In 2011, it seems that Acoustic Syndicate is really and truly back, at least in a regional sense, with bassist Jay Sanders fully on board, several tour dates in the southeast, and their first new batch of songs since 2004.
Everyone is looking for their fountain of youth; a way to stay young if not physically then mentally. And I am here to tell you that it lives inside the heart of rock & roll. ALL rock & roll, no matter which way your tastes lean. As long as you’re rocking, you’re still like the kid you once were in a room full of posters and records. If you actually play rock & roll, it never stops beating. Witness two so-called hair metal bands whose heyday was back in the early 90’s – Kix and Slaughter. They were extremely popular with as many fans as the next band: hit records on the charts, sold out concerts.
There was a Mule Marathon at the Beacon Theatre on December 30th and 31st during which evenings Warren Haynes and co. celebrated not just the turn of the years but the history of their band. The first night in particular illustrated why The Mule has developed such a staunch following over its sixteen year career. Perhaps buoyed by the thought of the impending semi-hiatus in 2011 (postcards for Mountain Jam festival on the seats of the venue), the quartet played loose and free but with a clarity and purpose.
For a band to hold it together for twenty years is monumental, but for the Black Crowes it’s a miracle. After all of the head-butting with record labels, falling-outs with numerous band members, and notorious feuding between brothers Chris and Rich Robinson; one has to wonder how they made it this far. Nevertheless they survived, dignity and greatness intact, and on December 11th the touring anniversary celebration arrived at the Hollywood Palladium. As a thank-you to the fans, the band dropped two 80-minute sets of beloved favorites, tasteful covers and rare gems; a show that those in attendance will be talking about for some time.
Exactly 31 years later, Roger Waters arrived at the Staples Center in Los Angeles to perform a re-imagined version of “The Wall,” as part of a worldwide tour celebrating this monumental concept piece. Although there was no involvement of anybody else from Pink Floyd, this was the ultimate staging of the masterpiece, packed with over-the-top visuals, soul-stirring musical bliss, and powerful statements. For the 20,000 people in attendance, it may have been a pricy ticket, but in return they received an unparalleled live experience for the eyes, ears, and mind.
Despite incessant howls from the largely intoxicated audience (calling for staple Cold War Kids tracks like "Saint John"), the band remained undeterred in their forward thinking approach, bathing the Bijou audience (including a few rowdy members determined to traverse the stage barrier) in spaced-out arena-pop warmth.
The Roots, completing all of this and more while performing night after night on NBC as the house band for Late Night with Jimmy Fallon, a successful role to which they celebrated their one year anniversary of in March. So what better a way to celebrate 2010 and ring in a new year than an all-night three set marathon Roots show at the Brooklyn Bowl?
With hundreds of multi-colored balloons waiting at bay near the ceiling of the Tower Theatre, fans patiently awaited the arrival of the Disco Biscuits as they returned to Philadelphia the night before New Year’s Eve to close out what has been a fantastic 2010, and a hectic final week, with back to back nights in their hometown. To complicate matters in a time of great celebration, the band experienced a devastating blow when drummer Allen Aucoin was treated and hospitalized earlier in the week for a serious asthma attack thus being sidelined for the New York and Philadelphia string of shows.
The last time Phish celebrated New Years Eve at Madison Square Garden, it was an overly-hyped comeback show to what would eventually become a turbulent, short-lived second phase of their career. This time, eight years later, it was a much more comfortable embrace, with the band back on solid ground, an open-ended view of the future, and a proper nod to ghosts of hot dogs past.
What did Bob Moog do for the history, development, course and future of Music? His inventions have done no less for music than the inventor of the wheel has done for transportation!
