The Wood Brothers have learned to trust their hearts. For the better part of two decades, they’ve cemented their reputation as freethinking songwriters, road warriors, and community builders, creating a catalog of diverse music and a loyal audience who’ve grown alongside them through the years. That evolution continues with Heart is the Hero, the band’s eighth studio album. Recorded analog to 16-track tape, this latest effort finds its three creators embracing the chemistry of their acclaimed live shows by capturing their performances in real-time direct from the studio floor with nary a computer in sight. An acoustic-driven album that electrifies, Heart is the Hero is
stocked with songs that target not only the heart, but the head and hips, too.
“We love records that come from the era of less tracks and more care,” explains co-founder Oliver Wood. “When you use a computer during the tracking process, you have an infinite number of tracks at your disposal, which implies that nothing is permanent, and everything can be fixed. Tape gives you limitations that force you to be creative and intentional. You don’t look at the music on a screen; you listen to it, and you learn to focus on the feeling of the performance.”
Throughout Heart Is The Hero, those performances are matched by the visceral storytelling and songwriting chops that have turned The Wood Brothers into Grammy-nominated leaders of American roots music, even as their music reaches far beyond the genre’s borders. The stripped- down swagger of “Pilgrim” underscores Oliver’s reminder to slow down and experience each moment as an interactive observer, rather than a passive tourist. A similar theme anchors “Between the Beats,” where Oliver draws upon a meditation technique — maintaining one’s focus on the space between heartbeats — to reach a new level of presence. The gentle sway of country soul gem “Rollin’ On,” featuring horns by Matt Glassmeyer and Roy Agee, expounds on the time- honored tradition of love as the guiding light through darkness, while ”Mean Man World” finds Chris Wood singing about his responsibilities as a father whose young daughter is poised to inherit an uncertain future. “Line Those Pockets” is a universal call for mercy and understanding over materialism. “Everybody’s just trying to be happy, so put your money away; line those pockets with grace,” the band sings in three-part harmony during the song’s chorus, which emphasizes compassion over cash as the world’s true currency. Together, these songs offer a snapshot of a spirited, independent-minded group at the peak of its powers, always pushing forward and seeking to evolve beyond what’s come before.
“There’s still acoustic guitar, upright bass, and percussion on this album — things people use all the time — but we’re always thinking, ‘How can we make this sound like us, but not like something we’ve already done?'” Oliver says. “Sometimes, the only way to do that is to get weird.”
That sense of exploration pumps its way through Heart is the Hero like lifeblood. Arriving on the heels of 2019’s Live at The Fillmore, 2020’s Kingdom In My Mind, and Oliver Wood’s solo album Always Smilin’ — all of which were released on Honey Jar Records, the band’s independent label — Heart is the Hero is bold, bright, and singularly creative, a fully realized collective effort ultimately greater than the sum of its parts. Perhaps that’s to be expected from a group whose willingness to experiment has earned acclaim from Rolling Stone and NPR, as well as an annual touring schedule of sold-out music halls and theaters on both sides of the Atlantic. Ask The Wood Brothers, though, and they’ll tell you to expect the unexpected.
“We are never satisfied if we are not searching for new musical recipes,” says Jano Rix, nodding to the uncharted territory that Heart is the Hero covers. Chris Wood agrees, adding, “We are one of those bands that isn’t easily categorized. We know what our strengths are, but we can’t help but push the envelope, as well. It’s too much fun.”
The Wood Brothers have partnered with American Friends of Canadian Conservation so that $1 per ticket will support The Nature Trust of British Columbia (NTBC) in their efforts to conserve ecologically-rich wetlands and protect irreplaceable land from development. Every $1 donated will be matched by the U.S. Fish and Wildlife Service with $2 so more endangered wetlands can be saved. If you’d like to learn more, please visit this link.
Since their arrival on the music scene in the first wave of 1960s psychedelia, the name Soft Machine has become synonymous with musical experimentation, instrumental virtuosity, and inspired creativity all animated by a truly adventurous, progressive spirit. Although the personnel may have changed over the years, the commitment of those playing in Soft Machine today has remained consistent.
Some of the very brightest stars in the British jazz firmament have served in the ranks of this revered musical institution. Robert Wyatt, Mike Ratledge, Elton Dean, Hugh Hopper, Karl Jenkins, John Marshall, Roy Babbington, Allan Holdsworth, John Etheridge, Theo Travis, Kevin Ayers, Daevid Allen, Andy Summers, Jack Bruce, Gary Husband, and many others, have all focussed their own unique musicality to help shape the band’s sound and personality.
Just like those earlier configurations, since they began recording and working live in 2004 as Soft Machine Legacy and the arrival of Theo Travis in 2006, the current lineup continues to defy easy categorization For Theo Travis, there’s a rich combination of elements that combine to form what he believes to be Soft Machine’s appeal. “I like the freedom, I like the variety of colors, the band improvisation. The fact that it has such a strong catalog of music going back over 50 years from which we dip into and play. With a lot of jazz stuff, you do it and people come up and say ‘good gig’ or whatever, but it’s not like it means something in the same way as a band that has history and a cultural significance in the way that Soft Machine has. For me, it’s a suitable combination of rock, jazz, improv, melody, risk-taking, textures, and experimental looping. It’s pretty much all the things I like to play in.”
Their latest album, Other Doors, sees them move seamlessly between hardcore improvisation, pop-tinged ebullience, muscular rock, and visceral jazz along with shimmering electronica and ambient overtones. The album also signifies another change within the Softs’ roster, marking the first recording to feature new bassist Fred Baker, who had guested with the band on occasion dating back to 2008 but actually took over permanent live duties from Roy Babbington in 2021. Baker, a superb musician with connections to the whole of the extended Canterbury family tree that includes a long-established duo with Phil Miller and the band In Cahoots, has enjoyed touring with Soft Machine. “We recently played a large theatre in Istanbul and it was sold out. There were lots of young people and they were coming up after the gig wanting things signed which was fantastic.” Alongside the new compositions which Baker enjoys, is Soft Machine’s impressive back catalogue which is featured through their live shows. Giving people an opportunity to hear these compositions in a live setting is important, he believes. “My big thing with all this music is I see it like in a way that people used to look at, say classical music or early music. . . it’s keeping the music alive and in the present, enabling people to revisit music that they might only have heard on record. I’m so glad to be part of it.”
The release of Other Doors in 2023 is also the end of an era as the last studio session with the legendary John Marshall, who first joined the group in 1972 and at the age of 81 has decided to retire. Marshall’s place has been taken by another good friend of the band, drummer and composer Asaf Sirkis. Lauded by Robert Wyatt who says of Sirkis, “there’s nothing he can’t do when he puts his mind to it,” Asaf had previously played with Soft Machine when Marshall was unable to tour due to ill health. However, a fan of the group since he first heard Softs’ 1975 album, Bundles, featuring Allan Holdsworth, the music of the group has been incredibly influential on his whole outlook and career. “It’s very exciting for me especially because of my history. Obviously, I’m a relative latecomer compared to the others in Soft Machine but it’s the music I grew up listening to and not just Soft Machine, but the music of all the various people that have played in the band over the years. So, it’s really exciting, like the closing of a big, big circle for me.”
Marshall’s departure from recording and performing now leaves John Etheridge, who joined the group in 1975, as the last surviving member of the group with roots in Soft Machine’s 1970s heyday. A highly respected player, Etheridge has performed in a variety of settings across his long and distinguished career but, he says Soft Machine feels like his spiritual home. “I definitely feel when I pick up the guitar and play under the banner of Soft Machine, I feel different to any of my other gigs. It’s my favorite of all things I do by far. When I play with the Soft Machine, that is when I really feel like I’m contacting the player I want to be.”
Whilst the primary focus is on new work and improvisation their ability to call up almost any part of the back catalogue is something all members relish. The latest album, Other Doors, includes Joy Of A Toy, which was first heard on 1968’s debut, The Soft Machine. This much-loved number, written by Kevin Ayers, has been included in the band’s recent live set for a while now. Putting it on the album seemed very natural, says Etheridge. “Of course, it’s long before my time and it wasn’t something I knew but it’s a great piece. Fred Baker transcribed the original with Kevin Ayers’ charming bass playing. it’s got a sort of nice bounce about it. . . As a group, we are always, looking for variety, not for its own sake but to cover a broader territory. So, to be playing the second-ever Soft Machine single alongside brand-new compositions is something that’s a really good approach. There’s a degree of eccentricity about that’s very important to Soft Machine.”
This is Soft Machine – a living, breathing music that is as vital and relevant today as it ever was. Both long-time fans and new converts alike can take heart in the knowledge that the Soft Machine family tree — with its deep roots in the musical revolution of the ‘60s – continues to sprout healthy new limbs well into the new century, showing no signs of slowing. The legacy is in very good hands indeed. In 2018 Soft Machine released the album ‘Hidden Details’ which reached the Number 1 slot in the Amazon.co.uk Jazz Fusion chart. It also reached Number 1 for 8 weeks in the prestigious progressive radio chart from Philadelphia USA ‘Gagliarchives’ with Tom Gagliardi. Following the 50 date, 50th Anniversary World Tour, Soft Machine released a live album at the prestigious Los Angeles club the Baked Potato. – ‘Live at the Baked Potato’ was released in 2020 to great acclaim.
Sound + Vision: Music at The Movies presents the greatest in soundtrack-cinema. On the first Tuesday of every month, we curate a film screening where the music fuels the engine of the cinema experience, with a preshow moderated discussion on the film and music’s history and cultural impact.
Presented in Hi-def and 51. surround sound. Co-sponsored by WAMC, WEXT, and Rochmon Record Club.
The English heavy metal band Spinal Tap embarks on their biggest tour in the US to date to promote their new album “Smell The Glove”. The tour is so big that it’s attracted the attention of documentary filmmaker Marti DeBergi, who decides to make a movie about Spinal Tap’s trek across America. But as the documentary goes along, Spinal Tap sees their audiences dwindle from selling out huge arenas to going to play at charity benefits, and eventually playing private parties where no one pays attention to their music. Their new album drops and it’s decently reviewed by critics, but the record stores have a huge problem with the sexist overtones of the album’s cover, causing a loss in sales. However, a series of incidents that constantly shoot themselves in the foot – whether it’s a minuscule Stonehenge monument, a stage prop malfunction, or a simple two word review of an album – keep preventing the band from enjoying the success they deserve. But how long can they keep playing to 11? And will they find the audience that suits them?
WAMC’s LIVE AT THE LINDA LIVE hosted by Peter Hughes broadcasts live on WAMC – Northeast Public Radio from our performing arts studio – “The Linda.” You can be in the live studio audience for the outstanding show we’re calling “Rock the Fall” with special guests E.R.I.E. and Sydney Worthley.
E.R.I.E.
For a band that was dreamt up in a hospital bed, indie-rock quartet E.R.I.E. certainly has a lot of life in them. After emergency heart surgery in the Fall of 2018, TJ Foster spent the following year writing and recording Don’t Wanna Live, Don’t Wanna Die in an attempt to not only reflect on the harrowing ordeals that brought him to that hospital room, but also to get back to his roots as a songwriter.
And while that March 2020 debut effectively highlighted a greatly personal, existential struggle with both mental and physical health, second LP Suburban Mayhem arrives with grander scope and vision. The album, released April 7th via Mint 400 Records, turns its focus externally, commenting vividly on the outside forces burrowing into our brains on a daily basis. It’s a resplendent examination of the world around us, rife with equal parts cynicism, wit and hope. Featuring pitch-perfect collaborations with Brooklyn-based dream-pop trio ALMA, and fellow Albany, NY area songwriter Sydney Worthley, the record showcases a band not only finding their footing, but settling into a signature sound.
The four members of E.R.I.E. – guitarist Matt Delgado, drummer Chad Flewwelling and bassist Levi Jennes, alongside Foster – spent most of 2022 self-recording their sophomore full-length, yielding 12 nostalgia-tinged songs tailormade for turning the dial to 11. Suburban Mayhem further lends credence to the frequent comparisons to The Gaslight Anthem, Frank Turner and The Get Up Kids that the band has garnered, with “crunching guitars, catchy choruses and a down-to-earth, working-class vibe that recalls modern heartland punk rock…” (Daily Gazette).
All the while, E.R.I.E. has solidified themselves as one of the most reliable and entertaining live acts in the Capital Region’s vibrant music scene. With every performance brimming with energy, vulnerability and appreciation, the band is “a class act with lots of passion and a great chemistry, making them very easy to cheer for…” (Nippertown). Recently, the band was voted “Favorite Alt/Indie Artist” at the 2023 Listen Up! Awards, and is currently nominated for “Best Rock/Pop Artist” at the 2023 Eddie’s. Let the mayhem commence.
Sydney Worthley
…is a singer-songwriter at heart but when she steps on stage all bets are off. Each song starts in a corner of a room, pulling inspiration from Phoebe Bridgers and Taylor Swift and ends on a stage, piecing alt-rock tunes from her 2020 EP with unreleased personal ballads. At 17 years old, Worthley released “Rose Colored Glasses” amongst an unforeseen pandemic. Coming of age, long lost connections, and learning from haunting mistakes are all themes of her 2020 project. Songwriting has always been a cathartic experience for Sydney and that has remained unwavering.
While in isolation, the singer/songwriter had time to overthink and agonize over unresolved plans and lack of creativity. The result? A slow-forming upcoming project. Starting in November of 2022, Sydney Worthley put out her lead single begging the question “How Soon Is Now?”. This song deals with heartache, the aftermath of changing who you are to fit someone else’s needs, losing all feeling, and grieving for a person who is still alive. The desolated lyrics are contrasted with an 80s synth pop production style similar to Maggie Rogers or The 1975. Worthley invites you to take a look into her mind filled with disco balls, dreamy synths, and glittery tears. When all the dust– or glitter– settles, it’ll leave you to wonder how soon is now?
Mere months after the release of “How Soon Is Now?”, Worthley releases her most honest song yet, “Heart Shaped Mess”. It seems that her 2023 resolution is to break down walls and introduce a more vulnerable version of herself. Visuals of burning down the past, trying to clean a stained version of herself, and a first date at the mall. The song grabs your attention with striking detail and an easy hook that will be hard to forget– almost mimicking the repetitive line, “how can I forgive you, when I can’t even forget you?” Throughout this track, Worthley expresses numbness, feminine rage, guilt, and every emotion that comes with the territory of heartbreak. “Heart Shaped Mess” encapsulates sad girl autumn…or winter.
This year, Worthley is setting goals to release several new singles in anticipation for an unannounced project. Prepare yourself for topics of growing pains, raising your standards, speculating about the one that got away, imposter syndrome, and so much more. Sydney Worthley is always allowing herself to grow and evolve, no matter how daunting it may be.
As the title of his critically acclaimed Atlantic Record CD suggests, Grammy Award and Handy Award Nominee, John Primer is truly “The Real Deal.” At eight years old, John borrowed his first guitar and started to strum. With the sounds of Jimmy Reed, Muddy Waters, Little Milton, Elmore James, B.B. & Albert King reverberating through his Grandmother Laura Nell’s tube radio, John was instantly hooked. He was fascinated with Blues music and set forth on a life long path of becoming a musical force. Early inspiration came from his family steeped in spiritual, gospel, and church, and went on to play at house parties and fish frys in and around his hometown of Camden, Mississippi.
At the age of eighteen, feeling restless and in search of further audiences, John followed the path of his mentors and migrated to Chicago in the fall of 1963. He quickly found work in the era when modern Electric Blues and the West and South Sides sounds were first taking shape. Forming his first band The Maintainers in 1964, John and his old Harmony guitar rocked such West Side clubs as The Place, The Bow Tie, and Lover’s Lounge. By 1968 John had left The Maintainers when the opportunity arouse to front the Soul and R&B group The Brotherhood. Jamming late into the night and practicing by day, John was forming his own unique style and expanding his repertoire. John’s success would lead him in 1974 to replace John Watkins in the house band at the world famous Theresa’s Lounge on the South Side. Over the course of the next five years, John would play with such originators as Sammy Lawhorn, Junior Wells, Buddy Guy, Smokey Smothers, Lonnie Brooks, and a host of other innovators sculpting the sound of the Chicago Blues scene.
It was during this part in John’s career that quite a few people were taking note of this outstanding performer. In 1979, master songwriter and bassist Willie Dixon persuaded him to join his band The Chicago All Stars. Traveling through the US, Mexico and Europe, John developed his skills as a rhythm guitarist, a lead slide player, and a powerful singer. Another Blues master who believed in John Primer was none other than the “Hoochie Coochie Man” himself, Muddy Waters. Muddy recruited John not only as a guitarist, but also as an opening act. As he did with so many other great musicians, Muddy served as a father to John, instilling in him an unrelenting passion for the music that gave birth to Rock and Roll. John stayed loyal to Muddy until his untimely death in 1983.
Fresh off the heels of his success with the Muddy Waters Band, John signed on with the legendary Magic Slim. For the next fourteen years, he toured with Magic Slim & The Teardrops, bringing tight, house rocking sounds to every corner of the planet. But John’s days as a sideman were numbered, and in 1995 the veteran Blues man released his major label debut “The Real Deal”. He has since toured extensively in support of his ten solo albums to date. With John Primer’s strong traditionalist Blues phrasing and lightning fast slide technique, few artists can match him. A master storyteller and songwriter, his catalog of songs is endless and his sound is unforgettable. John Primer & The Real Deal Blues Band continues to electrify audiences at clubs and festivals and remain a driving force in the world of Blues music today.
On Thursday September 21 Rochmon Record Club will converge at The Linda, WAMC’s Performing Arts Studio, 339 Central Ave., Albany, to listen to, and learn about David Bowie’s epic Glam Rock classic – “The Rise and Fall of Ziggy Stardust and the Spiders from Mars”. Tickets available at thelinda.org
In 1971 songs and ideas were flying out of Bowie faster than he could record them. Prior to finalizing recording of “Hunky Dory”, Bowie, and his newly christened band, started work on David’s 5th album “The Rise and Fall of Ziggy Stardust and the Spiders from Mars”. Bowie and The Spiders from Mars; guitarist Mick Ronson, bassist Trevor Bolder, and drummer Mick Woodmansey, experimented with sound and themes of light and dark, pushing the boundaries of music that at once is brave, self-aware, and teetering on the edge of chaos. Filled with Bowie classics such as “Five Years”, “Moonage Daydream”, “Starman”, fan favorite “Suffragette City” and 7 more, “The Rise and Fall Of Ziggy Stardust and the Spiders From Mars” is a trip and a half. As is his way, Rochmon will have a few surprises in store!
Rochmon Record Club Listening Parties begin at 7 pm with a live audio & video presentation by Chuck Vosganian aka “Rochmon”. A Rochmon Record Club Listening Party is meant to inform and deepen our understanding of the history of the individual performers, the songs, and the stories that went into the making of this iconic album.
The Linda’s Bar will be open for snacks and drinks. Tickets are available online at thelinda.org. The Rochmon Record Club is held on the 3rd Tuesday of the month at Caffe’ Lena (caffelena.org) in Saratoga Springs, the 3rd Thursday of the month at The Linda, WAMC’s Performing Arts Studio in Albany, and the last Wednesday of the Month at The Park Theater (parktheatergf.com) in Glens Falls. Programming varies by location, please check websites for tickets, show dates, and times or go to Rochmon.com for more information.
“This band is therapy for me to bring myself back to being a better person, and I hope people come along with me,” says powerhouse singer Clinton Clegg of The Commonheart. The testimonial begins on August 16th when the 9-piece band issues its most potent and purposeful dose of grittily redemptive rock n’ soul, its sophomore album, Pressure (Jullian Records).
Clinton didn’t grow up in a Baptist church, and his soul machine of a band isn’t pushing religion. Live and in the studio, the Pittsburgh-based collective is offering feel-good positivity, Golden Rule messaging, and sweat-soaked performances that nimbly ease through blues, vintage soul, and rock.
The nonet is bonded by familial-like ties and a desire to foster spiritual uplift. Among its ranks are female backup singers, drums, bass, guitar, a horn section, and keyboards. Out front is Clinton, a lightning bolt charismatic front man with dynamically expressive pipes that effortlessly traverse bluesy pleading, and honeyed balladeering. Onstage and in the studio, Clinton evokes B.B. King, Al Green, Otis Redding, and Sam Cooke.
The Commonheart is known to have transformative powers. Case in point is the band’s own singer. During one gig, while singing “Do Right” from Pressure, Clinton experienced a revelation.
“Seeing the audience’s reaction to the positivity in that song made me feel like I was giving them something they may need.” He pauses thoughtfully, and then continues: “You know blues music is sad as hell, but it makes you feel good. I thought maybe my bad stories could make people feel good, and I could bring a little bit of love to the show.”
Previously, Clinton was in an eclectic indie band searching for some semblance of artistic focus. He had grown up loving B.B. King and soul music, and recognized the strength of his raspy emotive voice. After some soul searching, he and that band’s drummer decided to do a back-to-basics band centered around Clinton’s singing and a vintage R&B-informed aesthetic. At first the band’s name was a casual variant of The Commonwealth, as in “The Commonwealth of Pennsylvania,” but the moniker later accrued significance as the band began to explore the pent-emotionality inherent in its gospel-tinged tunes.
The Commonheart’s latest album, Pressure, is both rugged and refined. The 10-song album showcases raw-nerve soul musicianship pristinely recorded. The opening track boasts soulful sandpaper-y lead vocals, swoops of cosmic slide guitar, a driving Sly Stone groove, and rousing female backup vocals. It’s an up-against-a-wall tune about making a living while raising a family, and it speaks to the album’s title. The bluesy ballad title track, replete with pleading emotive vocals, drips yearning and melancholy redemption. “That’s about the daily grind—what it takes to maintain important relationships while you’re away from home, driving thousands of miles in van to pursue a dream,” Clinton confesses.
A spirit of a new-day optimism courses through the aptly titled “Different Man.” The song soars with stirring group backup vocals punctuated by Clinton’s vulnerable confessions. It’s a rousing and uplifting slice of R&B brimming with warm organs, clipped soul-guitar chanks, and triumphant horn melodies. “That song is about begging for a second chance, and building something beautiful after a sordid past,” Clinton reveals.
Pressure is an album by a band on a mission. “We are willing to take risks and to go at any lengths for this band,” Clinton says affirmatively. “We are ready to spread positivity and make a stretch of this thing.”
September 7, 2023 – Due to overwhelming demand, GRAMMY Award-nominated and multi-platinum selling rock band Fall Out Boy’s worldwide So Much For (Tour) Dust tour will continue next year with the announcement of So Much For (2our) Dust, a 20+ date run across the United States.
So Much For (2our) Dust, presented by Live Nation, will kick off February 28, 2024 in Portland, OR and travel through cities including Seattle, Austin, Orlando, Baltimore, and Nashville before concluding April 6, 2024 in Minneapolis, MN. The trek also includes a stop at New York City’s famed Madison Square Garden on March 22, 2024.
Jimmy Eat World will join So Much For (2our) Dust on all dates as special guests; The Maine, Hot Mulligan, Daisy Grenade, Games We Play and CARR will join the tour on select shows throughout the run.
Ticket pre-sales for So Much For (2our) Dust begin Wednesday, September 13 at 9:30am local time. General tickets will be available beginning Friday, September 15 at 10am local time. For all dates and details, please visit www.falloutboy.com/tour.
The news follows the August 6 conclusion of So Much For (Tour) Dust’s initial North American run, which kicked off June 21 with a sold out, epic hometown show at Wrigley Field in Chicago, IL and was dubbed “the loudest concert Wrigley’s ever had” by the Chicago Sun-Times.
Each show also included the use of a Magic 8 Ball to surprise fans with a performance of a Fall Out Boy song that had never played live before, which became one of the most buzzed about topics of the summer, igniting fans across social media – and spawning a trend on TikTok, with hundreds of thousands of views – to determine what songs might be coming next.
So Much For (Tour) Dust has proven to be another career display of Fall Out Boy’s undeniable and renowned live performance prowess, featuring multiple sold-out dates; four stadiums shows (Fenway Park in Boston, Forest Hills Stadium in Queens, two nights at BMO Stadium in Los Angeles); special guests (Mikey Way in San Diego, Travie McCoy in Queens); unforgettable production, visual effects and pyrotechnics; and widespread praise from fans and critics alike:
“In a dazzling concert packed with Fall Out Boy songs new and old, the band proved why they still have the hearts of pop-punk lovers of all ages.” – Tampa Bay Times
“At Fenway, Fall Out Boy bring the fireworks” – Boston Globe
“When they took the stage, Fall Out Boy immediately showed they’re in the upper echelon of modern rock performers alongside the likes of Weezer, Green Day and Foo Fighters.” – Exclaim!
“Fall Out Boy gave us more than we bargained for with a genre-defying, sensational show… The highlight of the evening came when the stage was stripped down, the backdrop dimmed and the lighting rigs lowered, creating the illusion of an intimate club reminiscent of the ones where Fall Out Boy played during their formative years. Fall Out Boy’s flawless performance of their timeless anthem, “Grand Theft Autumn,” reminded us of the lasting impact of their music.” – Dallas Observer
“Patrick Stump, Pete Wentz, Andy Hurley, and Joe Trohman let it all hang out on stage after going through their extensive catalog of tunes that helped shape a generation of millennials who grew up choosing to proudly showcase the pop rock genre on their thoughtfully curated Myspace profile pages. The sold out crowd flooded merchandise lines that stretched around the sunny field before the beginning of the event to show fierce loyalty and dedication to a group that continues to not only stand the test of time, but swiftly adapt in the ever changing scene known as the music industry.” – The Queens Gazette
“In addition to delivering a great set of music, Fall Out Boy lit up the night with a pyrotechnics display worthy of a July 4 celebration.” – Cleveland Plain-Dealer
“Fall Out Boy burn bright at Michigan’s Pine Knob Music Theatre… the pop-punk titans still have plenty of sway in the area…With the combination of classics and recent hits, sparks flew at the concert (literally and figuratively).” – Glide Magazine
“We’re all united in this moment. We’re here for the same reason: to forget the woes of the real world and to be transported through the decades of the storylines that Fall Out Boy has so graciously given us over the past 20 years.” –Cincinnati CityBeat
The UK and European leg of So Much For (Tour) Dust kicks off October 17 in Warsaw, Poland and concludes November 8 in Berlin, Germany, with multiple dates (Munich, Paris, Amsterdam, Leeds, Manchester, Cardiff) already sold out. The band will continue performing for fans around the world this year with a recently announced December 6 date in Bangkok as well as multiple cities (Melbourne, Sydney, Brisbane) across Australia as part of the Good Things Festival from December 1-3. In August, the band performed at Summer Sonic in both Tokyo and Osaka.
So Much For (2our) Dust is in support of Fall Out Boy’s most recent, critically acclaimed 8th studio album So Much (For) Stardust, which debuted as the No. 1 rock album upon its March 24 release on Fueled By Ramen/Elektra/DCD2 Records and features the global smash single “Love From The Other Side.”
The album has also garnered Fall Out Boy two current nominations for the 2023 MTV Video Music Awards – Best Alternative (“Hold Me Like A Grudge”) and Best Visual Effects (“Love From The Other Side”).
Additionally, the band currently stars in NBC Sports’ B1G Saturday Night show open this season. The show open – with a chorus of “Here Comes Saturday Night” – debuted on September 2 ahead of the season-opening West Virginia-Penn State game. Fall Out Boy also headlines the NBC Sports and Peacock Big Ten Football promotional campaign, appearing across NBCUniversal platforms throughout the summer and fall.
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Fall Out Boy – So Much For (2our) Dust – 2024 Dates
Music patrons of all ages and backgrounds can find something to love about Jatoba. The Vermont-based trio has cultivated a unique and instantly identifiable brand of music, incorporating many different musical styles and genres, in what they have dubbed as “groove-grass”. This trio of seasoned musicians employ quick bluegrass tempos driven by thumping bass lines, and accentuated with soaring three-part vocal harmonies. On top of this, they add effect-driven guitar solos, heavy rhythmic improvisation and beat-boxing. Jatoba will be joined by Ida Mae Specker, fiddler extraordinare!
The Warped Tour Band: Performing all your favorite Emo/pop-punk songs LIVE by artists like: Taking Back Sunday, My Chemical Romance, Blink-182, New Found Glory, Green Day, Good Charlotte, Sum 41, Fall Out Boy, Yellow Card, The Used, Brand New and everything in between!
All The Blink Things: The east coast’s most authentic Blink-182 tribute band paying homage to the major hits, deep cuts and fan favorites from the most iconic punk pop-punk band!
Dookie: Dookie masterfully embodies a true and authentic Green Day experience while serving up songs new and old. They will have you singing, dancing and clappingalong as they rock through 30+ years of Green Day bangers!
Dirtwire stands poised between ancient Mother Earth and modern technology, a blend of ethnomusicology and the psychedelic trance state, gut-bucket delta blues and what the band variously dubs “back-porch space cowboy blues, swamptronica, and electro-twang.” It’s a sound informed by Dirtwire’s travels and performances around the globe, where East meets West and North joins South. From the favelas in Brazil, Femi Kuti’s Shrine in Lagos, Tokyo’s bluegrass clubs, Ayahuasca ceremonies in Central America, Gamelan performances in Bali, desert festivals in the Australian Outback, and the 20th anniversary of Kazakhstan’s modernized new capital Astana, the band spreads its message by building bridges across musical cultures in their own unique way.
Dirtwire plays an array of instruments both ancient and modern, including West African kamale ngonis, jaw harps, space fiddles, whamola basses, Rickenbacher electric 12 string guitars, bowed Banjos and mouth harps from around the globe, all interwoven into modern laptop beat creation. Hailing from the underground west coast electronic bass music scene Dirtwire finds itself at the forefront of experimental electronic music production mixing in their wide array of world instruments with sampled beats and 808’s. Dirtwire’s live shows are a communal psychedelic journey, ranging from down home boot stomping get downs, to bass and blues electronic mashups, to ethereal cinematic beat driven soundscapes. Woven into each is the exploration of where live instruments meet computer production, and where tradition meets experimentation.
Come out for an exhilarating time of talented bands, delicious food, great drinks, campfires, and tons of fun. This fundraiser concert is to show support for all the local musicians and their families who have made our lives better by sharing their gifts and talents with us! Don’t miss an opportunity to give back, all while having fun with old friends (and you’ll make some new ones).
Admission is FREE, however donations are welcome.
All proceeds from raffle prizes and purchased items will go directly to SAM Fund.
Southern Adirondack Musicians (SAM) fund helps regional musicians and their families that fall on hard times.
For more information and the full lineup of performs visit the event website HERE!
