with the Donna Tritico band? Any new recording projects, collaborations, or additions to the repertoire?
DTB: There will be some changes to our set list. You can expect a lot more R&B and funk added. The emphasis will be on keeping the dance floor full.
RRX: It’s a new year, time for everybody to either make resolutions, or to think about them because it’s a thing in our culture and nobody can escape it. What resolutions would the band have if they’re considering them?
DTB: There will be a greater effort to put on a show. I’m adding a lot of interesting elements that hope will make us stand out a little bit.
RRX: Again, it’s a new year. What are the big projects, big events this year coming up? Do you have anything booked out already beyond just maybe this month? Any spring or summer gigs you have your eyes on?
DTB: We are excited to be performing at some new venues. We’ve expanded our radius, and we are playing further north. We have our usual outdoor concert series gigs (those are my favorite) and of course the Listen Up Awards.
RRX: Tell us a little bit about the band. Not the promo-type stuff that you have on the website. Tell me something unique about each member, something not musical. Let our readers get to know you.
DTB: Well, Joe Lowry, our guitarist, who is highly regarded in this area, is extremely humble, very laidback, and a very private person, he keeps his circle small. Donna was a professional belly dancer for a very long time. She even shared the stage with Sting during a performance of “Desert Rose” at SPAC. The less said about me the better.
RRX: We’ve been through a lot since the Donna Tritico started out, yet you go strong. What do you think is the key to an artist’s ‘rolling with the punches?’
DTB: You can’t be self-indulgent. You have to find a compromise between what you like to play and what people want to hear.
RRX: Every band; hell, every group of people has at least one friendly ‘difference of opinion.’ It could be Coke or Pepsi, maybe ‘tastes great, less filling,’ or Sox, Yankees. Does the band have one, and has it ever gotten interesting?
DTB: We can’t do this without the talented people in the band, so I don’t often make unilateral decisions, therefore, things go pretty smoothly.
Justin Furstenfeld – Xperience History
Justin Furstenfeld – Xperience History – by Art Fredette.
Originally published in November 2022.
JF: How are you doing buddy?
RRX: I’m doing great, thank you for taking the time to talk to me here today, we’re very excited about you coming to town on November 23rd at The Egg in Albany.
JF: Super excited too. I just love New York, whatever part of New York it is. It’s my favorite, my favorite ,favorite, favorite! I love touring so that will be an added bonus so… thank you for taking the time my friend.
RRX: I have second row seats, I can’t wait.
JF: I could’ve gotten you first row seats, I know the lead singer.
RRX: (Laughs) I never want to be that presumptuous and do that radio guy thing.
JF: Well let me get you backstage passes and you can come back stage and see how old I actually am because I sit there and do crossword puzzles.
RRX: I would love that. It’s funny because I have met you at a couple of the meet and greets over the years.
JF: Oh, that’s great!
RRX: Buffalo, Syracuse and Open Book in New York City. We bring our daughter, our fifteen year old to many of the shows and she would always bring you a pound of Deathwish Coffee.
JF: Oh my gosh, I remember this! That’s the only time I’ve ever gotten Deathwish Coffee, it is so strong.
RRX: Well, we’ll see you this time too. This is a big deal for me, I own the paper and I usually don’t do interviews, so this is weird for me; so bare with me my friend. The new record that just came out, I’ve listened to the whole thing with my wife probably a dozen times. I read the Spin interview and of course you mention The Cure, The Smiths and bands like that. Especially on “Love Isn’t Good Enough” I felt more of a Leonard Cohen or a Nick Cave approach, was any of that in your mind or did it just naturally evolve.
JF: After it was done, I was like man that reminds me of “Everybody Knows.” I love Leonard Cohen.
RRX: It reminded me also of “Traveling Light” on his final LP.
JF: It reminds me a lot of what Tom Waits would’ve done or Nick Cave and the Bad Seeds. Just that whole kind of spoken poetry but so raw and so honest that it kind of makes you uncomfortable.
RRX: Exposed nerve type approach.
JF: I like the way you said that, that’s a really nice way. It’s a lyric that exposes a nerve, yeah.
RRX: Also on the new record the other song that really stood out to me was “Don’t Say it Wasn’t Love,” you wrote that with Billy Corgan?
JF: Yeah.
RRX: How was that different than writing with the other partners that you’ve had over the years?
JF: It was great, I mean… his part in it was… I couldn’t figure out a verse melody and he’s really good at verse melodies. I just played him the music and I didn’t have a verse yet and he started (singing melodically) “da, da, da, da…” I was like oh, my God that’s beautiful, that’s amazing. That was his contribution and I just put the words in it any it worked.
RRX: I tell you the song is a true stand out on the record, I adore it.
JF: Thank you, I appreciate that. Wow.
RRX: I go back with you guys all the way to the answers. I’m an old fart, you know? An old Blue fan I guess you could say. There’s an evolution in every band’s music, I’m sure there’s some push back from the fans. Artistically, how do you deal with that?
JF: I haven’t had any push back yet, I kind of person that doesn’t sit there and read what people think. I just make it because it was what was going on in my life and it’s what I wanted to try. I grew up on people like David Bowie, Peter Gabriel, John Michel Basquiat, Andy Warhol, Willie Nelson, Neil Diamond, Marvin Gaye and Michael Jackson.
RRX: That’s a hall of fame list right there, man.
JF: And then Johnny Cash. So I have all of these different styles of music that I love. My Mom was listening to Anita Baker, Earth, Wind and Fire and bands like that so… If you were to tell me that I had to play only one genre of music for the rest of my life, I’d say I’m bored and I don’t want to do it anymore. I’d go cut hair or be a barber, you know?
RRX: Right, that’s like having the same pizza for the rest of your life. I love pizza but I just don’t want to eat the same thing every night.
JF: I think that unless you’re changing, you’re not growing. With growing comes growing pains but that’s one thing I’ve always liked about the way my brain works. I get obsessed with something and then I get tired of it and I move on and find a new obsession. It’s kind of the same way with music I never want to just play boring regular music. I want to keep growing aesthetically and musically. There’s always going to be push back but I’m powerless over what you think of me and maybe because that’s what came out of my heart and that’s what my heart sounds like. You’ve have to be thick-skinned and I think I probably have a very thick-skin. I’m just grateful that it’s my job, I’m grateful that I get to make music for a living and I’m grateful that my therapy is songwriting. Through songwriting I can get better, I can heal, I can dance and take care of my kids at the same time.
RRX: That’s a cool sentiment. You’re songs tend to be autobiographical, confessional almost to a point and that really connects with a lot of us. Does it ever get to be heavy being THE JUSTIN with the fanbase?
JF: No it doesn’t because like I said I don’t feed into that. I don’t really go trolling the internet and read what people think about the album. I stay out of that. It’s not my job to make you think anything. It’s just my job to be honest and real about art. This new video I edited for “Shut Up I Want You to Love Me Back,” came out last night. I wanted to show the funny sides of the band, so I made it on an iPhone and I edited it all together and I thought it was perfect. And you know, it is perfect, it’s perfectly flawed. But there’s some stuff in it a lot of the guys were like “I don’t know if that’s funny, people might take offense to that.” I’m like man, if you live in fear of what people’s opinions are… they’re going to be so mad because I’m hitting my face with a spring roll… I can’t live lie that, you know? I was always taught to make art, be kind and don’t offend people literally. If your art offends people then it means it struck a nerve.
RRX: Right.
JF: So as long as I keep my side of the street clean, as long as I keep my humility strong, as long as I keep God in my life and doing things with the intensions of kindness and sweetheartedness then everything seems to work out. I just don’t feed into the whole… oh Justin, you did this for me, if I did that, that’s where the ego starts. I’d rather just say thank you, oh my gosh that’s great.
RRX: In one thing I’ve seen having met you, one thing I see is the genuine joy in your fans and the humility the whole band displays when they’re out in public. Like hey, thanks for coming out we all just had a big party together and a great time.
JF: Yeah and it’s awesome, that’s the way it should be. Once you start taking yourself too seriously and you see yourself as something better than the people that are out there watching and supporting you, then you’re sh*t’s going to fall apart. You know, we’re all the same people, I just know how to shake my butt real good and look real sexy when I’m singing sad songs, you know? That’s just my thing, God but me here to look sexy, I don’t know.
RRX: (Laughs) That’s wonderful. I’ve got a couple more questions, I don’t want to take up too much of your time.
JF: You’re good, take your time, my friend.
RRX: Your guitar players, you’re onto what, number four now?
JF: I don’t know, I just find guitar players that sound good with the band and that I vibe with. As far as I’m concerned I’ve got like six guitarists in this band right now. One of them is me, one of them is Will (Knaak), one of them is Matt Noveskey, one of them is Ryan Delahoussaye, one of them is Steve Schiltz from Longwave and one of them is Sus Vasquez. So as far as people going oh, Will left the band and Will’s doing this now… Will didn’t leave the band, he got an opportunity and he’s going to go tour with a nationally acclaimed artist and learn the country ropes for a little bit. If he wants to come back later, we welcome it! I’m just blessed that I’ve got like six bad ass guitarists that are always on stock baby! I call them up and they’re like aight (slang for alright) and they show up.
People like to dramatize it as much as they can but I’ve got a lot of cool people that I work with and I am blessed that I’ve been kind to all of them. Oh and I forgot we’ve also got Matthew Ostrander. He came by the other day and said “hey man, I’m ready to go if you need me.” Steve called “I’m ready to go if you need me,” Sus called “I’m ready to go if you need me.” I’m so blessed bro, I’ve got so many good people in my corner and I’m so proud of Will, he’s going to learn a lot.
RRX: We were lucky enough to interview Will a while back. He was just a wonderful guy and so gracious. I expected nothing less.
JF: Yeah, wonderful human being.
RRX: And the fact that his father played in 13th Floor Elevators, is pretty cool too.
JF: Like for real, are you serious? You know about that. That’s some dope sh*t, right?
RRX: Right. That leads me to this, you guys are a Texas band and Texas has a real pedigree of musicianship. How much does being from Texas affect the way you write, what you write or how you play?
JF: You know, I think the one thing that I get from Texas is the humility, I guess; the kindness, the manners and the gentleman aspect of it. Except for in “Any Man in America,” I’ve never been bluntly rude, you know what I’m saying? But… I think I get my manners, my swing and my twang from Texas. There’s always a little bit of southern drawl in these songs. Like (sings) “who do you run from, man?” That’s a good one and then you’ve got (sings) “sweet and somber pigeon wings,” you know? I’m trying to think of one off of each album. Then you’ve got (sings) “you gotta make her know how it feels to miss you.”
RRX: I love that line, I love that song.
JF: Then you’ve got (sings scat style), and then you’ve got “how could I let it go?” There’s so many. There’s always one track or a few tracks on each one of the albums that are just so country that I’ve got to calm it down, so people don’t say “ahhh,” you know?
RRX: Well, it’s funny the first time I heard “Home,” I said to myself that’s a straight-ass country song and that was the charm of it. That was really the hook for me.
JF: Yeah man. You know that Keith Urban wanted that song. He wanted to use it for his album and I said no. Just because I wanted to use it. I was super proud of it, plus I couldn’t get them to commit to releasing it as a single. I said if you release it as a single then maybe we can talk. I was super grateful that his writer thought of me, to write with me. So now I have this guy in Nashville I can go write with anytime I want. What a blessing is that! You’ve just got to be nice to people, that’s it. You just got to be nice. It’s easy.
RRX: It really is easy but sometimes it’s the hardest thing in the world for people, which is just a paradox until itself. I’ve got one last question and it’s something I ask everybody I interview. Everybody that’s into music or is a musician has that one band they don’t tell any of their friends that they love. Who is your guilty pleasure? I’m a Carpenters junkie.
JF: Hmmm… Justin Beiber man. I really adore that guy, he’s a hard worker and he has some really good songs. Carpenters are amazing bro and by the way throw Abba in there.
RRX: The other one for me believe it or not is Air Supply.
JF: Get this, my Mom just yelled from the other room and says “you love Bread!” Bread’s one of the best song-writers out.
RRX: “I Want to Make it With You,” isn’t that them?
JF: (Singing) “I want to make it with you, and I would give everything I own,” Yeah man.
RRX: Well Justin, thank you so much.
“Pony in the Pancake Holiday Show” @ No Fun, 12/21/2024
This year’s edition featured Pony in the Pancake, Rabid Children, Cooper’s Hawk, Electric Turtle, Nathan Meltz, the A.M.’s, Los Espejos, Haley Moley, and Huntress Wizard.
Photography by Timothy Reidy.
Photography by Chris Simple.
Lil Josiey – Interview – Thanks for Asking!
Lil Josiey – Interview – Thanks for Asking! – by Liam Sweeny.
RRX: Every artist’s first song is a milestone. But so is the latest song. Describe the first song/album you recorded, and also the latest song/album you recorded; what are the differences?
LJ: My first song, “Sunset Shawty,” marked a raw expression of ambition and youthful energy, featuring simple beats and unrefined vocals that captured a sense of innocence and aspiration. In contrast, my latest track, “Lacuna,” showcases a more polished sound, blending intricate production and mature lyricism that reflects personal growth and deeper emotional themes. The evolution from the naivety of “Sunset Shawty” to the sophisticated artistry of “Lacuna” highlights my journey through the complexities of life and music, demonstrating how experience and skill can transform an artist’s work.
RRX: What do you think is the most poorly understood thing about music, or the music you play?
LJ: One of the most poorly understood aspects of music is the profound emotional and psychological impact it has on listeners. While many appreciate music for its aesthetic qualities, the intricate ways in which it can evoke deep emotions, memories, and even physiological responses are often underestimated. Furthermore, the personal and cultural contexts that shape an individual’s interpretation of music are complex and vary widely, making it difficult to generalize the effects or meanings of specific pieces or genres across different audiences.
RRX: What historical era would you like to visit if the sole purpose was to put together a Battle of the Bands? How would you set it up?
LJ: I would love to visit the 1960s, a vibrant era brimming with musical innovation and cultural upheaval. To set up a Battle of the Bands, I’d scope out iconic venues like the Fillmore or The Cavern Club and recruit legendary bands—think The Beatles, The Rolling Stones, Jimi Hendrix, and Jefferson Airplane. I’d call it “Peace, Love, and Loud Music,” with a panel of colorful judges including artists, poets, and counterculture icons. Each band would perform their biggest hits alongside surprise collaborations, and the winner would be crowned based on audience cheers, ensuring it’s a groovy, unforgettable night celebrating the spirit of rock ’n’ roll!
RRX: Would you rather have one of your songs blow up and make you a one-hit wonder and household name, or would you rather have all your songs be solidly received, but no chart-climbers? (You have to pick one or the other here.)
LJ: I’d choose to have one of my songs blow up and make me a one-hit wonder. The idea of having that one massive hit that resonates with people and creates memorable moments is thrilling! Plus, even if I’m a one-hit wonder, there’s a certain charm to that status, and who knows—it might lead to unexpected opportunities, like a 90s nostalgia comeback tour or a spot on a reality show! It’s the excitement and recognition that would make it worth it!
RRX: We let it out differently when we play music. The happy, sad, good and back; it can all be put out musically. Overall, do you feel better when you sing about the better times, or the worser times? Is there a difference you can describe?
LJ: Singing about the better times can feel like basking in sunlight, where the melodies uplift and the lyrics dance with joy, creating a sense of connection and celebration. On the other hand, pouring my heart into the worser times feels like releasing a heavy weight; the catharsis is intense, and while it might feel dark, there’s an honesty that resonates deeply with others. Ultimately, both bring their own healing—joy brings energy, while sorrow brings understanding—and I find that the contrast between the two can create a richer emotional landscape in my music.
RRX: Let’s talk about your next project, your next few. Just not the ones you’re working on now. The ones you have your eyes on for the future. What’s coming to us?
LJ: In the future, I’m excited to explore a project that delves into the fusion of genres, blending elements of pop with electronic sounds to create an immersive listening experience. I envision collaborating with visual artists to produce a companion multimedia show that tells a story through both sound and imagery. Additionally, I’m interested in writing a concept album called “Catharsis” that reflects on personal growth and resilience, drawing from different cultural influences and narratives, aiming to connect with listeners on a deeper emotional level. This exploration of identity and experience could culminate in a live performance that showcases the evolution of the sound throughout the shows, creating a unique and memorable journey for the audience.
Check out “Lacuna” from Lil Josiey:
All links to social media:
Johnny Rabb & the Tichy Boys @ Hangar on the Hudson, 12/15/2024
Johnny Rabb and the Tichy Boys brought their Rompin’ Stompin’ Rock ‘n’ Roll Christmas to the Hangar.
Photography by Timothy Reidy.
Jukebox – Music News Cuts – 12/27
Jukebox.
Them Crooked Vultures
In a recent Reddit AMA, Queens of the Stone Age’s Josh Homme expressed interest in restarting the ensemble band Them Crooked Vultures, which included Foo Fighters’s frontman Dave Grohl and Led Zeppelin bassist John Paul Jones. He expressed interest, but said that it wasn’t his call, that it was up to Grohl. He noted that he was happy it wasn’t up to him.
Them Crooked Vultures was, by Homme’s admission, a strange band with strange and perverse music. It was formed in 2009 with one album and extensive touring. It ended in 2010, and with a brief reunion in 2022, has remained silent.
A reunion or restart would have to contend with a current touring schedule of both Queens of the Stone Age and Foo Fighters.
Ten Great Jazz Albums of 2024
It’s the end of the year, and it is the time for top ten lists. Music website Brooklyn Vegan has composed a “Ten Great Jazz Albums of 2024.” Included are albums from Nala Sinephro, Kamasi Washington, Colin Stetson and others.
You can find BrooklynVegan’s 10 Great Jazz Albums of 2024 list here.
Radiohead
Rolling Stone recently did an interview with Radiohead bassist Colin Greenwood as the band has released a new picture book, Disappear: A Portrait of Radiohead. The book is the work of Greenwood, who in addition to his role in the band, is a talented photographer. Highlights of the interview included details of the band’s private reunion earlier in the year, the role of Greenwood’s mother as an influential critic, and his reaction to the possibility of Bob Dylan seeing him perform with Nick Cave and the Bad Seeds. About the last point, he said, “He’s seen me make a mistake in one song. That’s all I can think about. But I must stop going on about it because it sounds really silly and and obsessive. But yeah, just think about that. Isn’t that incredible that Bob Dylan was a show that I played at? Maybe.”
Man Off a Cliff – The Weird Side of the Internet
Man Off a Cliff – The Weird Side of the Internet – by Liam Sweeny.
A man calls 911 for help in the woods. He’s hanging on for dear life after falling down a cliff. He’s partially in the water and his phone’s battery in at 2%. And it was a bear that chased him off a cliff. His name was Brandon Andrade.
Should you know that name? No, not really. Because it wasn’t the guy’s real name. And when rescuers showed up to the cliff and looked down, the dead man in the water wasn’t Brandon Andrade either. And moreover, it wasn’t the man who called.
Nicholas Hamlett had a violent criminal history and was no stranger to prison. In fact, he had served four years of a twenty-year sentence for felony assault, paroled in 2016. A man of many IDs and many states, he must have realized that even aliases could get so hot they need to be ditched.
Knoxville, Tennessee resident Douglas Lloyd was adopted by a family that loved him, but like so many people, he struggled with mental health challenges. He lived outside, and by all accounts was a helpful person to all who knew him.
He was the body in the water.
Hewitt befriended him and lured him into the woods that day, intent of killing him and assuming his identity. And he might have gotten away with it except for the fact that forensic teams aren’t made up of idiots, and short of actually pushing Lloyd halfway off the cliff, climbing down, and pushing him in the rest of the way into the water, there was no way Lloyd’s injuries would match what they got off the 911 call.
He was caught in South Carolina. But my only real question in all of this was: why would you switch an alias ID with someone’s real ID? Why not “kill” Nicholas Hewlitt and assume Douglas Lloyd? How much heat did that alias have on it?
More from Liam Sweeny.