Home Blog Page 309

The Brokenhearted Coming to the Strand Theatre on Saturday, Sept. 21st.

0
Brokenhearted

On Saturday, Sept. 21, 2024 @ 8pm at the Strand Theatre, Tom Petty tribute band The BrokenHearted returns by popular demand!

Get ready to rock out to all your favorite Tom Petty hits with The Broken Hearted, the #1 Tom Petty Tribute band! Join us at the Strand Theatre for a night filled with nostalgia and incredible music. Sing along to classics like “Free Fallin'” and “American Girl” as we pay tribute to one of the greatest rock legends of all time. This is a night you won’t want to miss!

$25 Balcony, $35 lower level. Tickets are available at the Strand Box Office; cash or check only or online @ Eventbrite.  For more information and the ticketing link, please visit www.mystrandtheatre.org. Doors open into the lobby, coffee shop and box office @6:30pm. Brought to you by E1 PRESENTS.

The Strand Theatre is located at 210 Main St., Hudson Falls, N Y. Strand Box Office (518) 832-3484. Please visit our website, Facebook or Instagram accounts for a list of upcoming events at the Strand! 

Pons / Apostrophebeats / Anthill Annihilator / Service Industry @ No Fun, 8/29/2024

0
OLYMPUS DIGITAL CAMERA

Photography by Timothy Reidy.

 

 

More from Timothy Reidy …

Art Along the Aether, Chapter Four – Xperience Fiction

0
Art Along the Aether

Art Along the Aether, Chapter Four – Xperience Fiction = by Liam Sweeny.

The warehouse was huge, tens of thousands of square feet. It was long ago abandoned by the property owner and would’ve been torn down if not for its sheer size compared to the size of the city budget. But Sarah figured that heaven was no more lost than the stairway to it, and that’s what they looked for.

As they reached one of the stairwells, they nearly knocked over a woman carrying a handful of paper, not unlike the Guru in the holding of them. But she seemed about as far from the Guru in posture as one could be. Some of the papers drifted to the ground. Sarah went to pick them up.

“Please don’t read them,” she said. “You can’t read them, or I’ll have to throw them away.”

Sarah handed them to her, her eyes across the scrawl withholding the urge to penetrate a single word or sentence. The woman gathered them up and produced an earnest smile but no thank you. She turned toward the stairs.

“Hey, we want to go up there,” Sarah said. “We’re looking for someone.”

“Have you given cloth?”

“Um, not yet?”

“You can’t come up until you’ve given cloth. You’ll have to find the Scrounge. She collects the cloth.”

“We saw her,” Ollie said. “She seemed sketchy, so we kind of passed on the cloth.”

“I don’t think you understand this place very well,” she said. “No matter. Sacred mysteries abound. Just go give Scrounge your cloth. Then meet me up there. Third floor.”

“I think she’s on the second floor.”

“Everybody sees God before they get to heaven.” The woman left for the stairs, which upon the fall of her feet sounded out thin taps.

“I’m not cutting up my clothes,” Ollie said. “I wear this shit on stage. Maybe Juli left here.”

“You got your stuff at Goodwill. Don’t be so proud. And she’s here until we know she’s not.”

“I haven’t seen you this driven about anything since you used to scheme to, you know…”

“Cop? You should just say cop. I’m not embarrassed. I was an addict; I schemed and copped. You were an addict, you schemed off your mom and dad and copped. We’re both clean now, and maybe we can get Juli clean too.”

They retraced their steps looking for Scrounge. Sarah held up the bottom edge of her sweatshirt and pulled down the T-shirt underneath.

“If we gotta dance around our past with each other, maybe we need new dance partners.

Sarah’s words gave Ollie the same feeling that seeing spurting blood did. A shock to the solar plexus, the tightening of his gut and the flush wave that traversed his body, He couldn’t lose Sarah. If he did, he’d lose his reason to be sober, and he’d end up in the warehouse again, lined up along the back wall with the other junkies, awaiting a rib-kick from Shitheels to check his mortal condition. And it occurred to him that his sobriety may mean more to him than making Sarah happy.

“I’m sorry,” he said. “You’re right. I can’t let things be a “you know…”

“Look, there’s Scrounge,” Sarah said. Scrounge was accosting a group of post-teens who, judging by their attire and their phones out, were getting their thrill with a little poverty porn.

“You all can afford cloth,” she said, scissors out. “Nobody gets up there without giving cloth.”

“You can’t stop us,” one of them, with a letter jacket, said. “We’ll just go up there is we want.”

Ollie stepped in between them. “You’re right,” he said. “She can’t stop you. I can’t either, probably, but upstairs is where the tweakers are, the methheads, the angel dusters. You ever tangle with those motherfuckers? They don’t feel pain. And they won’t stop; they don’t get tired. Maybe you’re stronger than them, but what does a strong punch mean to ten guys who don’t feel pain? I’d give her the cloth.”

“I’m not giving up this fucking coat, buckaroo.”

“Then don’t go up there and everything will be rootin tootin.”

Scrounge tapped Ollie’s shoulder. “You didn’t give cloth.”

“We’re here to fix that.” Sarah once again pulled at her sweatshirt.

Scrounge waved the tourists off and aimed the tip of her scissors on Sarah, unnerving Ollie more than a little.

“I pick the cloth,” she said. “I know what God needs.”

She bent over, eyes on Sarah’s sweatshirt, which she lifted up to examine her T-shirt. Sarah couldn’t have liked that, as it was her favorite band shirt. Scrounge must’ve picked up on the hesitation in Sarah’s stance, because she pulled the T-Shirt out and snipped a six-inch by six-inch square, tucking it in her satchel. Then she turned to Ollie.

“I want some of your jacket,” she said. “But I don’t do that in the winter. Unzip it; what you got underneath?”

Ollie, relieved, opened his jacket to reveal the least grimy thing he had on the laundry pile at home, a Charlie Brown yellow and black zig-zagged polyester polo shirt.

Scrounge groaned. “Polyester. Cheap stuff. Not suitable for God. What kind of underwear you got? Boxers? Briefs?”

“Boxers; look, lady, I’m not stripping for you. Sarah can go up alone.”

“Oh thanks,” Sarah said. “Great boyfriend. Just show her your boxers. I doubt she’s a pervert. Maybe something else, but not that.”

Ollie took a deep breath, glared at Sarah before dropping his pants to reveal cotton boxers. Scrounge wasted no time in grabbing them by the right leg and snipping a sizeable piece out of them, revealing more than Ollie was wont to reveal. He yanked his pants up and spun around, looking for peepers and finding none.

Scrounge put Ollies snip in the satchel. “I was a buyer for Eammon’s. That’s what I was.”

“Eammon’s? You mean national Eammon’s?”

“Yup. New York, New York. I was an expert on fabrics. An expert on deals fresh off the ships. I was the perfect Scrounge.”

“So what happened?”

“I got too good,” she said. “They value you until you want them to show it, then they bring in some new face. There’s always new faces. There’s always talent. They use you up and spit you out. Went to smaller stores, but it wasn’t the same. Eventually, I tried other stuff; the Scrounge was in me. But what’s a Scrounge without money?”

“You just started coming here so you could scrounge cloth off people?” Ollie said.

“No, I got into drugs and ended up homeless and here. Do you think anybody just comes here except tourists?”

“No, I guess not.”

“This is where talent goes when it’s no longer useful to the world,” she said. “When the gourmet coffee’s all drunk but the dregs are left. The tourists don’t get it. They see people around trash cans and sleeping on the floor and they think they’re looking at set-pieces for their little adventures. Non-player characters, like in the video games.”

“This place isn’t the end of the dreams,” Scrounge added. “It’s the beginning of something more. Something pure.”

Scrounge left via Irish goodbye, not saying a word, a fully clothed tourist with a video camera and Shitheels sneaking up to clamp a hand on his shoulder.

“Think we can find that woman with the papers, or do we just go up?”

Sarah looked over toward the stairs, at the group of hard-looking guys smoking out of glass. “How will they know we gave cloth?”

“The breeze on my balls is a good indication.”

“Must you be gross? What are you, twelve?”

“We have a song called “Miss the rim,” Ollie said. “You start sawing at that branch, it’s a long way down.”

They tried to drift over to the guys by the stairs, checking out a trash can, making just enough small talk to fit in, like they were at a barbeque and had no business checking on the grill but the compulsion to watch the burgers cook. They had nearly made it to the stairs when Deke and Harry bounded into them, disturbing the smoke circle.

“You’ll never guess what we saw,” Deke said. “Guy has two pet rats and a pet possum, and he’s got ‘em dressed up like they’re in the circus, top hats with red-white-and-blue glitter, and the possum runs around in a circle and the rats ride on the possum. Fucking worth coming here, guys, I got shots.”

“You took pictures?”

“No, I got shots. Little bottles. I traded a bag of weed for them. Sarah, I know you’re all good, but you want one, right, Ollie?”

Ollie wanted one. He really wanted one. But he wanted Sarah’s bony elbow out of the ribs that were still a little tender from Shitheels’s bed check.

“I’m good, guys,” he said. “I’m going up to heaven. The second floor. We’re looking for somebody.”

“Oh shit, we found somebody,” Harry said. “You remember Duck Cassidy, how he disappeared? He’s in here. He’s got an acoustic, he says he wanders the fires.”

Duck Cassidy taught Ollie everything he knew about guitar. Then he got good, real good and he was going places. And then he disappeared. Last time Ollie saw Duck, he was smoking a joint backstage at one of Ollie’s shows. Ollie even offered him a chance to get up on stage to jam, but he’d said he couldn’t play 4/4 time anymore, that he was rocking 2/3 and 7/8 time, and even crazier stuff, because those were just jazz times. And that was it, he was gone. Ollie wondered if maybe he just went to the city and got lost playing supper clubs.

“I heard you gave your cloth,” the woman with the papers had once again crossed their path. “I’m Cyra, by the way. But everyone called me the Poet. I’m going up to attend to the third floor, but I can get you to the second floor after all. But you must go see God before you leave. Everybody goes to see God.”

Sarah tugged at Ollie to head for the stairs after the Poet, but when they got back down, he had his own person to find.

They followed the Poet up the stairs, a long flight. She stopped at what looked like a wall torch in an old vampire movie. She crumpled up one of her papers.

“I use these for kindling,” she said. “There’s gasoline in the wall torches, so I soak them in the gasoline; it helps them burn elsewhere.”

“So you collect paper,” Ollie said.

“Not just any paper. They’re poems. Unseen, originals.”

“Why would you burn them?” Sarah said. “Don’t you want people to read them?”

“I want them to light the way,” the Poet said. “I want to give the light meaning, and no better way than to spark it with my own spark?”

Sarah gripped the railing as the stairs had a slight sway to them. “I guess I understand. Like performance art.”

“Oh, miss, that’s all of life and half of death.” They hit the landing, Ollie could see light coming from a crack in the door, not the flicker of flame, but solid and white-bright.

“Welcome to heaven,” the Poet said.

 

 

More from Liam Sweeny…

Off the Record @ Albany Public Library (Bach Branch), 8/29/2024

0
OLYMPUS DIGITAL CAMERA

Off the Record played music and told stories outside the library in the courtyard.

 

Photography by Timothy Reidy.

 

 

More from Timothy Reidy …

Hammerhead Horns @ Ganser-Smith Memorial Park, 8/28/2024

0
OLYMPUS DIGITAL CAMERA

Music and food trucks.

 

Photography by Timothy Reidy.

 

 

More from Timothy Reidy …

 

Pas Musique – Interview – Thanks for Asking!

0
Pas Musique

Pas Musique – Thanks for Asking – by Liam Sweeny.

We caught up with Pas Musique, and talked music. Here’s where the talk went.

RRX: We have to play somewhere, and sometimes those places have more going for them than a stage and a power outlet. What is a memorable place you played, and bonus points if it’s not a well-known place.

PM: I once played a tour in Indonesia (my first). I went to Kalimantan Island to play in a city called Balikpapan. The guy Luthfi (now a great friend) offered us to play in his cafe. We went there and everyone was so friendly. I asked where the sound system was. He said it was coming. The guy showed up with computer speakers and a computer subwoofer!!!!!!!!!!! I asked politely “Do you have anything else? And explained why this wasn’t going to work. He said “I have a bigger speaker at home.” He brought one stereo speaker!!!!! That was all he had. We actually did play through the computer speakers and played really low. People did have a good time and it kind of worked out.

Fast forward a few years later, I went back to Balikpapan because Luthfi and I became friends and he learned what a speaker system was. He said he would make it up to me. When I arrived at the venue there was a full speaker system with subwoofer, stage, lighting and fog machine! It was an amazing gig.

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?

PM: My next project is a series of Pas Musique short films with improvisational studio techniques. We wanted to get back to our roots with sound scores to our short films. They are minimal one take songs that are all improvisational in the studio with a lot of editing and processing to accompany the videos. They are due out early next year. We plan to do a series of movie screenings.

In addition, I am doing two studio collaborative releases with Robin Storey a.k.a Rapoon (original Zoviet France) from our June 2024 sessions.  They are long form studio collaborations.

RRX: Playing out is tricky because you never know what’s going to happen when you get there. Sometimes everything goes wrong. What was your worst show like?

PM: Funny you ask this, maybe not the worst show but a recent bad happening….last night Pas Musique played a gig in Salem, MA. It was in a beautiful TV studio. It was going to be recorded and aired. I was all set up and my tour mate Mathieu Sylvestre just finished his set. Mathieu’s set was amazing. The whole night was turning out perfect. I went on and started my set. I started and made some great connections with the crowd. Everyone was smiling. Then I started my song “Are We Getting Started”. I just finished that song and started to play my next track “Pull Out the Electric”, when I saw what I thought were people leaving. I was confused. What did I do wrong? Then I saw a woman indicating I should stop. I thought, “I am not that bad”. HA! Then I spied a person on the ground. I knew something was up. I stopped the music. The person was having a seizure! Everyone was confused and scared. We called 911 and the police and paramedics showed up. The person started to wake up. They were thankfully ok but a bit out of it.

RRX: What do you think is the most poorly understood thing about music, or the music you play?

PM: The comment that comes to mind here is people always say “Oh, I didn’t know you did THIS type of music.” I am not sure what they were thinking but it seems negative. I feel like they wouldn’t like the music. But in the end they are pleasantly surprised. I am not actually sure what “TYPE” of music mine is. I guess it could be considered experimental, industrial, but I also have elements that drag people in like beats. So maybe they are expecting something they cannot connect with but I try to mix the avant garde with the more accessible sounds and it seems to be working with these types of comments.

RRX: With the exception of singing, everyone has an instrument, an inanimate object that has the distinction of being a lifelong friend. Smooth or temperamental, these objects have a character. So pick someone to answer, can you tell us something special about what you play, your technique, your instrument?

PM: I added a vocoder to my set about ten years ago. I make sounds and not lyrics through this medium. I like to daisy chain pedals to the vocoder to give a wide range of possibilities. I try to make these abstract sounds to induce a sort of meditative state within myself. It’s almost like speaking in tongues or some tribal ritual. I first did this at a bar in New York’s lower east side with my old band The Jazzfakers. When we finished this man, I think he came from Ghana. He came over and asked “How did you learn to do that?”. I said it was just an experimental technique. He said that it reminded him of some of the tribes in Africa that induce trance states in rituals. That may have been the best comment ever.

RRX: We all get a little support from those around us. And we also can be impressed by our fellow performers. Who do you admire in your community, and why?

PM: Well, one of my influencers is also one of my collaborators, Robin Storey from Rapoon. I like his no nonsense way to work, and his 100% creative drive. He makes art to make art. He also is a painter like myself and his painting technique reflects his musical techniques, like mine. I see a lot of parallels here. I guess this is why we work well together. Check out Rapoon!

 

 

More from Liam Sweeny…

Triskele @ Patrick’s Pub, 8/26/2024

0
OLYMPUS DIGITAL CAMERA
Triskele came back from Ireland and had a packed Monday show in the back of Patrick’s Pub in Watervliet.

Photography by Timothy Reidy.

 

 

More from Timothy Reidy …

Bozzy Boz – Xperience History

0
Bozzy Boz

Bozzy Boz – Xperience History – by Rob Smittix.

Bozzy Boz (Terry Nut) Interview.

Originally published in April 2023.

RRX: We met by accident at The Run Rabbit Run (Pink Floyd Tribute) show at The Linda, which was pretty impressive. I was outside prior to meeting you and I met Summer, who I found out later was with you.

BB: We’re basically husband and wife, we’ve been together 26 years.

RRX: Oh, no kidding. Well, she was the coolest person I met there and then when the show was over, I ran into her again and you were there, and somehow we got talking about stuff and I realized that we should talk more.

BB: For sure.

RRX: Bozzy Boz, so that was the name that you used when you were tagging or was it called bombing back then?

BB: We were bombing.

RRX: Was the tagging terminology more from the West Coast?

BB: No, it all started on the East Coast really. Tagging in the 80’s and the 70’s. The 70’s was all peace and everybody was doing big illustrations. In the 80’s it changed up where my generation basically came up and everybody was a style fanatic for writing their name. We were doing big pieces, window downs at that time instead of the full cars, top to bottoms. The era was very important as far as that goes.

RRX: How did you get started with graffiti art?

BB: My cousin used to go out with a famous graffiti writer. I don’t really want to drop names but he’s a big guy and I just loved the way that he expressed himself. I took to it. He knew a whole bunch of other people. I was just a little kid in elementary school writing on the walls.

(Both Laugh)

RRX: You’ve got to start somewhere.

BB: Yeah basically. I had no idea what I was doing, but I tried. I had so many different names that I was infatuated with the Z’s. My cousin used to write Boz and he gave me the name because I kept changing my name like 30 times a year.

RRX: (Laughs) That’s understandable.

BB: I started picking up on the drawing and it stuck!

RRX: Yeah it did. I found a few of your pieces online and man do I wish that I could’ve done that. I was doing a little spray-painting myself back in the day. Which I told you that one crazy story I have when I got busted by the cops and they thought I had I gun, but all I had were a couple of spray cans. But I never really got good at it. I just kind of had fun with, it but you mastered it!

BB: Well, I didn’t master it but I have expanded myself so much. I still do it. I’m working on canvas and stuff like that now, but all of my friends are still doing it like it was the 80’s still. They’re doing big, big stuff, buildings, everything.

RRX: But nowadays opposed to back then you’d probably get more paid jobs I’d imagine. Where people are like we’d like this on our building rather than having to wear a ski-mask and hide. Or maybe I’m wrong?

BB: I still have that feeling like I did back then when I pick up a spray can. I still miss the old times. This permission stuff is not for me.

RRX: (Laughs) It must’ve been an adrenaline rush. Were you out there painting trains and all of that?

BB: Oh yes. And it was an adrenaline rush that you couldn’t believe. I used to sneak out my window at 11 o’clock at night. My mother would go in the shower, and I’d climb out the window and down the fire escape. She’d be asleep and I’d come back just before 5 o’clock in the morning, just in time to get ready for school. It was fun!

RRX: Back then was the heyday when everything was getting started. I know graffiti played a big role in the whole scene from break dancing, beat boxing and early hip hop music. It all came together.

BB: Correct. It’s the elements.

RRX: I believe that’s what you discover in the Wild Style movie.

BB: Now to give you an idea. The Wild Style movie is dedicated to my mentor Tracy 168. That’s why I didn’t want to name drop but he’s my mentor and I’m actually going to hang out with him tomorrow.

RRX: Hey, no kidding! Nice, that’s dope.

BB: He put me onto it, and he was always against me doing it.

RRX: Oh, really?

BB: He played like the father figure role. He always took kids under his wing to show them art. It went a long way for me because he was my outlet. Me being at school and writing all over my books, that didn’t go well with Mom. I got my butt kicked a lot!

RRX: (Laughs) Yeah, I’m sure. What borough of NYC did you grow up in?

BB: The Bronx, right where it all started.

RRX: That is where it began for sure.

BB: With Tracy being in the next building I used to cut school and sneak out to the trains. My mother was always up in the window, so I had to try to get around her, that was fun. But I did it. Just kept writing and drawing, he showed me a lot and it stuck with me.

RRX: That’s what’s up. I’m totally envious because I was very much into street art, I just never really did anything too dope. Although from that story I mentioned I did get into trouble and my Mom was very mad. She suggested instead of spray painting on city property, why don’t you just spray paint your room? So I did.

BB: Oh, you had a good Mom then. My mother beat my butt every single time I picked up a pen because I wrote on everything, it didn’t matter what it was. I made my own inks out of carbon paper and alcohol.

RRX: Oh wow. That was something I never knew was possible. I always wondered about the trains because in NYC in the 80s on the subway system, you had the possibility of seeing your work riding past you. But I was thinking about with freight trains it’s kind of like one and done. Once you paint it, you’re not ever going to see it again.

BB: Right. That’s the fun though because you never know. Back in the days on the regular trains you would see a name and think wow what does this guy got? He’s got a nice style, let’s see if he does any pieces. And then usually you’ll see a couple of pieces within a few months and you see the style progress. But the freight trains are cool if everybody knows you in some sort of way they’ll send a picture and post it. Back then you couldn’t but now it’s easy, you just reach out on the computer and it’s all good. It’s the whole thing of being all over the place, like if you get a call from Virginia; like wow somebody saw your piece down there. Geez all the way down there! It’s a fever once you pick up that can and you get a phone call like that. That’s it, you’re planning the next move!

 

 

More from Rob Smittix…

Mojo’s – An Xperience Article

0
Mojo's

Mojo’s – An Xperience Article – by Colin Roberts.

“I look at this space as an open canvas for other people to paint on.”

Niek Velvis speaks thoughtfully, taking the time to contemplate the question he’s been asked before giving a detailed, enthusiastic answer. It’s the same pattern of consideration and enjoyment that goes into every aspect of Mojo’s Café and Gallery, a multi-purpose music venue and café in downtown Troy that Velvis and his wife, Alana, own and operate together.

“When we saw this space we couldn’t help but to listen to it,” says Velvis. “The space was connecting with us and we were connecting with the space, and we saw the potential for a small music and art venue.”

“I don’t think the intent was to start any of this,” he says with a laugh. The couple moved to Troy in August of 2023, packing up their Denver-based recording studio and bringing it along with them. In their search to find a place where they would want to raise their child—and also to perhaps continue their studio work—they kept being drawn back to the Collar City. It was a combination of the food, the music, the community, and the overall vibe that Troy had to offer that led them to the building located at 147 4th Street.

“I think being in a tight-knit community as well as close to some family members was important to us,” he recalls. “There was some time where we thought we might be moving to Miami—I actually took a job there for seven months. I’m glad we found this space.”

Work on the site—the former home to Superior Merchandise—began in August of 2023, with structural reinforcement and a redesign for Mojo’s. They opened their doors in February and have continued to add new aspects since.

The café serves coffee and baked goods as well as beer, wine, cider, and soft drinks. In the back sits Mojo’s stage and performance space, and their outdoor courtyard, which is perfect for outdoor shows and events.

The music side of the business came innately to Niek and Alana, who were able to embrace their roots and pack their own knowledge and experiences into the venue. The space has hosted an array of shows from open mic nights and jazz jams to hip-hop emcees and rock bands. One monthly mainstay is a residency by the Blues Episode, which boasts a lineup that has done time with The Cure, David Bowie, Isaac Hayes, and Swans. Every style of music is welcome at Mojo’s.

“I’d really like to work to a point where everybody can look at our calendar and find a point of relatability,” Velvis says. “I really have a keen eye on scheduling a vast diversity of events so that anyone can be comfortable here.”

This includes not just the music, but also a wide variety of other happenings. Mojo’s has already hosted events, including a New Orleans food pop-up, a burlesque show, and an independent zine festival, with many more ideas on the horizon.

The other side of Mojo’s—the café— is something that didn’t come as naturally to the couple, but they found their footing with the help of those around them. There are carefully curated beer and cider options that are great to sip on during a show, as well as soft drinks. Teas and baked goods are sourced locally, as is their coffee, which is roasted by Gipfel Coffee Company in Averill Park. And at its core, it’s all about coffee at Mojo’s—and in a city with a wealth of great coffee, they knew they had to deliver a quality product, but in a way that maintained their own identity.

“We had to find a point that was not only unique, but also authentic to us,” Velvis says. “We took ourselves down to New York City with folks who have a lot of experience in the coffee world so that we could find that point.”

Accompanying the coffee is a New Orleans-themed vibe accented by the vibrant art of the Velvis’ friend, Frenchy. His paintings, often done live in front of the musical performers they depict, are expressive and full of motion. The plan is to incorporate other artists onto the walls as well, creating an ever-changing view for the audience.

For Velvis, while every day is a step forward for his business, what Mojo’s really is at its foundation is a confluence of music, art, and coffee; a space that can be enjoyed by anyone at any given time. It’s all about community, something that continues to grow in the venue every day.

“The more we’re in this space, the more we’re learning this space has its own mojo,” Velvis says with a smile. “We opened a place that does have that open canvas for other people to paint on, and when people feel authentic in this space to express themselves in their craft, then there’s no telling what’s going to happen and who comes in and what kind of shows we can have. There’s no limit, and I’m really excited about that.”

 

 

More from Colin Roberts…

 

 

 

Joe Bonamassa – Palace Theatre – Review

0
Joe Bonamassa

Joe Bonamassa – Palace Theatre – Review – by Timothy Reidy.

This Review will be based on my notes take during the 2 hour set.

We have a 3 piece horn section, 3 vocalists and a 5 piece blues band 11 total.

Starting off in Chicago style blues. Lots of guitar changes for Joe. An early number was love send me baby followed by 24 hour blues. In a dirty blues style with love got over it chorus. Then it turned waltzy. Crowd was seated mostly and more Joe solos.

Th next number had a bass solo and was strong. Immortal soul was the lyric. The next song I’m a lucky man had a organ solo and a Josh Smith solo and got the crowd clapping, soulful licks by Joe with the following song with a shout about it chorus with a heavy vocal emphasis.

The next song started with a trumpet solo before a Pink Floyd start, then came with a crying solo part on guitar which was appreciated then with a fast jam with the chorus breakin someones heart.

We then got a break which began with something like Joe Bonnamassa is fucking back. Joe narrated about being from Utica NY. Then listed off the band.

Josh Smith Guitar

Jimmy Boulen Sax

Mark Do. Sax

Tyler Jager Trombone

Lamar Connor Drums

Calvin Turner Bass

Jade McCray vocal

Miss Monee vocal

Danny D’Andrea vocal

and Mr. B3 Reese Wyles organ.

We got some music starting with the chorus she lives and she loves me in a jam style, and the number drove to a dynamic buildup. Don’t fly away was one of the lyrics.

The number Movin’ On went from fast to quiet then back to fast, and the crowd ate it up. A ballad Safe to Go Home was next. In the show, most songs are extended, and nothing short. A Swing Jazz number Sweet Babe came next with horn solos.

We had an encore with a drum opener which was a strongman blues style with a chorus of had but it’s fair. The next chorus was Sweet as Honeysuckle, which went into a gospel chorus and ended with lots of vocals and musical movements towards the end.

There were sign interpreters at the show, and the show had varied styles in the whole show.

 

 

More from Timothy Reidy…