Metroland_May 2025

| arts education

class is in session

| contents

staff

editor-in-chief & publisher

Erin Harkes

editor

TJ Foster

associate editors

Rory Graham, Dana Brady director of art & photography

Kiki Vassilakis

music relations & content manager

Andy Scullin

visual arts editor

Tony Iadicicco

graphic designers

Kevin Wisehart & Cindie Cagenello

scroll master

Brandon Rutski

contributors

Adem Jones, Becky Daniels, Catherine Windover, Christopher Shaw, Corey Dempsey, Dan Savage, Dana Owens, Debi Gustafson, Elissa Ebersold, Izzy Vassilakis, James Mullen, Jaye McBride, Joe Putrock, Martin Dolan, Michael Eck, Natalie St. Denis, Patrick White, Ryan Shanahan and Tom Miller

| from our editor

by Erin Harkes

Raise your hand if you’ve ever been taken to a concert against your will by a loved one. Perhaps a dramatic depiction, as I’m sure I could have gotten out of it if I really wanted to. But I’ve been so busy and tired lately that, 1. I had no fight in me and 2. I forgot I had agreed to it until that day. I was too embarrassed to ask him again who we were going to see, even. So when he dropped me off at the door of UPAC in Kingston while he went to find parking in the rain—like a gentleman—I looked up to see “Explosions in the Sky.” That was the band name, for those of you who don’t know. Like me.

Reading the name was no help in determining what show I was about to see. Walking through the crowd wasn’t much help either. There were hippies, hipsters, old, young and in between. I was wearing my long, wool, camel color trench which usually makes me feel stylish but in this case, I fully expected someone to yell, “Yo, Bri! I think your mom’s here, bro.” I was also wearing my brand-new Sambas which I treated myself to in a vain attempt to be hip. But something about a fresh pair of sneakers makes me feel like a narc. They had clearly never been to a concert before, and looked like they were bought that morning to go with the 21 Jump Street undercover costume I wore to try and catch pesky kids selling marijuana cigarettes at the rock concert.

The opening act wasn’t my cup of tea, as I didn’t much care for his vocals. I looked to my husband to get a read on whether I was missing the plot or if I was right to be nonplussed. With a quick glance back, we had one of our famous, wordless conversations that assured me I wasn’t alone in my discontent. Then he leaned in and said one of the worst things you could possibly say to me.

“We don’t have to worry about this with the headliner. There is no singer in that band.”

Call me short sighted, I don’t really care. I fucking can’t stand music without lyrics. It’s fine to take a song or two off. But I want to hear some singing. I want to hear some lyrics.

Maybe vocals are my favorite instrument.

Sue me. I don’t care.

Regardless, I wanted someone to pull a fire alarm. I wanted to go home.

We had been to UPAC before. We went to see Jeff Beck in October of 2022. I knew I was going to see a legendary guitar player that night and was glad that I did. Even more so a few months later when he sadly passed away. But even that night, man did I want to hear someone singing.

Judge me. I don’t care.

Luckily in both instances, I was pleasantly surprised by the musical integrity of the show. Grateful for being turned onto something new, all the while wondering which concert I was going to force him to next to balance things out.

Since I didn’t have lyrics to focus on, I found myself really watching the audience. I was still very much listening to the music but more enjoying others’ reactions to it. I thought about reviewing it, since I was already there. (Luckily, I saw Mike Eck on my way out and thought, “nah, HE’S gonna write it. The man’s a poet.” Check out his review!)

Before the band even started, guitarist Munaf Rayani made a brief introduction, stating that, even though it was a really nice place, it was still a rock show. In so many words he encouraged people to leave the safety of their auditorium seats and feel free to enjoy themselves. Immediately a woman dead front and center stood right up, throwing her arms over her head. I smiled.

“Good for her,” I thought.

The show began and I found myself quite impressed with how her arm movements synchronized with each beat as if she were conducting the band. So familiar with the songs—which were not your standard time measurements, mind you—that if she had a pair of toms in front of her, she would have nailed every accent. I was enjoying how much SHE was enjoying it. We were about 15 rows up, stage

left. A man in front of us by ten rows stood up as well. But he was yelling at this woman. He even tried to lean across others to touch her and get her attention. She did turn at one point, and he motioned for her to sit down.

She did not. “Good for her,” I thought again.

This little entitled bitch of a man turned and stormed up the aisle. He returned shortly, accompanied by an usher that looked almost embarrassed to have to relay the message to the one woman standing that she would have to move before this young man had a tantrum, cried or peed his pants. (I’m speculating) She moved to the aisle (which probably obstructed his view even more) and spent the rest of the night dancing away.

I could say, “Who is in the wrong?” at this point, but clearly from my description I have already chosen sides. I’m curious to know what others think. I don’t CARE, but I’m curious.

One other thing I noticed, and I know I am not the first person to lament this, is how many people shoot videos of these concerts. It’s fine to get a few seconds of the show for memory’s sake. But those that are just holding their phones up over their heads for multiple minutes of multiple songs? I don’t mean to be hyperbolic, but I think they should die.

Watch the fucking show. I promise you it will NOT be better on your stupid three-inch screen days, weeks, months or years from now. You probably record fireworks too. Moron. Not only are you 100% NOT in the moment? You’re likely obscuring the view of someone who is. Take a little video if you must then put the phone away and watch the goddamn show. Or better yet, stay home and watch some other shows on YouTube and let those of us, even the non-fans, watch the show unencumbered by your discourtesy.

And for the love of god, never stop someone from dancing.

Erin Harkes Editor-In-Chief & Publisher

| confessions from the underground

writer's block by

TJ Foster

For artists, it is not uncommon to be met with resistance while creating, whether it be internal or external. This, of course, is commonly described as writer’s block, a term which my guest Melissa Carter adeptly refutes below. Based in New York City, Melissa is a member of one of my favorite bands, Rosalind—a trio of self-proclaimed ‘witchy’ songwriters making gorgeous, dream-pop—as well as her own solo endeavor, Hattie. But most relevant for the purposes of this article, she is the founder of Making Audio Magic, a mentorship company she’s started for songwriters both new and seasoned. In addition to one-on-one sessions, she recently began offering a group-based workshop program called Song Craft, with the goal of guiding participants to writing songs they love and overcoming the creative resistances in their way. It’s always eye-opening to learn how other songwriters view the process, and this was no exception. Our conversation below is full of insight and inspiration, and would be a great read paired with either of Melissa’s projects in your headphones… hint, hint.

TJ Foster: To begin, can you walk me through your workshop program, Song Craft? The format, what you cover and how you cover it?

Melissa Carter: Yeah! It’s basically my process that I’ve put together over many years. And there’s two versions of Soundcraft so far. There’s the intro course, which is four weeks, and then there’s a six week one, which I haven’t done yet, but that’ll be running starting on April 27. The crux of it is really about, how do we find our voices as songwriters? And how can we be in relationship with our creativity so we don’t feel like we’re the driver, but rather connecting with something that’s potentially outside of us? Whether that’s like, flow state, or you could call it creative practice, or you might call it a muse. Or if you’re into the way that the Romans used to think about it—we’re not the genius, but we have a genius.

Also, how do we use our songs to process our lived experience so that we can move through whatever’s going on in our lives rather than hold on to it? From there, there’s the nuts and bolts of what makes good lyrics, what makes an interesting melody, and what works in terms of harmony and chord progressions. But I’m less interested in that. Especially for Song Craft, and also for me as a songwriter; I’m kind of admitting that I don’t care about all of that stuff at the forefront. It’s important. But to be fair, the more time you spend on it and practice, you build the muscle of writing songs. You kind of know what works if you can train your ear so you don’t have to always be thinking about the theory of it all.

TF: What inspired you to start this program?

MC: I graduated from my Master’s program, which was in music production and audio engineering, and I was like, “What am I going to do with this?” I obviously like making music; I have my own artist project (Hattie). I have Rosalind as well. But, I wanted to do something more.

I’ve been teaching songwriting for years; I run a high school songwriting intensive in the summers, and I’ve taught lessons here and there. It’s always been something that people have asked me to do, but I never really put together formally. Then a year ago, I had vocal surgery. In the wake of that, I really was asking, “How do I spend my time on what matters to me, and how do I offer something that is really what I’m here to offer?” And Song Craft came out of that.

TF: That’s awesome. And one of the things I saw you touch on in the workshop is this idea of creative unblocking. Where do you think writer’s block comes from ultimately? Is it a mental thing? Is it emotional? Or is it a creative thing?

MC: One of my mentors, Michelle Pellizzon who runs this amazing company called Holisticism, always says she doesn’t believe that writer’s block exists. And the more that I’ve been working with her, the more I think she’s right. I think creative resistance exists—we ourselves are not blocked, but we can experience resistance in a bunch of different forms. Maybe we just can’t seem to find the time in our day to sit down to write or practice or play our instrument. Or maybe we are afraid that if we sit down to write, we’ll discover that we’re actually good, and that’s scary because it

means we could fail. Or we’ll discover that we’re bad and our songs aren’t worth sharing. So if writer’s block was anything, it would be the thing

or the number of things that we’re in relationship to that cause friction or resistance. But usually what I find, actually 100% of the time, is if you sit down to do it and you show up consistently— maybe that’s three times a week for 10 minutes,

Photo credit: Caroline King

maybe it’s every day for five minutes—eventually something’s going to come out. You might not like what comes out. It’s really like what Ed Sheeran says—I don’t know if he came up with this, but this is the only source that I can find—he talks about letting the dirty water run. We’re not blocked. We’re just afraid to let the dirty water run.

TF: Can you think back to any instances when you did feel blocked? How did that manifest for you?

MC: If we’re calling it blocked, I was blocked for years. I started writing songs when I was a teenager – and this is really where Song Craft comes from – to heal and process anything that happened to me. That was what songs were for. I didn’t realize that was special in any way, that not everybody did it. So for maybe ten years from that point, I was too afraid to put any music out because I was afraid that it wouldn’t be good enough, or it wasn’t where I wanted it to be. I think Julia Cameron in The Artist’s Way… have you read this book?

TF: No, but you’re the second or third person who’s referenced it to me in these conversations! I have to read this book.

MC: She’s like, the godmother of creative practice, and she’s coined a lot of these terms. When you talk about The Artist’s Way, you’re talking about blocked artists going through a process of becoming unblocked, and that’s the way that she frames it. But I think she calls them shadow artists, where you kind of do everything in the dark. That was one instance and then two—this is kind of counter to my previous point—I didn’t have the tools to write the kind of music that I wanted to write, because I didn’t understand the nuts and bolts of how songs could be put together. I would get stopped because I would just be writing the same chord progression, and I wouldn’t know how to move away from that. Or I didn’t trust that the melody that I was writing was good enough, because I think on some level, I was wanting more experience and knowledge.

TF: That makes sense. Absolutely. For the people who attend the workshops, are there any common triggers you’ve heard about?

MC: Yeah, a lot of the students talk about how they don’t feel like their ideas are their own because they don’t have experience. For the students who can’t play an instrument, for example, I will say, “Write a melody to a beat of some kind,” like something on Splice or the Demo app. Have you Photo credit: Victoria Lau

heard of this app?

TF: No! Do tell.

MC: It’s kind of cool. Basically, you can plug in chords and [choose the main] instrument – it could be guitar or piano. You can decide the feel in terms of drums and it will then plug and play chords with a whole band behind you for you to write to if you don’t play an instrument. It’s awesome for people who don’t have that in their arsenal of skills yet.

I’ve had a few students mention that they don’t feel like it’s their idea because they can’t play it, but they’re still writing the melody and they’re writing the lyrics. That’s something where they feel like they’re borrowing from a song that they already know, because it just maybe feels too easy.

There’s also a big—as is true with any skill— learning gap of, “How do I take my ideas and put them into this form that’s really specific?”

TF: That’s an interesting point about borrowing material, because at some level, at this point in music history, we’re all kind of borrowing to some extent, right? There’s only a finite number of notes and chords and ways you can put them together. I’ve thought about that before too – when

something sounds too familiar. Because of course it does! I’m playing a song in, say, D major. There’s millions of other songs that are in D major, right? At some point, some combination is going to sound like something else.

MC: It is. Or sometimes you realize, like, that’s actually David Bowie, and I can’t sing that melody because it’s not mine! I had a funny experience with a song that’s kind of new to me, called “The Rays,” which I haven’t released yet. In the chorus, I was singing a melody for a while that was literally a melody from Hamilton. (laughs)

TF: As I was preparing for this, I was thinking about what my relationship with “writer’s block” is. I kept coming back to this one thought, kind of related to what we were just talking about, where everything starts to feel a little derivative. I’ll pick up my instrument and it’s like muscle memory, where you go to the same chord patterns or progressions, or when I get to the point of writing lyrics, I feel like I’ve written about this particular thing 100 times already.

MC: For students of mine who have been doing it for a couple of years, or even a year, everybody in that place, without fail, has been like, “I play the same chord progression over and over again whenever I sit down to write,” or “I don’t know

how to not do ‘X’ thing that I always do.” And in a way… I don’t know if you’ve had this experience, but the early songs that I was writing talked to each other. And I think that’s a beautiful thing. For example, the Rosalind song “Pin in the Map” and a Hattie song, “Venus Was in Retrograde,” share a lyric. They’re about the same person. I didn’t mean to do that but of course it happened because it’s about the same person in my life at different moments. And at first [I thought] maybe I should change that. But then I thought, “No, that’s kind of beautiful.”

TF: Honestly, I love those types of things when I catch them on a recording. Because you’re writing at two different points in your life, that perspective is a little bit different. And being able to put that lyric into two different lenses or whatever is awesome.

MC: I feel like you have that too actually, with E.R.I.E.

TF: I’ve done a couple things intentionally where I’ll call back to older songs, or even reprise something from an earlier song on the same record. Honestly, it’s more from a sonic perspective, an Easter egg of sorts. Not to mention the fact that, oftentimes, when I’m writing lyrics, it takes a while for the real meaning to come to me. I’ve had songs that I’ll go and play five, six years after the fact, and I’m like, “Oh shit, that’s what I meant!”

MC: That’s the thing too: I feel like our songs have something to teach us. It’s something that I think about a lot.

I think some people do sit down and it’s a blank page. Can’t get anything more than a few words and a couple chords, and that’s okay, if that’s what’s happening. You just have to keep sitting down, I think. And unfortunately, there isn’t a shortcut beyond that, other than, like, write the worst song, or the silliest song, that you possibly can. This is an exercise that I did in School of Song. Do you know this?

TF: No!

MC: You would like this. It’s songwriting classes with the greats of our time. Laura Marling is doing a workshop with them right now. They’ve had the guy from Fleet Foxes, David Longstreth from Dirty Projectors, etc. I did one with [Eric Johnson], frontman of Bonny Light Horseman and Fruit Bats. He did this exercise that was to write a song comprised of your text messages. Take five to ten

Photo credit: Emil Benjamin

| newsfront

uncertainty of tariffs towers over local music

While researching this story, I made the rookie mistake of soliciting input via social media. My request for local musicians and music industry professionals to voice their concerns regarding recent trade rhetoric was met with the fury of Facebook’s finest. “Stop whining!” they demanded. “You’ve got Trump Derangement Syndrome!” they cried. It struck me funny, and proved there are certain buzzwords these days you can’t even use without being accused of writing a political hit piece. That’s certainly not what I set out to write and not what this story is. We don’t do hit pieces here. This column does, however, report the news. It includes human interest stories that have an impact on the local music and arts community, and that is the kind of story I’m reporting this month. It’s a story about the real people who live, ply their trade and conduct their business in the 518, especially the Capital District. It’s a look into their thoughts, their experiences, and what they expect if proposed tariffs are to be enacted— along with how those impacts could trickle down into the local music community.

On April 2nd, the president issued an executive order introducing new tariffs including a 10% baseline on all imports and a 54% total tariff on Chinese goods. The National Association of Music Merchants (NAMM) felt compelled to respond, releasing an announcement that

the new executive order would have “serious and devastating” consequences for the music products industry. NAMM president and CEO John Mlynczak broke it down: “We believe that the imposition of these tariffs on the music products industry will cause U.S. businesses to lose their global competitive advantage.” He provided more context when describing the disproportionate effect these tariffs will have on music products: “The unique supply chains of the music products industry are also unfairly impacted by these tariffs. For example, while the share of all U.S. imports from China is 13.4%, the music products industry’s China

imports are 43%. Vietnam is 4.2% overall, while the music products industry is 26%.”

Those unique supply chains are paramount for an independent gear builder like Jordan Withers. Withers is one of the minds behind Poison Noises, a boutique guitar pedal company with deep Capital Region roots. He let me in on his usual process for production: “My pedals are all assembled in America but for my boards I design a layout for the surface mounting stuff, the parts I don’t hand build. I lay out all the blueprints for a machine to assemble them on the other side of the world.” He says that they have machinery that can work one thousand times faster than he ever could, and they already have the powder coating and materials there that allow them to do it at a lower cost. Without naming names, he also tells me that there’s a prominent pedal company in the US which gets its chips from Taiwan, has their manufacturing done in Canada, and then has their product shipped back into this country. Every step of that process would be impacted by potential tariffs.

“The biggest one that impacts my industry is semiconductors,” he told me, explaining that, “as a pedal builder, about 90% of my pedals are made of semiconductors… All of a sudden they’re putting tariffs on the

by James Mullen

countries that produce more than 95% of the semiconductors in the world, the most important one being Taiwan.” Withers told me that the cost of such measures would ultimately be passed on to the consumer.

“Let’s say for the sake of making the numbers easy to follow that a guitar pedal is $100, and let’s say it cost me $50 to make that pedal. Then, I sell it to my dealers for $70 so I make $20 off of that, and then they sell it for $100 so they make $30 from the customer,” he explained. “If my product now costs me, let’s say, 50% more to make, that’s an extra $25 so now my total is $75. I have a couple of options: I can sell it to my dealer, mark it up to somewhere around $100, and they can raise the retail value to $130.” He outlined the implications such a rise in costs would have on business in times of such economic uncertainty. “The end user is paying more money for the pedal by 25%. The dealer, who is doing a service for me by selling the pedal, is now making the same amount of money but has a higher price point they have to sell at. Now, it’s harder to sell that product during an economic crisis, and it’s harder for me to convince my dealers to buy stuff because the cost is higher.”

There’s a brief mention of a potential exemption for semiconductors in the proposed tariffs that had not received a lot of attention before it was highlighted by The White House in an announcement on Friday, April 11th as part of named exclusions from steep reciprocal tariffs. According to Reuters, though, Secretary of Commerce Howard

Photo provided by: Teresa Campbell

opinion

we're not doing enough for the artists we love

These days, it can feel like we’re powerless to change anything. Boycotts come and go. Prices keep climbing. Algorithms decide what we see, what we hear, and what we’re allowed to care about. Corporate-level AI garbage gets forced down our throats at a faster rate than a competitive eater, and somewhere in the middle of all that, art—particularly music—gets swept into the undertow.

But the way we listen to and consume music?

That has changed. Radically. And not just over the grand scope of history, but within the span of my own lifetime—from cassette tapes to CDs to digital downloads to today’s streaming platforms. What might feel like a passive shift in tech has actually been a massive transformation in power— power we don’t realize we still have.

I’m here to climb on my high horse and remind us that, yes—capitalism can feel immovable. But where we put our money, our clicks, our attention? That still matters. Especially when it comes to the music we love.

If you walk into my living room, you’ll notice a few things. A large collection of vintage cameras on display, a gallery wall of some of my favorite photographs I’ve taken, the drifting remnants of a scuffle between two long-haired cats, and finally, you’ll land your eyes on the hundreds of CDs racked on shelves—close to 400.

I have always been a collector. Before I was involved in the industry, there was always a firmlyheld belief in the permanence and tangibility of having real pieces of music in my possession. I had (and still have) fun poked at me because I insist on picking up physical albums at many shows I go to. I’ll go to thrift stores, Last Vestige, record riots, and garage sales just to pick through the CDs. I’ll call my dad and ask, “Hey, are there

any CDs you want me to look out for?” For the longest time, I even refrained from buying songs on iTunes because they weren’t “real.” After all, digital files get corrupted, erased, or simply lost and forgotten about in the thousands upon thousands of folders and devices we’ve had over the course of our lifetimes.

This shift from physical music ownership has raised challenges, particularly for small artists, and we music fans are not doing enough to support them.

It’s no secret that streaming platforms pay artists next-to-nothing in royalties for listeners streaming their music. On average, an artist on Spotify would need to have a song streamed over 300 times to

by Elissa Ebersold

or payout model, but I know that this is bound to line the pockets of those at the top, while making it harder and harder for incredibly talented musicians from all over. Capitalism really popped off today, ladies.

If you’re wondering what you, as just one allegedly lowly person, can do to help—the answer is simple, but meaningful.

Buy the music.

It should be pretty obvious that I’m not really talking about Disney, Jive and RCA—they’re doing just dandy. But the indie band playing your favorite dive bar? The solo artist dropping EPs on Bandcamp? They’re not just making music,

“As music enthusiasts and patrons of the arts, we have a responsibility… Our support goes beyond streaming—it's a lifeline for the artists who write the soundtrack to our lives.”

receive only one dollar in royalties. When you’re an artist like Ed Sheeran, Taylor Swift, or BTS, this might not be as big of a deal. However, if you’re a local artist or overall just smaller artist, then this can feel like a huge obstacle… because it is.

Spotify makes it hard for smaller artists to bring in any profit whatsoever from these streaming services we all pay for, either through subscriptions or ad feed. At the tail end of 2023, Spotify’s royalty model changed. According to coverage in Billboard and Music Business Worldwide, the new system created a threshold that tracks must meet in annual streams before they’re even eligible to generate royalties. Tracks that fall below that line—many of which belong to smaller or emerging artists—are now de-monetized entirely. I’d never claim to fully understand any business

they’re making rent, and they’re putting 525,600 minutes of love into their craft. Every dollar you spend on them keeps that going.

Go to iTunes or Bandcamp and pick up a digital copy of their album or their single. Click purchase. If you can afford it, go to their website and buy that pin or that t-shirt you’ve been admiring. Attend their shows when you can and swipe your card for a tour poster. Say hello, then buy that CD or vinyl or cassette (because those are coming back for some reason—pens at the ready). And if you can’t afford any of those things, engage with their content on social media. Like. Comment. Share. Encourage others to buy. That engagement helps reach so many more ears.

The ever-evolving landscape of music

consumption, from the days of vinyl records and CDs to the digital streaming era, has left an indelible mark on the music industry. I’ll be the first person to appreciate the convenience and accessibility that streaming services offer, but it is equally crucial to recognize the challenges they pose to smaller and independent artists we love. As we've seen, even if it’s easier than ever to put the music out into the world in the first place, the shift in royalty models can make it borderline impossible for these artists to earn a livelihood through their craft.

In a world where streaming has become the norm, the importance of supporting musicians by purchasing their music and merchandise cannot be overstated. Every digital download, physical album purchase, show ticket, or tour poster bought directly from the artist and placed promptly in a plastic poster frame contributes to their ability to continue creating the music we love. It empowers them to share their unique talents and voices, and improve our lives with it.

So, as music enthusiasts and patrons of the arts, we have a responsibility. Artists pour their hearts, souls, and literal blood, sweat and tears into their work, but making music is incredibly expensive. And we all know the devastating feeling when an artist we love is no longer making music. Let's embrace the tangible and the digital, the album art, the merchandise, and the experiences. By doing so, we can ensure that music remains a vibrant and diverse landscape, where even the smallest voices can be heard and celebrated.

Our support goes beyond streaming—it's a lifeline for the artists who write the soundtrack to our lives, to those who make our existence just a little more bearable.

Now can someone help me down, please? I have a bum knee and the saddle is really high off the ground. Also, I’m a little scared of horses.

Photo credit: Shutterstock

| interview

class is in session: a sit down with some of our area’s arts educators by TJ Foster

Alongside National Mantra Day and Hurricane Preparedness week, May is home to Teacher Appreciation Week, an acknowledgement which feels like it lasts about 51 weeks too little. Teachers are real life superheroes, and anyone that thinks otherwise has clearly never spent time in a Kindergarten classroom whilst discovering there’s a stomach bug going around.

Arts education in particular is woefully underfunded and underappreciated – it’s no secret that it is often the first thing to be cut from a district’s curriculum. New York is also one of only 18 states that does not consider arts a core curriculum subject. That’s something State Senator Rachel May is looking to change, recently introducing legislation for the guaranteed inclusion of music and art programs in all public schools.

Considering all of the above, I thought it would be a good time to touch base with some of our area’s many incredible art and music teachers. What follows is a love letter to the educators and classes that instilled in us a love of the arts, and the ones proudly doing the same in the next generation every single day.

|elementary school:

Putting the Fun in Fundamentals

For many kids, elementary school is their first experience with being away from home for an extended period of time. Intimidating at first, but soon thrilling. The days are carefree, with the only source of drama being a fall on the playground or getting caught eating paste during craft time.

Most importantly, the foundation for socialemotional development and core values is

built right in these rooms. Kids learn language, cognitive strategies and social skills. And with the arts, they learn patience, respect and unique ways of viewing the world.

Erica Doran has been a music teacher in the South Colonie Central School District for over 20 years. She, like most arts educators, bounces between the various elementary schools in the district teaching kindergarten through fourth grade the fundamentals of music. Her passion for doing so is radiant; I could actually hear her smiling through the phone.

“Elementary is so wonderful,” she beams. “The kids are amazing. I have fun every day. I love sharing with them and I love all the activities we do together in our concerts. My job is the best.”

Erica’s journey to her career as a music teacher

utilizing both parts of her degree; not only is she an educator, she is also heavily involved in the Capital Region’s theatre scene as the education leader for Schenectady Light Opera Company.

“I organize and run all of our free workshops for the community,” Erica tells me. “We get teachers— sometimes they’re well known actors or actresses from Broadway or television—to come and teach workshops for members of the community.”

The focus of these free workshops runs the gamut, covering everything from costuming to designing sets to reading music. For Erica, it’s just another way to apply her love for education.

“I love our theatre community so much. I wanted to be able to give back to that, and I felt like this was the best way, because of my education experience. So often, arts and theatre and music

“I want to set the foundation for them to be great musicians, great listeners, great audience members, and just to appreciate the music around them.”

began at a young age while in her church’s children’s choir. She began playing piano in second grade, soaking up her appreciation for music thanks to a keyboard from her mother. From there, she became involved in the theatre community, eventually attending school at SUNY Fredonia with a double major in music education and theatre.

These days, she has the pleasure of

Photo credit: Kiki Vassilakis

schools and see what specific needs they may have, but also to show their support by being physically present.

“I call and reach out to a lot of parents asking them to attend their child’s art shows. We have two every year at our school, as many schools do. I would encourage more parents to attend—not many come, and it means a lot to the kids. They feel so proud in showing their work and having it be seen by friends and families.”

In addition to support at the school, it is imperative that education be supported at home as well. In today’s climate, there is an abundance of home versus school dialogue when in reality, students—and educators!—will benefit most from a partnership between the two. This includes arts programs, and for very good reason as Caitlin points out.

“Art is one of the only classes that the students really have to express who they are as an individual, and they learn skills that can be brought into anything they go into in the future. Things like how to solve a problem creatively –they don’t always get that same knowledge in other classes.”

|high school:

Finding the X-Factor

After those three or four years of middle school, hordes of teenagers flock to high school at a time when hormones are on a rampage and the overall mentality is a bit “fuck around and find out.” It’s where students start learning more independence and responsibility in an effort to begin preparing them for the big, scary real world.

Keith Pray teaches music at Schenectady High, where he’s been for over 15 years. His passion for teaching developed while living in New York City after college, in pursuit of a performance career. To supplement income, he began teaching on the side, before meeting his wife and eventually moving to the Capital Region.

“I’ve been at Schenectady City Schools ever since,” he tells me. “I always enjoyed the interactions with students and trying to light the flame; I’ve been having a good time doing it ever since.”

As a local jazz artist and bandleader who performs regularly around the Capital Region, Keith has a special perspective that allows him to impact the

kids in his classroom. The way he sees it, teaching high school band is more than just learning notes and scales. It’s about building a foundation for future musicians in the real world.

“I spend a lot of time teaching discipline, empathy and responsibility—all of that will equal quality music. I guess I would not be considered a traditional band teacher in that sense. Because I’ve had so much performance experience, I can put that into my teaching. If you’re going to be in the real world, here are the expectations. You’ve got to be on time, you’ve got to be prepared, you’ve got to do your job. You don’t do those things, then you’re not going to be able to work in this field.”

As you’ve probably guessed by now, arts education at the high school level is not without its own unique set of challenges. Society’s impact builds and broadens, as teens are navigating an increasingly anxious and digital universe.

“ What I see is a generation of people who are observing and consuming things virtually,” Keith notes. “And it’s not a judgement. But trying to get them excited about things that are in the physical world is actually more challenging than, you know, showing them a video—they might be more actively excited about that than actually making the music themselves.

“The other struggle is how does our society today value the arts? Mostly it’s purely entertainment. I try to teach the kids that ‘real art’ is to make somebody think and have a reaction rather than just consume it. So, that’s a tough one, because that requires

thought and if you’re used to just witnessing things on the Internet, then you may or may not have real thoughts because you’re consuming things at such a rapid pace.”

This insight conjures up another important factor of arts education—it’s a place where kids can be present without a device in their hand, exercising their minds in creative ways. It’s why Keith is so adamant about not cutting arts programs, something he has witnessed first hand throughout his tenure as an educator.

“Arts education provides all of the things that are in other classes. There’s math, there’s reading, there’s science, but there’s also the thing that can’t be taught in other classes as easily. The X-Factor—the thing you can’t quantify but it makes a definite impact on the students. That’s what more people need to realize to understand

“I want to see everybody find their path and do their thing and succeed at it; that's all that really matters.”

Photo credit: Kiki Vassilakis

“People talk about the art world like it's a separate kind of hermetic world. But art is the world.”

the importance of the arts programs.”

Overall, Keith’s passion for teaching is palpable. He raves about his school district and the opportunities it provides. He is genuinely excited to go to work each day which, as he tells me, boils down to one simple thing: the students.

“In all the best ways, I have characters. There are so many great kids here. I want to see everybody find their path and do their thing and succeed at it; that’s all that really matters.”

|higher education:

“Everyone, Everyone, Everyone Consumes Art”

Near the end of high school, students face a crucial choice in their upbringing. Pursue higher education with a degree in a specific field, enter the workforce directly or, in some cases, take a gap year and prolong figuring it all out. If there’s anything we’ve learned in recent years, it’s that higher education is not a one-size-

fits-all solution, so it’s wonderful to have a diversity of options available to us.

Speaking with Danny Goodwin, Chair of the Department of Art and Art History at University of Albany, it’s immediately evident he still believes in higher education. His role as chair is primarily in supervising undergraduate teaching assistants and adjuncts, while also teaching graduate students in the Master of Fine Arts program. It was an unlikely career choice, as he tells it.

“Growing up in Texas, I did not see that art was particularly important or valuable or serious. But news flash: art is connected to everything. People talk about the art world like it’s a separate kind of hermetic world. But art is the world. And it took falling ass backwards into it in undergrad for me to figure out that this is a job, and it’s important, because everyone, everyone, everyone consumes art.”

A photographer himself, he raves about UAlbany’s encouragement of

the arts, from both a faculty and student perspective. The school is one of 187 R1 Research Institutions, a designation that signifies the highest commitment to research among American universities. It’s something Danny takes a lot of pride in.

“I like that research is a big deal here; making my artwork is not a side hustle,” he tells me. “It’s expected that you’re producing and publishing and having exhibitions. I needed that kind of nurturing because there was a conspicuous absence of it in my growing up.”

But higher education is increasingly viewed with a negative lens in the current socio political landscape. Federal funding for universities is being frozen unless they comply with demands for changes to programs and overall culture promoting diversity, equity and inclusion. Just recently, Harvard University made headlines by refusing to comply, setting off an inevitable war. It’s something that Danny reflects on with vigor.

“Trump wants to get rid of us and keep everybody uneducated, because that works for them. Expertise is not just undervalued; large swaths of the public are openly antagonistic to it. That’s really troubling to me.”

Perhaps it’s why Danny is so passionate about his job leading the university’s art department. He’s offering students not just an education, but a chance to make a mark on a divisive world in a way that only artists can.

“My friend Bob Griffin (Dean of the College of Emergency Preparedness, Homeland Security and Cybersecurity) says we could

have a perfectly secure country, and no one would want to live here, because if you take away all the reasons that it’s fun to be in the world, what’s left is all that practical stuff that nobody really cares that much about. I mean, yeah, we can cure diseases and stuff – that’s important. But civilizations are remembered for more than that. They’re largely remembered for the things they make, their expressions, their words, their music, their artworks.”

Much like his contemporaries above, Danny is thrilled to go to work every day. He raves about UAlbany’s support of the arts, including the launch of a new Game Design major he is particularly excited about. But most of all, he values the opportunity to connect with his colleagues and students through the medium of art, helping them to share the most genuine, vulnerable pieces of themselves with the world.

“On a good day, I’m having really high level conversations with people about their ideas and their most deeply held convictions and fears— all the stuff that really matters. I just feel so lucky that I get to do that; I go home every day energized.”

In speaking with these four incredible teachers, it reaffirmed what a special breed educators are. These are people who devote their time and energy to preparing our children for the world, all while remaining positive and flexible in the face of many adversities. To all of our local educators, we salute you. We appreciate you. And we thank you for keeping the arts alive and well.

Photo credit: Kiki Vassilakis

| interview

watch reggie run on rocking to the sound of inclusion by

Corey Dempsey

Corey Dempsey: Before we get into Watch Reggie Run, I wanted to first ask about your history in the local music scene.

Dave Graham: I’ve been in and around the local punk scene for years. Writing original songs has always been important to me because it allows me an outlet for everything I’m thinking and feeling. I was in a band called The Blisterz for many years. We played all the time locally and we were also fortunate to do some travelling regionally with our shows. I really loved the camaraderie of playing those punk gigs with other original bands. That band dissolved for a variety of reasons (family, work, etc.) so I started up another project called Legendary Losers which was more of an acoustic thing. That opened up a lot of doors for us because we could play smaller venues and little pubs, but we also started playing a lot more covers because that’s what those audiences are looking for. It’s not as fulfilling for me personally. So amidst all of that, this was probably 2017, I started doing Watch Reggie Run.

CD: And that’s just you and your son, Luke, correct?

DG: Correct. He doesn’t play an instrument or anything like that, but he enjoys listening to music. So, I would start to play with him at home and it evolved from him and I playing

music together in his room. It’s funny, it was mostly out of necessity. Nobody else at home wanted to hear me playing my guitar and Luke was the only one who would really tolerate it. I started writing these songs, usually based on something he would say that I found humorous or interesting – he frequently repeats words or phrases from shows or movies, either to communicate or because he finds comfort in the repetition. One time, he kept talking

he actually dressed up as a bell pepper that year. That became one of our first Watch Reggie Run songs, “Green Bell Pepper.”

CD: So you write the songs and the lyrics and then Luke sings those songs?

DG: Yeah! We record all the songs in our little home studio and I always have Luke sing on those recordings, typically background vocals. That’s how Watch Reggie Run began.

“It’s been really fulfilling to play these gigs for people who don’t often get to see live music – they really enjoy it, dancing and singing along, giving back lots of energy.”

about green bell peppers, and it was right around Halloween, and

CD: How did you all start performing live?

DG: Luke attends a day program with Wildwood Programs. He’s 27 now but he’s been with Wildwood Programs from the time he was about eight all the way up until now. They’ve been fantastic for Luke and our family. I reached out to them because Luke enjoyed the music and I really enjoyed playing it, so I thought it would be nice to give something back to the folks at Wildwood. We started performing for a lot of these day programs –Wildwood Programs, Saratoga Bridges, AIM Services, Liberty ARC – and it was just so fulfilling to be able to perform these songs for folks who don’t often get to go to shows. The barriers to typical live music may be sensory-related like too loud of a volume or the closeness of the crowds, it could be physical accessibility, or that they don’t have anyone to bring them. But since those initial shows, it’s just kind of grown. We’ve done birthday parties, we also had the chance to play the summer concert series for kids at Barker Park in Troy several times, as well as Freedom Park in Scotia.

CD: Since Watch Reggie Run began performing live, have you noticed any changes in Luke or in the relationship between the two of you?

DG: I’m not sure I can pinpoint a specific effect that it’s had on our relationship, but I do think he’s done

Photo credit: Michele Graham

Watch Reggie Run is a two piece band comprised of local musician Dave Graham and his 27-year-old son Luke Graham, who is on the autism spectrum. Diagnosed at 18 months, Luke, though limited in communication skills, has shown an affinity for music his entire life – whether that be the songs of Blues’ Clues, Taylor Swift, or Seventies Yacht Rock. Together, Dave writes and performs with Luke, “kids’ music that rocks” throughout the Capital Region.

an outstanding job of being able to adapt to different environments. He is excited to perform, but he’s always had sensory issues where sounds, especially loud or unpredictable sounds like dogs barking or babies crying, can really throw him off. We go to some of these shows and there are like 50 kids running around, screaming, having fun – to modify the sensory input, he will take his microphone stand and turn it 90 degrees so that he’s not directly facing the crowd, but he doesn’t leave. He stays right in there and finishes the performance. I also feel like he’s done a great job adjusting to the ebbs and flows of having a gig. He’s a very schedule-oriented person and when that gets disrupted it can be very challenging for him. At first it was really hard. It’d be like, “We have to go rehearse” and that was a big challenge. But now, it’s just a part of his schedule. It’s like, “Okay, Luke, we have a gig today” and he’ll know exactly what that means and what he has to do, and he really enjoys doing it. He may not be able to verbally express that, but you can tell by his body language, the look on his face.

CD: On your Instagram page, one of the items in your bio is “Raising Autism Awareness,” but I’m curious about what that journey has been like for you?

DG: Luke was diagnosed when he was 18 months old and I don’t really think I knew anything about autism at that point. When I was growing up, I don’t think I knew anyone with autism. It’s always been about educating ourselves as best as we can. There are a lot of resources out there and we’re constantly talking with other families with loved ones with special needs. It’s very much been like a village approach. It’s constantly asking one another about different behaviors like, “How should we deal with this?” It’s been trying to take in as much as we can to try and help him have a better quality of life and be comfortable and get through the day. You know, not to be stressed out and have anxiety over things and we’re still learning every single day. The world wasn’t designed for neurodivergent individuals, so we’re always trying to help him navigate these challenges,

or setting, it feels right to them. For example, Luke recently attempted to pick up a snake on a group walk – of course your immediate reaction as an onlooker is, “No! Don’t do it!” but he feels upset knowing that he has done something wrong and doesn’t understand why. So, at program and home, they advised us that, instead of saying “no”, try redirecting him instead. That became the central idea of that song. That advice has been really helpful for us and we hope that our songs have been helpful for other people who might be dealing with something similar.

CD: Is there ever any part of you where you’re frustrated that this is where your music journey has taken you? You used to be doing the punk rock thing and now you’re playing family-friendly kids music?

whether it’s educating ourselves or spreading the word so others know how to interact with him and develop a meaningful relationship with Luke on Luke’s terms.

A lot of the challenges that we’ve had have worked their way into our songs as well. One of our songs, “When Someone Says No,” is about just that. Nobody likes being told no, but Luke really doesn’t like to be told no. When talking to the staff at Luke’s day program, we realized it’s not just Luke, but many of his peers that struggle with this because, even though some behaviors may be inappropriate for a certain time

DG: It’s definitely not something I would have ever thought about 15 years ago, but it just kind of evolved that way. It has allowed me to really connect with my son on a whole other level. It’s been really fulfilling to play these gigs for people who don’t often get to see live music – they really enjoy it, dancing and singing along, giving back lots of energy. Definitely more fulfilling than playing to drunk people at a bar at midnight who probably aren’t even listening to you.

It’s been a labor of love and it has been enjoyable to incorporate my son into all these songs I’m writing.

Photo credit: Kiki Vassilakis

Photo credit: Vanessa Wheeler

Photo credit: Alan Gold

| interview

wild adriatic return from their time at sea

If there were one word to sum up what North Country blues/funk/rock outfit Wild Adriatic (and let’s be honest, the entire music scene) were feeling during the initial stages of the COVID-19 pandemic in 2021, it would have to be uncertainty. Founded in 2011 and firmly established in 2012, the band became known for their electrifying live performances. They spent most of the next decade on the road touring 250 days per year and working their way up to touring Europe as well sharing the bill with established rock legends like Lynyrd Skynyrd, Grand Funk Railroad, and more. Then, as it was for all of society, the carpet was suddenly yanked out

from under them.

“It’s a funny time of year to be recounting that story, because I'm getting all these Facebook memories of the email cancellations coming in and our routing sheet going from green to red and remembering what that was like,” drummer Mateo Vosganian recalls. “We had a really big summer booked – that all fell apart, and we started to play little shows where we could.”

The early days of the pandemic were new territory for everyone, and shows became hard to come by. As a result, a lot of the music world began to pivot to the digital realm. Vosganian explained, “All these other bands were doing these elaborate

live streams and seemed to have all this content ready for the end of the world. We didn't have anything prepared for this situation and we were just like, ‘Yeah, make a record. That's the only thing we know how to do.’”

Come March 2021, guitarist/lead vocalist Travis Gray, bassist/vocalist Rich Derbyshire, keys player Dustin DeLuke, and saxophonist Mike Oehmen joined Vosganian and their significant others to form a pod to record near Lake George. They were in the pod for two weeks, and would lock themselves in the loft every day working on their album. The band had a lot of material to work with, going into the sessions with plenty of demos that they had written during their extensive touring schedule.

“Most of the songs were written on writing retreats,” Vosganian explained. “We had this really fun way to do things for a while where we'd be on the road and we'd see a gap in our schedule, and we'd have some friends that might have a lake house or a cabin in that area. We would barge onto their property, set up, record demos, and write for a couple of days before our

by James Mullen

next tour date. We had probably seven or eight of those over the last few years that we wrote the record.”

The band told me that the defining thing behind this record has always been for it to be a self-titled record. The goal? Maintain what they described as a “live” sound. Vosganian emphasized, “We were really determined to make it sound the most like us that we've ever sounded on a record… like that's how we play together, that's where we speak best together is on stage a lot of times. So it was cool to capture a little bit of that.”

The band said that the album spans the full spectrum of what they do; from riffy rock to soul to the blues, and even a little bit of what they referred to as “the funky stuff.” Gray, who also handles the lion’s share of production for the band, explained his approach in the studio: “Usually if I'm mixing something, I'll use a reference track, but I didn't have a specific reference track for these sessions. I was just trying to make it as organic as possible. Make it sound good but, you know, close to just what it should be.”

While most of the recording was done in the pod during that initial two-week stretch, it was also around that time that the band began coming to terms with the struggles brought on by the state of the world during the early pandemic. “I think it was just hard to get our feet back under us,” Vosganian mused. “We had some health issues, I needed to deal with alcoholism. That was

Photo credit: Bryan Lasky

enough for us to be like, ‘Maybe we'll stop for a minute.’”

It was a minute that turned out to be around two years. The band reunited in November of 2023 with a raucous return party at Putnam Place in Saratoga Springs; the very same place which hosted the release party for the new self-titled LP Wild Adriatic on Friday, April 18th with support from local Americana powerhouse Reese Fulmer & The Carriage House Band. The band opted for selling their new album directly to their listeners this time around, outright avoiding the big streamers, at least for the time being. If you missed out on the release party and haven’t gotten your hands on a copy, you can get it directly from the band in the form of a digital download, CD, and soon even on vinyl.

“I don't like streaming services very much. I'm really mad at them,” Vosganian confided in me. Gray added: “I feel like we're in a position where we can at least try [to avoid them]. It's not like we're some huge act, but we've been around long enough that there's enough people that will want to buy the album and who are just music fans, and they know how it works. I feel like most people are pretty keen as to how these streaming services operate.”

Vosganian continued: “We feel like we have enough people that have

2025. I think it's insane that music has been devalued so much in that way.”

So, the band teamed up with Stinky’s

lame,” Vosganian admits, “but a bag of specially roasted Wild Adriatic Bad Behavior coffee with a download card is kind of rad, and so is the Until the Lights Go Out chocolate bar.”

“[Fans] should be rewarded for purchasing music in 2025. I think it's insane that music has been devalued so much in that way.”

supported our band for a long enough period of time where if we give them the record first, we know they'll buy it. And, they should be rewarded for purchasing music in

Coffee in Saratoga Springs and Barkeater Chocolate in North Creek to offer some limited edition goodies to go along with your purchase. “You know, a download card is kind of

The band is returning to more of a full-time schedule, planning to play out a couple of times per month, going into what they called their “busy season.” However, they say that their days of playing 200-plus gigs per year are likely behind them.

“We were young men then, we're big boys now. We had our first band meeting, and we talked real business, and we made a plan for the future,” Vosganian said. “We are gonna be a real band again and play 30 to 40 shows a year at our max capacity.”

To see when and where you can catch them next as they celebrate their triumphant comeback, and to get yourself one of those sweet album-coffee-andchocolate bundles, visit them at https://wildadriatic.band/.

Photo credit: Bryan Lasky

| interview tops of trees at the top of

If you’ve ever caught a Tops of Trees show— perhaps one of last summer’s outdoor gigs in Saratoga on the 4th of July or Belmont weekend—then you’re familiar with their highenergy vibes and positivity. Although we were separated by screens and miles as we met up on Zoom, the bandmates that joined me—Damian Ubriaco, Troy Helmer, Aaron Profitt, Ken Juhas, and Ashley Cross—radiated that joy and laughter across the airwaves.

Naturally, we began with the group’s most recent development, their single “Mad Love,” the third of four tracks they recorded at Bunker Studios in the fall of 2024. It encapsulates all the staples of the band’s sound: ear-wormy horns, honeyed

their

game by Rory Graham

harmonies, grooving percussion, and captivating electric guitar melodies. The lyrics as well present a glimpse of the typical Tops of Trees biosphere, promoting love and making the change, or music, that you want to see. It echoes an earlier

In discussing how this track fits within the rest of their catalog, bassist Ken outlined the band’s evolution. “Starting off, it was just the four of us: Damian, Troy, Aaron and myself, and then Ashley joined about a year ago, and Alex Miller,

“That's kind of what I like about what we're doing…it's really just a snapshot in time. We’re doing everything we can to be organic, just being able to get that snapshot of the moment and capture it.”

track of theirs, “Frontline,” which features similar sentiments: “Get on the frontline if you wanna march for love / Get on the frontline, the power’s comin’ down from above,” sings Damian.

the trumpet player and keyboardist. We started just evolving the sound from the four of us to incorporating horns, incorporating Ashley as another vocalist. We’ve just evolved with not only writing, but performing out with horns. We might have had at times horns sitting in, but I think it’s become more of a part of the sound, and making that sound grow into a bigger, more full, more soulful sound.”

As for songwriting, Damian explains that Ashley and Alex have added some excitement and power to the team. “You can imagine we’ve had four or five different songwriters now pitching in. So it’s quite lovely, and if the song’s not sounding right, Aaron will just kick us in the teeth, and then we’ll reshape the song!”

“Have you ever heard the ‘too many cooks in the kitchen’ verbiage before? No, I’m just kidding,” Aaron wryly jokes back.

One of the aspects of their sound that makes Tops of Trees so engaging and unique is the organic nature of it. Though they may have a song fleshed out before going in to rehearse, the music is never quite done. Drummer Troy elaborates: “We go to rehearse these tunes, and then we change almost all aspects of the song so it evolves right there. Sometimes a month out from when we go into the studio. But that’s kind of cool, because that

Photo credit: Kiki Vassilakis

is the evolution right there.”

“That’s kind of what I like about what we’re doing,” Aaron chimes back in. “You know, when we go paying money and sitting down and getting this big professional treatment,” he says, referring to their recent recording sessions at Bunker Studios, “it’s really just a snapshot in time. We’re doing everything we can to be organic, just being able to get that snapshot of the moment and capture it.”

And so much of their music does capture a moment in time lyrically, specifically tracks like “Radio.” The song takes listeners through several defining moments of a lifetime, told through music playing on the radio – from The Beatles to The Grateful Dead to Otis Redding. Though specific to the Brooklyn sidewalks and peach farms of one individual life, the overall warmth emanating

from this hopeful nostalgia pulls the listener into their own memories of sunshine and unhurried youth. To put it succinctly – you just feel good.

“We’re coming together to write songs and practice in the studio, and we’re all really hoping to have fun. I mean, you know, we’re at that point where, if we’re not having fun, why do this? No one’s making money. So it’s like, we might as well have fun and make music that’s uplifting, music that’s uplifting to ourselves. Like, do we feel good playing together? Just being with this group of people, and with Alex jumping in and Ashley jumping in, it’s taking it to another level of just cool people with good attitudes,” Damian concludes.

While the band is surely having fun, they’ve also garnered some serious success: playing New Year’s Eve in downtown Saratoga, a feature

on WHMT’s PBS show AHA! A House For Arts, multiple Eddies nominations for Jam Band of the Year, and opening for Blues Traveler during Belmont Weekend in June 2024. While each event had a story and honor of its own, the latter stood out to the band as a pivotal moment.

“It was an amazing experience I can’t even fathom,” Aaron adds. “I’ve been a musician my entire life, and it was by far the high watermark of my career so far. Just the crowd – being able to stand up there on that stage and see the sea of people all the way back down the road. You couldn’t even, couldn’t even make it out,” he recalls. “And obviously they were there for us, and I’m going to my grave with that!” he concludes, sending the band into laughter amidst nods of agreement.

For Ashley, who was lost to internet connectivity issues for much of our time together, this show was a confirmation of the genuine kindness and collaboration of the band. “That was my third gig with them! I didn’t even know all the songs. But this is just the easiest group of people to work with on anything. It’s such a full-on collaborative effort in mostly everything that we do. It’s really been a pleasure to get into that and be a part of it with the guys. Everyone’s just individually such a great person. And I think all together, it really makes that sound and energy that is coming out of us.”

For Damian, an Upstate NY transplant and high school English teacher at Saratoga, the show was meaningful in a different way, presenting him with a full circle moment. “For me, working in Saratoga, for over a decade now, seeing former students, current students, people I work with out there, family in Saratoga. I remember coming

to Saratoga in 11th grade to see The Dead. We just hopped on a bus and came up, coming into Saratoga for the first time. Walking through SPAC was like, ‘Oh! This is different. We are Upstate now.’ It’s been magical since 11th grade, and to have it come full circle with me playing in that town, it’s been pretty awesome.”

An upcoming release, aptly titled “Upstate,” is a love letter to this part of the state from those who weren’t born here. “The lyrics really are about people who’ve replanted themselves from downstate up here. And not to be hyperbolic, but [that move] probably to some extent saved my life. I was definitely losing my mind down there. So not that there’s not great things in Long Island, but not enough to stay living there,” confesses Damian. With a pitch to the tourism board of I Love New York, there’s a chance we could be hearing

this tribute to our beloved area across the state, though we’ll just have to wait and see.

Ultimately, the band members all agree on one thing: “Just keep making music, keep improving and building our sound,” Ken reflects.

“The music, hopefully, will help people get through everything that’s happening right now. So whether you need healing or whether you need to dance your ass off, I hope we can offer both those things. And maybe our music can even offer you to find a little bit of courage to get out there and raise your voice in this democracy. So hopefully that’s part of it, too,” Damian wraps up.

To quote the band themselves, “Get on the frontline” at their shows and in your community to take in and spread the love and positivity that Tops of Trees consistently brings to the table.

Photo credit: Kiki Vassilakis

Photo credit: Kiki Vassilakis

Photo credit: Kiki Vassilakis

shared how she herself grew up in a musical household where singing filled the home, citing her father’s love for music in particular. This sweet image from her early years mirrors the positive and creative environment she now brings to other young children today—a kind of legacy she shares generously with the next generation. She also finds inspiration by simply keeping her ears open: “I really jump around. I listen to the college stations for newer music and I listen to WEXT and WEQX… I even listen to some of the oldies stations; I get bored easily.”

Cavanaugh’s penchant for radio-surfing brings to mind the tension I feel between a reliance on streaming services and the desire to break free of a type of convenience that can often feel like a prison of our own making. The genres we say we like are forever spit back at us (essentially telling us

I’m privileged to know a number of wonderful teachers who tell me that their students frequently come back to visit them to share how they’re doing now; it’s a reflection of the impact their teaching had on them. Cavanaugh finds herself to be a proud member of this club.

"It's funny. After years [of teaching], people who took classes with me when they were very young still reach out to me to tell me what they're doing in music now." It’s another instance of that visible and continuous thread making its way through the rich fabric of a life connected by the love of making and sharing music.

Deb Cavanaugh will be performing a free family show with Dandelion Wine at Caffe Lena on May 3rd at 3:00 pm. Check her website www.deb-cavanaugh.com for a listing of all events.

“When you share music with other people, you're really sharing your heart.”

what we already know), so much so that just tuning into the radio feels like a freeing act of real listening— something I never thought I’d feel. Rather than being defined by the algorithm of our own habits as listeners, breaking out of this bubble might help us learn, somewhat unexpectedly, what we might actually like and find ourselves inspired by.

Cavanaugh expressed that even during her two-week hospital stay, friends were sending her music to keep her spirits up. “It was all things I hadn’t heard before, and that was incredibly helpful.” And although Cavanaugh’s accident temporarily slowed her down, she’s continued to keep the wheels in motion. She’s currently in the midst of writing a memoir: “Hopefully I'll have that coming out. Maybe not this year, but I'm going to continue working on it.”

Photo credit: Kiki Vassilakis

Photo credit: Kiki Vassilakis

| nonprofit spotlight youth fx:

a center

of gravity for young storytellers by Catherine Windover

The kids have something to say. Youth FX isn’t just listening, they’re handing young people the megaphone. And they’re teaching them how to use it.

When Bhawin Suchak, Co-Founder and CoExecutive Director of Youth FX, began building the organization, his priority was to center the vision and voices of young people. Understanding that young people have a voice and a story to tell doesn’t appear to be all that radical of a concept. However, the reality is that there are serious roadblocks that prevent so many voices from being heard.

For many, it’s having an adult tell them they’re

allowed to speak up. For others, it’s lack of resources – from the expensive equipment to the technical skills needed to use them. To Bhawin, the critical mission of this organization has been to “eliminate these barriers of entry” that exist in filmmaking, storytelling, and digital arts.

“What we’re really about, is how do we create films that are reflective of the experience of the youth?” Bhawin said.

I had the privilege of meeting with Bhawin to learn more about this work and hear from Youth FX educators, Camille Dobbs and Daysia Leneé, about the incredible programs that are made accessible to underserved youth in Albany. Camille notes how moving it is to see what the students can do when resources are accessible

and the barriers to entry are gone.

“It’s been beautiful, as an educator, to witness the growth and the talent of a lot of these young

people – to bear witness to their stories, assist in the telling of their stories, and empower them in the process,” she expressed.

Youth FX was founded in 2008 to do exactly that – to empower and amplify the voices of young people and give them the confidence, support, and technical skills required to flourish as creative individuals in digital film and media arts. Based in the southend of Albany, Youth FX has become a “community hub” for storytellers and creatives in the Capital Region. With programs for students ages 10 to 25, Youth FX has cultivated an intergenerational community of mentorship, learning, and passion for the arts.

It is incredibly clear how passionate this staff is about the services they’re able to offer the community. In chatting with Camille and Daysia, the two were beaming with pride as they told me about the students in their summer program, how engaged the middle schoolers working on a documentary storytelling project have been, and the remarkable work they’ve watched as these young people grow through the programs

Photo credit: Jayana LaFotos

Photo credit: Jayana LaFotos

"Youth FX never says ‘No’. They say ‘How?’ How can we tell this story?” - Daysia Leneé, Lead Educator at Youth FX

in the “continuing community” that is Youth FX. Through workforce development programs , rotating workshops, community screenings of student films, and even an in-house production company – Youth FX creates a path for young people to develop a lifelong passion for the digital arts.

Camille accurately described the organization as a “center of gravity” for students. Not just in the way that the physical building has become a community hub and the organization has provided the knowledge and technical skills needed to thrive in the industry – but the fact that the students move through their programs, go out into the world, and remain connected to this vibrant community. Many members of the staff had previously been students themselves, eager to give back to the community that gave them so much.

“You’ll see people who have been in our programs for so many years, and they come back excited to re-engage, meet people, and share in their knowledge,” Bhawin explained.

Youth FX hosts a year long national fellowship called NeXt Doc for filmmakers 21-25 to develop their documentary skills through “skill-sharing workshops”, peer screenings, mentorship, and a week-long retreat with their cohort. This program, led by Bhawin, essentially opens up a global network of connections for the young people here in Albany. These relationships are at the core of what Youth FX is all about.

Youth FX doesn’t stop there. Bhawin and his team remain committed to fostering collaboration and community involvement, noting how imperative it is to be community members and actively combating the grim political landscape around us.

One of the many ways Youth FX is promoting progress in the community is through their Solidarity Screening Series –where students and outside community members come together to watch films and discuss ways to build deeper understanding and solidarity

with one another.

“Right now, there’s clearly a culture of deepening divisions within our society, rather than creating space for more understanding. And that’s what we want to do. Stories are the way for us to understand each other and be in communication with each other,” Bhawin said.

Unsurprisingly, the young people at Youth FX have already woven this cultural awareness into their storytelling. Camille tells me that after watching films from last year's Summer Program, she saw an overwhelming theme of resilience. Many of the films explored the “needing a break from reality” and in turn a response of finding strength to overcome.

This program was created with young people’s voices in mind, and continues to enrich our community as they uplift their stories.

The younger generation is talking – let’s listen.

Want to get involved? Go to youthfx.org to learn more about the incredible work they do and consider donating to help keep these programs accessible to the young people who need it the most.

Photo credit: Tom Miller

Photo credit: Maya Suchak

| venue spotlight

pasta, pints, and performance arts: this is the van dyck by Adem Jones

If you know The Van Dyck, you know. And if you don’t, it’s about time you found out.

Tucked above Stella Pasta Bar & Bistro and Seven Points Brewery in the heart of Schenectady’s historic Stockade District, it’s the kind of place where the whole night feels like the main event.

The Van Dyck Music Club is supported by Stella’s food, Seven Point’s local craft beer, and live performances in a space with deep jazz roots. It’s the kind of place that really goes above and beyond when it comes to serving you dinner and presenting a show.

The building itself carries decades of history. From the 1940s through the 1960s, The Van Dyck was a hotspot for nationally renowned jazz musicians. It was a gathering place for the greats, and that legacy hasn’t been forgotten.

In fact, it’s alive and thriving. You can see it at events like March’s Vocal Jazz Vanguard, where there was a packed house full of listeners who couldn’t get enough of the classic jazz or the pasta. But what really sets nights like these apart is the way that the music always takes center stage. Some venues may let the music take a backseat to the dining or the ambience, but here, the music is always the focus, and in addition to the lovely staff, tasty drinks, and delicious food, the wide range of events and always impressive entertainers keep people coming back.

The heartbeat of the entertainment scene upstairs is Chris Sule. The man is on a mission. Whether he’s hosting a fierce drag show, THIRDSDAY NITE—a monthly jazz series which Sule proudly produces himself, or the now-iconic jazz/Mario Kart mashup (yes, really), Chris is committed to turning The Van Dyck into a creative hub where everyone feels like they belong.

“You can see that a lot of local businesses are hurting,” he told me. “But I’m determined to make this a place people want to come back to. A space where food, drink, and live performance all elevate each other: that’s what makes us unique.”

And he means it. Every time I’ve been to The Van Dyck, Chris is working the room. He shakes hands, remembers names, and welcomes people like it’s his home. That energy is contagious. Regulars rave not just about the lineup of talent but about the vibe of the place itself: warm, welcoming, and unlike anywhere else in the area.

It’s wild to think this new iteration of The Van Dyck is so new; the place is run with the precision and expertise that would have you believe it’s been around for decades. But with the foundation laid by Stella and Seven Points on the first floor, and the sheer love and effort Chris and his team pour into the upstairs venue, it’s clear they’re only going up from here.

“The man who opened the Van Dyck in 1947 and put it on the map as a venue was Marvin Friedman,” Chris said. “He didn’t play the music, cook the food, or pour the drinks; hospitality was what he was known for, taking care of guests, entertainers, and employees alike. Almost 100 years later, and those are the big shoes I’m trying to fill now, and I’m proud to do so in the very same way.”

With the Van Dyck, Schenectady didn’t just get a new music venue; it got a place where artistry, history, and community come together. Whether you’re sipping a house-brewed beer, digging into some delicious arancini, catching your favorite drag queen throw down, or having a glass of Pinot Grigio with a live jazz trio, The Van Dyck delivers. And it’s only getting better.

There are tons of events to look forward to, but Chris is very excited to announce a few events happening later this year. First is Stockade-

Photo credit: Tom Miller

Apalooza-Stock, a four-night patio music festival coming in hot this summer (7/10, 7/24, 8/14, 8/28).

Secondly, there’s the Jam Against Cancer, a benefit show this October (10/11) honoring Chris’s mom and reviving a beloved tradition from the early Stella days back in Burnt Hills.

Stop into the Van Dyck for a show, grab a bite at Stella, and try a brew from Seven Points. It truly is a one-stop shop for anyone who loves good food and good music.

To keep up to date on The Van Dyck’s upcoming events, visit www.stellapastabar.com

The Van Dyck Music Club: @thevandyck, Stella Pasta Bar & Bistro: @sevenpointsbrewery, Seven Points Brewery: @stellapastabar

“From the 1940s through the '60s, The Van Dyck was a hotspot for nationally renowned jazz musicians. It was a gathering place for the greats, and that legacy hasn’t been forgotten. In fact, it’s alive and thriving.”

Photo credit: Tom Miller

Metroland thing too, if that's okay.

EH: Yeah, that's fine.

JS: So my brother and I worked at Sundazed Music, a record label down in Coxsackie. We were living in Albany, seeing amazing bands at the clubs at the time — QE2, Bogeys, wherever — both local and touring acts. And we were really interested in working with new bands, not just reissue music. So we started to do that and we realized the only way we might really make it happen is if we kind of took a hiatus from Sundaze and dedicated ourselves full time to Cacophone Records, which is what we named the label. When you're in your 20s, leaving your full time job to do a record label sounds like a great idea, but you kind of run out of food and rent money pretty quickly.

EH: Weird.

JS: Yeah. Who would have guessed? So we had to supplement our income. Needless to say, I mean, Cacophone still to this day is and you can do great looking stuff for Metroland and he needs to hire you.” And I hadn't even put in a resume. I didn't know about this until she told me. But I think two days later I was in Steve's office with Doreen and Nicole Lasher, who was moving into Doreen's position as a supervisor and interviewing me. And I had the job like a day later. I started in the art department in Metroland.

a labor of love. It's never provided a paycheck for us or for the bands I have to give them credit to. And they stick with us anyway. I have to give a shout out at this point to Charlene Shortsleeve. Because we needed some money. She gave me a bartending job at QE2. And my brother ran sound at the QE2. So we had some money at nights coming in, but it really wasn't enough. And one night I run into Doreen Walsh from Metroland. John Bracchi was the art director and Doreen was kind of the art supervisor, manager, really, the head of the art department. And she said, “I'm leaving Metroland to move to New York City. And I told Steve Leon, you're the one he's got to hire. You have the skills

EH: So what was the position, though?

JS: I was just a graphic designer. Nikki moved up and I took her old position. Anyway, so now we're already in the Metroland thing. But that was a good segue.

EH: I couldn't have planned it better.

To hear the entire interview, visit The Mistress of None at themetroland.com/podcasts! For more about Cacophone Records visit cacophone.com!

| preview cooper's cave composer's consortium at the strand theatre, hudson falls by Rory Graham

If you’re anything like me, you may have gotten so swept up in the scenes of Saratoga, Troy, and Albany that you were woefully unaware of the wealth of talent lying at the heart of North Country: The Cooper’s Cave Composer’s Consortium, founded by Catherine Reid and Anthime Miller in 2022. While not only having an amazing name, the consortium is quite the concept: a growing number of local composers (initially five, now around 14) prepare original music which will then be rehearsed and performed for an audience by the other composers.

However, for their upcoming concert on May 11 at The Strand Theatre in Hudson Falls, don’t expect this to be an afternoon of dusty classical music. When asking Lucas Garrett, musician and composer, what genres the audience should expect, he laughingly responded with, “Whatever the hell you can think of.”

For Lucas himself, though coming to the table with an indie-rock background, he mixes gospel, Irish, and bolero in one of his upcoming pieces. At one point, Catherine and Lucas excitedly discussed a fellow composer’s piece that they had yet to hear, making guesses at what it may sound like when fully rehearsed.

Catherine and Lucas, this means both writing new music and rearranging previous compositions.

While at first glance it may appear daunting to entrust a group of musicians with your piece to rehearse in a few short weeks, Lucas is quick to highlight the skill and talent of these individuals.

“There is such a high level of talent in this one consortium that it allows for anyone to basically write whatever the hell they want to, because

different sort. I feel like, ‘Oh, these are my people.’ I love being with the singers and the performers, and there's all this energy, but we're all kind of laid back. I think it's a different mindset or something. I really like that, and it makes for not a lot of stress in terms of the rehearsals.”

While the consortium is built of current composers and musicians, they have their eyes directed towards future artists as well, which is especially important to Catherine as a former Lake George music teacher. “As you get older, like me,” Catherine chuckles, “you just start getting this feeling that you want to pass the torch, and it just feels like a natural next phase of life.”

About the community formed within the lower Adirondack arts realm and Capital Region, Catherine tells me, “I feel like this community has a high percentage of really creative, artsy people. I don't know why they all landed here, but they're all here!” With the group continuing to grow, they’ve gotten creative with keeping the arrangements fresh. For this edition, each composer will be arranging for a quartet. For

of such a high level of facility and the various instruments that we have. Sometimes you have to simplify a part in order to make it work, but there's not much simplification going on here. As a composer, that is very freeing.”

And that camaraderie, that trust and freedom to create, is fostered within the consortium. “I don't usually don't get to work with other composers,” Catherine explains. “You're the composer, and then you work with a bunch of singers or players. So having a room full of composers, in these rehearsals, I'm struck by the fact that we are a

For Lucas, it goes beyond nurturing the next generation and into providing artists, musicians, and audiences with a space for creativity. “In the world’s climate right now, we need art.”

So, whether it is to find relief and reprieve from your existential worries or to simply celebrate Mother’s Day, the fourth edition of the Cooper’s Cave Composer’s Consortium is truly an event that will give you what you need.

The Strand Theatre in Hudson Falls is located at 210 Main Street, Hudson Falls, NY. Concert on Sunday, May 11th , from 3 PM to 5 PM. Tickets: Suggested donation of $20, but no one will be turned away due to lack of funds.

Photo credit: Jennifer Finch

| preview

jenny owen youngs at caffe lena

Even if you’re not necessarily familiar with Jenny Owen Youngs, you’re undoubtedly familiar with her work. In the last ten or so years, she’s become a highly sought after songwriter, co-writing songs as recognizable as Panic! At the Disco’s #1 single, “High Hopes.” Before diving into that realm of her career, she crafted an impressive total of three full-length LPs and five EPs between 2007 and 2015, garnering critical acclaim along the way. In fact, the way she tells it, writing songs with other artists was almost a happy accident.

“Without really meaning to, I kind of took a few steps back from my artist focus,” Youngs says. “I started going to Los Angeles to do songwriting sessions for one, two, three weeks at a time. I was doing so much that I thought, ‘I guess I should just move to LA and see what happens.’ Writing songs with and for other artists came to take up a lot of space in my creative life—to my joy!—but it sort of back-burnered my own stuff.”

The New Jersey-born songwriter ended up spending five years in Los Angeles, preceded by almost a decade in Brooklyn. Now, she calls the coast of Maine home with her wife and two-year-old son. In the last couple years, she’s found time to get back into “Jenny stuff” and has adjusted her approach to releasing and promoting music in order to better accommodate her family and home life—“touring smarter, not harder,” as she puts it.

“[My son’s] existence has greatly shaped the way I approach leaving the house,” Youngs admits. “My favorite is to play a cluster of shows in New England, some of which I can drive home from after the show. Because the second I leave, I just miss my little guy.”

It’s this methodology that leads Youngs to the historic Caffe Lena in Saratoga for the first time on May 30th, as part of a three-date, weekend ‘tour.’ The show is in support of her most recent release, 2023’s Avalanche. Her first record in over a decade, it spotlights a more intimate side of her songwriting, leaning into Americana-tinged arrangements and resonant themes of resilience and heartbreak.

by TJ Foster

“Avalanche was greatly informed by Josh Kaufman (of Bonny Light Horseman), who I just adore so much,” Youngs tells me. “He produced the record and is very much about capturing an energy that can only be found in people playing a song live. Everything started with me and Josh playing through a song together, and me singing. I feel like it just allowed for so much breadth in the recording.”

Youngs’ knack for pop songwriting melds impeccably with the dreamy, rustic soundscape that’s present throughout the record—needless to say, it’s an undeniable match for the Lena stage. While a number of the songs are undoubtedly about the divorce Youngs went through before meeting her now-wife, others zoom out more broadly, examining the things that make us human. Lyrics like, “Something about my savage heart / That wants to tear your world apart / And stitch it all right back together for you…” and “Anybody worth their salt / Knows the arrow hurts worse when you pull it back out…” resonate deeply with each repeat listen.

Avalanche is a stunning addition to an underappreciated discography, one that we expect will be welcomed with open arms for Caffe Lena’s Bright Series next month.

Tickets for Jenny Owen Youngs at Caffe Lena are available at www. caffelena.org.

Photo credit: Josh Goleman

Photo credit: Savannah Lauren

Photo credit: Lisa Czech

| horoscope

by Isavella Vassilakis

Isavella Vassilakis is an astrologer based in the Capital District, the founder of First House Rising Astrology, and co-creator of Planetarium, a monthly astrology themed dance party. You can find Izzy on Instagram at @firsthouserisingastrology.

GEMINI

Your friendships and communities have been a major long-term focus, and on May 2nd , Venus — planet of love but also peace and harmony — meets up with Neptune to imbue inspiration and fantasy, as well as healing. (Think about it: if you can’t imagine something better, can it ever become your reality?) It’s akin to a balm being applied to this life area. This transit could also get you fired up about envisioning a better future. However, it’s best to tread lightly: messenger planet Mercury faces wounded healer Chiron in this same spot on the 24th , meaning challenging conversations, news, or thought patterns may pop up. As a Mercury-ruled sign, it’s important to follow the movements of this planet, and as Mercury moves into Taurus and your mental health sector on the 10 th , your thoughts could become a touch darker; your vibe selfisolation-y. You probably just need rest, especially around the Scorpio Full Moon of May 12th , which falls in your work and health sector. This lunation is tense, but necessary, highlighting the importance of facing a fear or reclaiming your power.

On the 17th , wild card Uranus basks in the Sun’s rays, leaking radical new ideas into your mindspace. Entertain them, especially since Mercury makes the same connection to Uranus on the 24th , spiking the punch with practicality and accessible logistics. The 18th is interesting: Jupiter, which has been in Gemini for nearly a year, makes a fated connection to the lunar nodes. This is a tricky transit to decipher — you’ve experienced rapid evolution and growth over the past year due to Jupiter’s presence in your sign; if anything “pings” your intuition around that time, give it more than passing notice. The tail end of May is full of Gemini energy, as first the Sun, then Mercury enters your sign! The spotlight is on you, and the Gemini New Moon of May 27th is a perfect opportunity to have a good think about your life trajectory. The 30th provides even more insight. Hands on the wheel, you’re steering the ship! The biggest celestial news of May takes place on the 25th: Saturn takes its stern, responsible influence out of Pisces and your career sector,

and into Aries. From now through 2028, the focus will be on establishing better boundaries within your social circles, but you’ll also form more solid, longer-lasting friendships.

|teaser horoscopes

ARIES

May kicks off by reinstating a little romance, creativity, and passion, but the focus soon turns to finances. A whole new era begins once Saturn moves into your sign.

TAURUS

This month is full of drama and you’re the star, with a big relationship-oriented Full Moon, a whole lot of surprise and innovation, and a fresh new start for your finances.

GEMINI

It’s your astrological season and while it starts off a little gloomy, May finishes off with much more fun, chattiness, plus a promising New Moon in your sign.

CANCER

Themes of friends and lovers, community and pleasure, abound this month. The end of May calms down enough for you to hide out in your favorite sanctuary.

LEO

Whether your journey is spiritual or physical, it gets the rose-colored glasses treatment this month. Big time focus on family and career, but you’ll also have a blast with your friends.

VIRGO

Financial themes ease; your career heats up. Exciting spiritual revelations are on deck, but they might not come easy.

LIBRA

The relationship drama continues to unfold, but a whole new cycle begins in late May. Your desire for passive income skyrockets.

SCORPIO

A tense Scorpio Full Moon highlights who you are in your relationships. You’ll implement new routines and get more serious about work and health!

SAGITTARIUS

Don’t place too much attention on your fears, but face them head on. Health and work revelations abound. Plus, a new vibe around romance and fun!

CAPRICORN

You’ll continue to heal ancestral wounds but this month also focuses on fun and romance. Watch out for fights with a friend; make sure it’s worth it.

AQUARIUS

A Full Moon hitting all your most sensitive spots stirs up drama, but the month closes with fun and games…or an auspicious new creative project.

PISCES

The tension finally eases and you’ll come up with creative financial solutions. An ideological Full Moon illuminates lurking tensions.

FOR MORE GO TO themetroland.com/horoscopes/

| april snapshots

a visual journey across the capital district

by Elissa Ebersold, Debi Gustafson, and Kiki Vassilakis

THURSDAY, MAY 8

Tour Albany’s newest neighborhood and get an exclusive look at Downtown’s luxury apartments!

| hot singles

Doctor Baker - “Dream State”

Lucas Garrett - “Loosey Goosey”

“Mad

| live

explosions in the sky

ulster

performing arts center, kingston by Michael Eck

It begins as a rumbling in the gut, evolving into a fluttering of the chest. It ends as a high-pitched drone, almost a shriek, just above the eyes—an explosion in the sky.

Pioneering Austin, Texas instrumental post-rock act, Explosions In The Sky, made its upstate New York debut April 10 at Ulster Performing Arts Center in Kingston, the penultimate date on “The End” tour, named, hopefully, not as an omen, but for its longawaited 2023 disc, End

Guitarist Munaf Rayani, one of three founding string-slingers offered the briefest of introductions at the top of the mesmerizing evening, before falling into “Loved Ones.” Blissfully, no other words were spoken, even by the audience, struck dumb within the womb of sound.

Instead, moody washes of light, cast on a thick fog of stage haze, heightened the sonic blur of each composition, each piece, each foray—it’s hard to call them songs, even though that’s just what they are.

soundscapes from the tyranny of video and allowing what was clearly a roomful of dedicated fans to dream up their own, just above the eyes.

Explosions In The Sky—abetted by Jay Demko on bass and ambient Brian Eno-like keyboards—is nothing if not a guitar band. Even when frontman

But onstage, far more than on record, the group’s secret weapon is drummer Chris Hrasky, whose endless invention provides more than mere support. In Kingston, Hrasky, nearly hidden by smoke, offered lift and even humor, dividing each section the way a Romantic composer—a longhair with a baton—might.

“Instead, moody washes of light, cast on a thick fog of stage haze, heightened the sonic blur of each composition, each piece, each foray—it’s hard to call them songs, even though that’s just what they are.”

Photo credit: Debi Gustafson

“Catastrophe and The Cure,” “Six Days at the Bottom of the Ocean,” “Your Hand in Mine.” All conjured mind pictures. The group, a quintet for touring purposes, was birthed 25 years ago into a post-MTV world, freeing its driving, yet elegiac

As a word, journey has taken on a new age connotation that makes it difficult to employ without a wink, but, at UPAC, Explosions In The Sky took participants on a journey. No need for allusions to jazz. This is not improvised music,

Michael James switches to bass, in his hands the instrument divides its time between a Peter Hook lead voice and a thrashing Lemmy Kilmister percussion.

and it is certainly not—let us count our blessings—fusion. It does, however, share an emotional intensity and a rhythmic drive with the latter.

Fellow post-rockers Godspeed You! Black Emperor are more visceral, political and darker than Explosions, but both groups share a cinematic sense of arc, of storytelling at high volume.

Nowhere was that more evident than in show closer “The Only Moment We Were Alone,” which built, wave upon wave, to a shuddering and abrupt climax, a single giant, stomping chord.

Then the band was gone, with no encore. And that, my friend, is how to put on a show.

Photos by Brooklyn Zeh

joywave at empire live, a fever dream in blue pajamas by Adem Jones | live

A rotating sleeping cat. A neon sign flashing Permanent Pleasure , matching navy blue pajamas. In the world of Joywave, these aren’t gimmicks. They’re mood, metaphor, and mission statement all at once.

On April 17, the Rochester-bred alt-rock band returned to Albany’s Empire Live with a set that was as visually surreal as it was sonically tight. The show was a celebration of their latest album, Permanent Pleasure, which felt like a lucid dream shared by several hundred strangers in the heart of the city.

Opening the night was Little Image, a Dallasbased trio with a sound that sits perfectly between stadium-sized ambition and bedroom-pop introspection. They performed a ten-song set that took us on a rollercoaster ride of emotions. Tracks like “Novacaine” and “The Pressure” scratched the itch in my brain – funky instrumentals, smooth vocals, and something for me to two-step to.

The entire band’s energy was boisterous enough to fill a stadium, so in an intimate venue like Empire Live, it was off the charts and infectious.

Joywave took the stage shortly thereafter wearing navy blue pajamas; their silhouettes backlit by the soft glow of a sign bearing the phrase Permanent Pleasure. Behind them, a giant cat – curled into itself and slowly rotating while watching over the set like some dreamworld guardian. It should’ve been absurd. Instead, it felt weirdly comforting. As if we’d all wandered into a very stylish fever dream together.

But dreaminess didn’t mean detachment. From the moment they opened with “Scared,” Joywave made it clear that this would be no sleepy affair. The band tore through a 17-song set with laser focus and high energy, walking the tightrope between humorous and heartfelt with their

signature confidence and fun delivery.

“Buy American” hit especially hard; maybe I’m biased because Cleanse is my favorite Joywave album, but hey, sue me. Midway through the set, tracks like “Somebody New” and “Funny Thing About Opinions” turned the room into an echo chamber, fans shouting every word as shimmering lights cut through the haze.

However, a major standout was “Swimming in the Glow.”; that song really encapsulated what the night was all about. There was a weightlessness to it where everything seemed to coexist and synergize. Everything slowed down and it was like confirmation that all was alright. It felt so personal and so real; another one of those concert moments that gives you chills to reflect on.

Frontman Daniel Armbruster remains one of indie rock’s most compelling figures, equal parts deadpan philosopher and chaos agent. His dry humor kept the crowd laughing, especially when he brought up Albany’s apparent curse on their tour vehicles.

“When we first came here in 2023, a city bus hit our tour bus,” he said, smirking. “And now tonight, a city bus hit Little Image’s trailer.” Groans and laughter echoed across the room. Really making a name for ourselves here, aren’t we, Albany?

That’s the thing about Joywave: beneath the surrealism, irony, and jokes, there’s something deeply human at the core. Their music has always walked a tightrope between apathy and emotional urgency, balancing a refusal to take the world too seriously and desperately needing it to matter.

Photo credit: Elissa Ebersold

Photo credit: Elissa Ebersold

| theater

five questions with caleb lee by Patrick White

There have been many, many high school and college shows the past couple of months and while the emotional, social and educational benefits of performing in any play or musical is readily apparent, it’s also natural to wonder how many students have an ambition to perform as a career and what kind of opportunities are out there for them.

Caleb Lee is a terrific performer who I’ve seen in many productions at UAlbany and Playhouse Stage. It was great to catch up with him recently as he sails the seven seas pursuing (and succeeding!) at making a living as a performer. He is currently on a world cruise as a featured performer with Norwegian Cruise Line. I don’t know if I’ve ever spoken to anyone about this job; it was a real education.

Patrick White: Tell us everything about performing on a cruise ship. How did you hear about this and audition for it?

Caleb Lee: I honestly didn’t know very much at all about cruise ship performing throughout my theatre education. It’s not a career path that’s touched upon much. I knew that it paid pretty well and that you got to travel for free, that’s pretty much it. Upon graduating, I planned on going back home to Queens to try the whole theatre in NYC thing. I was looking through Actors’ Access and came across two auditions.

One was for Princess Cruise Lines and the other NCL, both looking for “Mainstage Vocalists.” I submitted to both to eventually get an invite to come in and audition in-person. These were going to be my first real in-person auditions ever. I didn’t know what to expect or how things would go besides what my fellow peers would say or what people post online. First, I attended the Princess audition. The whole process was maybe

15 minutes long.

The second audition for NCL was much different –a whole waiting room of young eager performers and I was one of the last to go. Originally people were singing two songs but they only had time for me to do one. I sang “Vienna” by Billy Joel and they asked me to stay for a mover’s call, which I was excited about.

We were given around 10-15 minutes to collect ourselves to dance and then we began learning a latin combo which we then performed in small groups after learning.

After the mover’s call, they sat us down to give us the next steps and the time frame in which they would contact us if they were interested. I didn’t hear from the company until about a month later when I was offered a contract.

PW: What’s the show you’re doing, how often do you perform and what do you love about doing it?

CL: The amount of shows, what shows you do, and how often you perform them varies from ship to ship. I’m currently on the Regent Seven Seas Mariner which has a total of four mainstage shows (45 minute full production shows), and two bumpers (15 minute full production medleys). We perform each mainstage show at least once per cruise and bumpers whenever needed. Currently, we’re doing a world cruise, which means the cruises are much longer, averaging at around 20 days per section.

Contemporary music), Broadway Unplugged (Broadway songs you know but re-genred to a more folky acoustic sound), and Blazing Boots (sexy cowboy rock show is the best way I can explain that!). Our two bumpers are Fiesta Caliente and ABBA.

I love the variety that this ship’s shows have. I feel

The shows on this ship have a great variety. We have Divos & Divas (A tribute show of sorts for artists like Stevie Wonder, Elton John, Lady Gaga, Dolly Parton, etc), Tuxedo (A jazzy show split into three sections of Rat Pack, Swing, and

it’s a nice challenge vocally and helps me grow as a performer in that way. Also, being able to perform while also travelling the world is pretty frickin’ cool.

PW: What’s the biggest challenge of performing on a cruise ship?

CL: I’d say my biggest challenges are two things. One, you aren’t in control of the environment you live in, whether that means the foods you have access to, or the air quality or temperature of different places you’re in. Especially from a vocal/performing perspective, it can be hard to maintain the same quality of vocal performance while experiencing humid days and then extremely dry, cold days.

The second challenge is being so far away from all of your relationships— family, friends and partners. Ship life is a thing of its own and it’s difficult being so distant for such long periods of time. This current contract for me started in February and ends in November. So being on land or at home for three months of the year can be jarring especially when you’re existing on a whole other plane of existence.

PW: What do you do with your down time?

CL: My downtime when I’m not performing or have side duties, on a port day, would usually consist of me exploring the port I’m in for the day, trying new foods, and meeting new people. On a sea day, I brought my video game consoles as well as the Hobbit and Lord of the Rings books that I hope to finish.

PW: What is a play that changed your life and how?

CL: The play that changed my life was Spring Awakening. It was my first real theatre show as a freshman in college while I was a music major and didn’t know much about theatre. The music and the story sparked my interest in musical theatre and eventually pushed me to pursue it full time.

join erin while she records her next comedy special - a follow up to 2023's Uncle Ernie

condoms for PIV sex, which might also help me to talk about it with my primary partner. Help a girl out who wants to raw dog it sometime soon?

Wants A Penis

You and your partner agreed to one very explicit rule — good on you both for making the rules clear — and now you want to renegotiate that rule. It’s going to be a complicated conversation, WAP, and you may not get the answer you want right away (or at all), but renegotiating the rules shouldn’t be against the rules.

Here are my thoughts on condoms and PIV sex: Seeing as abortion has been banned or heavily restricted in more than half the states , and seeing as Republicans are right now working to roll back access to both medication abortion and birth control, anyone with a working fleshand-blood dick who wants to raw dog a casual sex partner — straight guys, bi guys, pan guys, non-binary theys, homoflexible gays, whatever — should get a vasectomy before those are banned. Now more than ever, men and other dickhaving AMABs need to ejaculate responsibly, in the immortal (and viral) words of Gabrielle Stanley Blair, aka “Design Mom.”

In fairness to the men and other penis-having people you’ve been with, WAP, it doesn’t sound like you’re being pressured into ditching condoms by selfish or inconsiderate dicks. You’re the one who wants a raw dogging — for your own reasons, for your own pleasure — and you’re reassessing the risks for your own sake. So, it’s time to reopen negotiations with your partner about the condom-on-every-dick rule you agreed to when you first opened your relationship. You don’t want to ditch condoms entirely — that would be buts — but you would like to be able to make exceptions for trusted, regular partners who’ve been tested recently and maybe aren’t sleeping with anyone else right now.

Now, a negative STI test result doesn’t confer immunity. Someone could pick up an STI after testing, WAP, and if they slept with you before they started showing symptoms, you could wind up infected too. That might be an unacceptable risk in your partner’s eyes… but it might not be. If your partner is having sex with cis men, he’s probably encountered guys who don’t want to use condoms — or refuse to use condoms — because they’re on PrEP and DoxyPEP. For all you know, WAP, your partner may want to renegotiate the condom rule just as badly as you do.

P.S. Gay guys? They’re coming for our PrEP too.

I’m a lesbian in my early twenties who just started experimenting with anal with my girlfriend. It’s been great fun! However, I have discovered that my ass gets wet, producing sizeable quantities of slightly yellow slippery discharge — enough that a bit sometimes squirts out when I fart! Everything I have read says that the rectum should be fairly dry. What could be the root of my self-lubing asshole?!?

We’re Exploring This Anal Stuff Seriously

Oh, I love a good, ol’ fashioned sex question: If you’re using as much lube as you should as an anal newbie — and you should be using a lot and then adding more — some of that lube is gonna get so far up inside you, WETASS, that you’re not gonna be able to crap it all out when you’re done. Which means some residual/ leftover lube is gonna work its way down and out over the next twelve hours or so. So, if you’ve only noticed your ass producing slightly yellow slippery discharge (technical term: santorum) on the days you’ve done butt stuff, that’s probably just lube leaking out of you. But if you’re noticing discharge even on days when your girlfriend hasn’t been plowing your ass, that could

be a sign of a sexually transmitted infection, WETASS, and you’re gonna need to talk to a doctor about that, not an advice columnist.

Got problems? Yes, you do! Email your question for the column to mailbox@savage.love!

Or record your question for the Savage Lovecast at savage.love/ askdan!

Podcasts, columns and more at Savage.Love

caffelena.org or erinharkes.com

Matt Griffin

deluke

zan strumfeld

| listen here

Carm Grasso Seed of Doubt album review

When reviewing an album, I always like to go in without any previous knowledge of what I’m about to hear. It gives me the opportunity to present a genuine first reaction to the music. When sitting down to listen to Carm Grasso’s latest release, Seed of Doubt, I was immediately excited to review an instrumental album.

The first few seconds of Seed of Doubt come in like a ton of bricks in the form of “Rational Lies.” It’s as if you are walking into the middle of a thrash metal song right at the point of a brutal breakdown. Grasso’s guitar work on this first track is a masterclass in instrumental metal. While it

would have made sense to showcase squeals of pinch-harmonics and other staples of the genre, Grasso instead turns the lead guitar into a vocalist. The bends and wails bring a true sense of emotion to the track, and you can almost hear words being formed within the notes.

Speaking of notes; not a single one goes to waste on these songs. That is evident on “1000 Years,” as the guitar once again makes you feel like you can understand exactly what it is saying without a single word. While “1000 Years” is a little slower, the impact feels just as great as some of the faster tracks on Seed of Doubt, with its soulfulness stepping to the forefront. The title track, “Seed of Doubt,” appears about halfway through this album and acts as a perfect peak to the collection. Those heavy metal pinchharmonics are all over this track and the fingerwork displayed is fast and accurate, without ever turning to repetition. It’s no wonder that it is the title track and may be my favorite on the album.

by Rick Shiels

by Andy Scullin

There is a very welcome tone shift in the track

“Recuerdos” as the electric guitars are set to the side in favor of acoustic and even nylon-stringed guitars. This standout gem delivers a competent take on a Latin-flavored groove, while staying true to Grasso’s heavier roots. It is short, concise, and clearly designed to make the body move.

“What the Funk” is another genre-bending track. This time adding in elements of funky bass and wah-driven guitar before ascending to a full-on metal assault, complete with some of the fastest solo work on the record.

The album closes out with the mellow “Waves & The Sand” which is a more stripped down song from the earlier tracks on the album, but makes for a perfect end to Seed of Doubt.

The production on this record is bright, clear, and perfectly leveled. The nuances of every instrument have a place in the mix and the result is a brilliant instrumental studio album.

Photos

| what's updowntown

a new ripple effect by Georgette Steffens

Have you ever driven past a billboard advertising the current lottery jackpots and daydreamed about what you would do if you were a lucky winner? My family and I have spent many car rides imagining what it would be like. In some ways, similar discussions are happening now across Albany and the Capital Region with Governor Kathy Hochul’s recent game-changing announcement.

Earlier this year, Governor Hochul revealed a historic $400 million investment in downtown Albany during her State of the State Address. To clarify, $150 million is slated for the New York State Museum, and another $50 million is earmarked for reimagining Interstate 787. That leaves an unprecedented $200 million for “unspecified projects Downtown” geared toward economic development within a mile radius of the New York State Capitol.

There has not been an investment of this scale in the core of Albany since I began working here. The closest in recent memory is former Governor George Pataki’s Albany Plan in the early 2000s, where he prioritized placing state office buildings and workers where they would aid urban revitalization, moving them from an uptown Albany campus to the region’s downtowns. This investment resulted in the development of the first new office buildings in our District in over 12 years: the Office of the New York State Comptroller, the Dormitory Authority of the State of New York, and the New York State Department of Environmental Conservation.

The Albany Plan sparked a new era of revitalization for the Central Business District. Like a ripple effect, more development took hold, and thousands of new employees populated Downtown. Small businesses emerged to support the influx of daytime workers. This transformation—coupled with the success of the MVP Arena (then Pepsi Arena)—resulted in the groundbreaking of several high-end restaurants. Vacant and underutilized buildings were converted into contemporary apartments, creating Albany’s newest neighborhood. The ripples continued to grow.

So, to say I have high hopes for this new investment is an understatement. If three new state office buildings could impact such consequential change, imagine what Governor Hochul’s proposed $200 million could

do for the capital city. From redeveloping eight acres of vacant land (Liberty Square) to renovating anchor buildings like Kiernan Plaza to supporting public infrastructure for our public parks to creating brand new tourist attractions, I am daydreaming of a new wave of urban renewal with far greater reach. One that will affect future generations, like my daughters, who already have a passion for downtown Albany.

The lottery is a game of chance, but this investment is almost certain. I look forward to updating you on the public engagement process for the State’s investment as well as all things Downtown in this Metroland Now column. For live updates on this initiative and other projects, follow the Downtown Albany Business Improvement District’s social channels.

Georgette Steffens has been the Executive Director of the Downtown Albany Business Improvement District for over 15 years. She also served as an Economic Developer for the City of Albany, with her main focus on downtown Albany and the city’s waterfront.

| literature

sophie kemp on her debut novel, paradise logic by

Although she didn’t set out to write one, author Sophie Kemp’s debut, Paradise Logic , has developed a reputation as an internet novel. That might have something to do with the cover: an anime brunette, topless in the Garden of Eden, holding a piece of forbidden fruit with a chunk already eaten.

If that makes the book sound ridiculous, that’s because it is—at least on the surface. During a phone interview in the middle of her book tour, Kemp offered an elevator pitch: “It’s about a young woman named Reality who wants to be the greatest girlfriend of all time. And, to do that, she goes on an epic quest that sometimes involves the aid of an experimental psychopharmaceutical drug trial.”

In the process she wanders Paradise (a.k.a Gowanus, Brooklyn), studies her favorite magazine (Girlfriend Weekly), and acts in the zany, hyperfeminine manner of a 2020s e-girl. Still, while Kemp’s madcap sense of humor is evident even from the book’s jacket-copy, don’t confuse it for a detached, Gen Z sort of irony.

“I’m really quite an earnest person, and felt a lot of contemporary fiction was lacking in that. I love the kind of David Foster Wallace, big sincerity thing. I wanted to write a character who really bad things happen to, over the course of the book, but she just kind of loves being alive all the same.”

Kemp, who grew up in Schenectady before moving to New York City to work in magazines, drew from many of her own experiences in her early twenties when creating Reality’s world, though always refracted through the funhouse mirror of the novel’s over-the-top style.

“I didn’t set out to write a comic novel,” Kemp told me. “I was just writing a novel. Though all the

writing I really like is funny. And I don’t mean, like, ha-ha funny; I love writers like Donald Barthelme and Kafka who are comic geniuses, but aren’t necessarily telling ‘knock knock’ jokes.”

Kemp self-identifies as a literary nerd, preoccupied with “sentence level acoustics.” But the novel’s style isn’t all in its prose. There are illustrations and maps—drawn by Kemp herself—interspersed throughout. And at a key few points in the plot, standard layouts give way to giant, one-word pages, printed so large you have to flip through

Martin Dolan

of corporate publishing, Kemp shrugged and said it wasn’t really a problem. “My editor has really been such a champion of my work and has never been like, ‘can you make this less weird?’ So, yeah, I feel really lucky about that.”

“While Kemp’s madcap sense of humor is evident even from the book’s jacketcopy, don’t confuse it for a detached, Gen Z-sort of irony.”

a handful to read the message, as if coming from the booming voice of God.

“The book you see is the manuscript I sold [Simon and Schuster],” says Kemp. “The illustrations haven’t changed at all. They’re just higher quality scans.”

When asked whether it was difficult to advocate for her unapologetically weird book in the world

While the novel’s plot clearly riffs on a familiar, New York City-based coming-of-age narrative, Kemp makes sure to sprinkle many Capital Region Easter eggs for sharp-eyed readers. At one climactic point in the novel, the narration abruptly jumps into a flashback, to a time before Reality – as we’ve come to know her – existed. In her place, there’s a short scene of an idyllic childhood, nestled in the “foothills of the Adirondacks,” before all the Gowanus and girlfriend-induced mania takes over her life. I ask Kemp about this detail—whether as opposed to the hectic craziness of New York City, upstate is supposed to represent the “real” world—and she smiles.

“It’s supposed to be, like, Queensbury,” she says. “Which, I might add, I am not from.” I apologize for projecting her biographical details onto her character, and she laughs.

“But I definitely included [that scene] because I wanted to show that Reality is somebody who has a past, like all of us do. I’m from upstate New York and it’s really important to me that I am from there. It was a really special—and complicated—place to grow up. In incorporating that autobiographical element, the idea was that it would ground Reality.”

Which might, in this moment, be a pretty lofty goal. But it’s refreshing to see an energetic young talent like Kemp give it such an earnest try.

Photo credit: Daniel Arnold

| literature

backstage pass of a lifetime: book review of bob belber's life with the stars by Erin Harkes

Who among us hasn’t been captivated by a little celebrity gossip? It’s a guilty pleasure we all indulge in—whether we admit it or not. We find ourselves scrolling through sensational headlines, drawn in by the escapades and scandals that we wouldn't dare mention in polite company. There’s an undeniable thrill in witnessing the tumultuous lives of the rich and famous, as it somehow tempers our envy of their fame and fortune with a sense of satisfaction in their struggles.

But what happens when celebrity stories come from a source known for their positivity and kindness? This intriguing contrast is precisely what Bob Belber delivers in his memoir, Life With The Stars. An entertainment industry veteran and the current manager of MVP Arena in Downtown Albany, Belber has seen it all. Whether you know the venue as "The TU," "The Pepsi," or "The Knick," one thing is clear: his stories from behind the scenes are nothing short of captivating.

Unlike typical celebrity gossip rife with scandal and negativity, Belber’s accounts are infused with warmth and gratitude. Each anecdote, regardless of the circumstances, is recounted with a fondness that feels both genuine and refreshing. His remarkable patience and humor—akin to the comedians who have shared the stage with him—shine through, as he opts for reverence over rancor. Rather than seeking to tear down celebrities, he expresses appreciation for each interaction, revealing how these encounters have enriched his life. The joy with which he shares these tales is truly infectious.

Among the standout moments is an unforgettable meeting with the legendary comic Rodney Dangerfield, who famously wouldn’t budge from his bathrobe until he received tens of thousands of dollars in cash for his performance. This and other stories reveal not just the eccentricities of fame but also Belber's unique ability to find humor in every situation.

"I don’t think it’s necessary to be negative towards an artist for whatever reason or something that they did. You can explain what happened, and the facts are funny enough on their own. There’s really no need to embellish," Belber affirms, and he certainly embodies this philosophy throughout his memoir. Even when recounting the chaotic incident involving Antonio Brown and the Albany

Empire—which involved the Sheriff, the FBI, blackmail, extortion and even homeland security! —Belber remains diplomatic and composed. Then, just a handful of pages later, he sweeps the reader into a heartwarming story about a concert for the troops with Vince Gill and Amy Grant, which he describes as "the best thing I’ve done."

Belber’s celebrity encounters didn’t begin with his professional career; rather, they were sparked during childhood. At just ten years old, while accompanying his father on a fishing trip, he stumbled upon a very naked Rolling Stone and his entourage having a beachside romp. Who knew that ten year old would go on to play ping pong with Michael Buble, share whiskey (but no weed) with Willie Nelson, and shoot pool with Mick Jagger!

Overall, Life With The Stars is a delightful and entertaining read, perfect for those seeking an exclusive glimpse into the vibrant history of the Capital Region's largest entertainment venue. With a heartwarming narrative style and a refreshing perspective on celebrity encounters, Belber leaves us eager for more—perhaps even a volume two in the future.

To grab your copy, visit lifewiththestars.com today! And for an in-depth conversation with Belber, be sure to tune in to The Mistress of None Podcast at themetroland.com/ podcasts.

funds for flights, Nitty Gritty drove to Charlotte, NC for the event. The team comprised four members, with Mojavi as the coach and Job humorously adopting the title of “slam master,” a role he never particularly relished. The following year, the Albany team journeyed to Boston, and after a year off, they competed in Oakland.

However, PSI imposed many rules, making it challenging to find local volunteers willing to commit significant time and effort. In 2016, Job stepped down, passing the baton to Amani Olugbala, and the team adopted the name Cap City Slam. While PSI struggled with mismanagement, regional competitions like NorthBeast in New England and Southern Fried in the South persisted. Job observed, “Even when the governing body went away, the community still stood.” He emphasized that the artists were motivated by their craft, not merely the upcoming tournament: “Remembering why they put pen to paper in the first place.”

Sadly, the disbanding of PSI, compounded by the pandemic, halted local slam poetry activities. Some attempted virtual engagement, but it appeared the art form might never return without the right people and energy to invigorate it.

Before the pandemic fully set in, a young woman named El, who had been writing poetry since the tender age of ten and attending open mics since thirteen, decided to participate in a slam event. She recalls, “I remember so vividly my first slam because I walked in and I was so scared.” Upon her entrance, the organizer looked at her and proclaimed, “You look like you’re going to be good. I'm excited to hear you.” EL replied, “I'm not gonna perform. I’m just here to listen.” However, she soon felt a pang of jealousy watching others perform and eventually relented, only to win the event. “I won $12 and held on to

it for a year and a half until I had to spend it.” She was instantly hooked.

When the anxiety surrounding the pandemic began to ease, EL became a board member at Cafe Euphoria. Needing ideas for events, she decided to revive slam poetry which included hosting an open mic, designed to teach budding poets how to slam, before they reached a competitive level. “Slam is a competition, so there are a lot of spaces that are very serious and competitionbased,” EL explains. “That’s perfectly fine in larger cities, but we didn’t have that here. Instead, we could focus on developing poets without the competitive factor and introduce that later, allowing people to grow in this space—whether they continue with slam or just develop as writers.” This nurturing environment was crucial and, thankfully, Café Euphoria provided the perfect backdrop.

Fast forward to Friday, April 18th. Finally bearing witness to one of these events, I watched brave, emotional individuals take the stage one after another, exposing their vulnerabilities and engaging the audience with their powerful words.

As the evening unfolded, poet SXR GRIPP took the mic, steadying himself before delivering his captivating piece, “Ezinon,” which held the audience in rapt attention and elucidated why he bears such a powerful moniker. Another poet, Amanda Pelletier, began a piece referencing Family Guy, momentarily leading the audience to expect humor. But as she progressed, she delivered a line that drew audible gasps from those present: “It has to make you feel better about yourself but degrade me as the whole woman who survived you.”

Their performances were an affirmation of the rich, evolving poetry scene in the Capital Region—a testament to the resilience and creativity that thrives despite challenges. The spirit of slam poetry in the area is more than just competition; it’s about community, growth, and the powerful act of sharing one's voice.

I was fortunate to be seated next to D. Colin, a prominent figure in the poetry scene, introduced with a sense of reverence that acknowledged her presence. Colin, who has made the Capital Region her home since 2007, is a versatile artist whose talents extend beyond poetry. Attending merely as a witness that evening, she humbly embraced her role rather than taking the stage. For newer poets or even casual attendees, this was both an honor and a privilege.

Colin was part of the original slam team that competed nationally, and her presence underscored the caliber of talent emerging from this area. “This region has poets who are

known nationally and internationally because of the slam team and the scene that developed here,” she noted.

Colin, a wildly talented, multihyphenate artist (that we intend to explore in a future issue) has certainly helped facilitate that scene by hosting open mics, bringing in poets from other cities and a wealth of knowledge along with them. “I literally grew up in Connecticut, but as a creative? As an artist? I grew up here in the Capital Region.”

I left the event feeling inspired as not only an artist, but also as a member of this thriving scene, grateful to have been introduced to yet another facet of it, and looking forward to the next lesson. Eternally grateful that talent of this caliber chooses this area as their home.

I went to cover an event and instead I uncovered a cafe and a community which I will revisit, both in print and in person.

Photo credit: Debi Gustafson

| comedy

ask ryan by Ryan Shanahan

For decades, the world of newspaper advice columns has existed exactly and perfectly fine without my involvement… until now! With help from Upper Hudson Carrier Pigeon & Sons, I was able to establish contact with a woman who struck out at last year’s Yankee Swap –to her chagrin, she ended up with a copy of my book Sweating The Petty (And Other Working Titles): Adventures in Internet Scambaiting ((available for purchase at Paper Moon in Troy)). Her letter had absolutely nothing to say about how much she loved my work, but I’m sure that will be comprehensively addressed in the thank you card she’ll send after I change her life. In advance, you’re welcome, Ellen.

“The key to impactful and meaningful advice is brevity. That’s it. You don’t have to go on and on. Just keep it nice and short. Nice and short and sweet and simple.”

-Ryan Shanahan as Winston Churchill Dear Ryan,

I have worked in my company’s human resources department for thirteen years. For the last two I have been secretly in love with my boss. I’m in my late 30’s now and feel that, while dedicating my life to my work has paid off in many ways, I may have let some really important years slip by. The few friends I have left from

college are in loving relationships and have children. Although it’s an honor that their little one’s view me as their “aunt,” I can’t help but feel out of place.

My boss (let’s call him Pete) is a really great guy. He’s been with the company for about as long as I have and up until two years ago our relationship has been purely professional. Since it’s a large company, the opportunity to see one another outside of specific work-related functions was few and far between, but over time I’d notice him around my department with more regularity. It started as seemingly innocuous check-ins, once, maybe twice a week, but rarely in relation to work; it really was just to stop by and say hello. Not that there was anything wrong with that, it was pleasant and always welcomed, but this guy oversaw the management of hundreds of people and in my experience that responsibility comes with a schedule too tight to squeeze in the odd “good morning.” But that’s what everyone liked about Pete. In the corporate world the people in charge might as well not have faces. You know them by name and the furthest you’re able to peek into their personality is in their signature at the bottom of company newsletters. Pete was more than that. He was a wave in the hallway, a

smile in the breakroom. People liked that. I liked that.

Fast forward to two years ago. I can count on one hand the amount of times I have been absent from work since I was hired. I’m generally quite healthy and I never saw the appeal of the “eat, pray, love” style solo vacation, but that March I came down with the flu to beat all flus and was out of work for a full week. When I came back to the office the following week I found a note neatly folded on my keyboard that read,

Sorry I missed you. Hope you feel better!

-Pete

“I missed you.” I read it again. There was always a warmth to Pete, but something about this felt different

and for the rest of the day I barely got any work done.

Ever since I haven’t stopped thinking about him. I imagine a life with him, a real life. Obviously my position at the company complicates the feelings I’m having, but I guess what I’m asking is do you think that it’s worth it? Should I throw caution to the wind and potentially damage everything that I’ve worked for to gain a shot at the life that I never knew I wanted before it’s too late?

Sincerely, Ellen W.

Dear Ellen, Nah.

Sincerely, Ryan Shanahan

Comic by: Danatoon

Comic by: Jaye McBride

Comic by: Michael Slayton

| ask becky

by Becky Daniels

Becky Daniels is the Founder and Chief Romance Officer of Micropolitan Matchmakers, the first locally-based singles event and matchmaking company in the Capital Region. Each month, Becky tackles reader questions about dating and relationships. Submit your question to askbecky@themetroland.com.

Q: Dear Becky: It’s been five years since my divorce, and my focus has been entirely on raising my wonderful children. They’re becoming more independent now, and a little voice inside me is whispering that maybe, just maybe, it’s time for me to start dating again. The thought is both exciting and utterly terrifying. Where do I even begin? The dating landscape feels completely foreign after all this time, and honestly, the idea of putting myself out there again fills me with anxiety. Any advice on how to dip my toes back into the dating pool without completely losing her nerve? - Lost in Loudonville

Dear Lost:

I talk to people all the time who are just getting back into the dating pool and who feel just as anxious. It feels like there are so many unwritten rules about dating - from what apps are best to how to communicate - it’s overwhelming.

A great place to start is some self reflection and taking stock of who you are right now, what you’re looking for in a partner and what your relationship goals are. If you haven’t dated in some time, you’ve evolved and my guess is that what you’re looking for has to! The things that were so important to you before meeting your ex are likely very different now. It’s important to know what your relationship goals are (are you looking to just have some fun, or are you interested in a committed relationship? Do you want to get married again? Do you want to live with someone again?).

Once you have a clearer sense of who and what you’re looking for here are a

couple of things you can do to start:

Tell your friends. You don’t have to shout it from the rooftops, but sharing with people that you trust not only helps you create a supportive environment for yourself, but you never know who might know someone to introduce you to!

Get out of your house (and your comfort zone!). Find local events, classes or workshops that are interesting to you (bonus points for singles events!).

Volunteer with a local organization that serves the community. Filling your calendar with things that are interesting, fun or service-oriented will make you feel good about yourself, give you lots to talk about on dates and offer lots of opportunities to meet new people with similar interests and values.

Choose ONE app. I’m all about people meeting in real life, but a dating app can be helpful in increasing your circle of potential matches and offer great practice in conversations. Don’t jump on to all of them at once (you’ll go crazy), pick one and don’t spend more than 1520 minutes a day. When you do come across someone interesting - suggest an in person meet up as soon as possible and see what happens!

I know it feels like a lot. As corny as it may sound, living your best life is the ticket. Do fun things and talk to people while you do them! Your next match is going to be out there looking for you, too!

Q: Dear Becky: I feel silly writing to you, to be honest, but I think my friends are getting sick of me talking to them about

this. I was recently broken up with after only a few months, maybe not even long enough to feel this kind of heartache, but I’m really struggling. It ended so abruptly, and even though it wasn’t a long relationship, I really thought this was it. Now, even the thought of trying to date again feels completely overwhelming. It’s like I’ve used up all my hope and enthusiasm. How do I shake this sad-ness and try to move on?

- Broken in Bethlehem

Dear Broken:

I’m so sorry that you are going through this. It really doesn’t matter how long you were together - when a relationship ends you not only lose the person that you were feeling so strongly for, but you also grieve the loss of the future that you were building in your mind for the two of you. Sadly, it sounds like you weren’t on the same page and that can be really crushing.

I always advocate for giving yourself a bit of space to feel your feelings - it’s OK to give yourself space to be sad. But, if it’s beginning to feel like a hole you can’t climb out of, here are a couple of things I recommend:

Delete all of your texts, emails, and voicemails to and from that person. In this digital age it’s easy to save everything, which allows you to re-read and relive the entire relationship looking for clues or wondering if you could have done or said something differently. Stop that! Rehashing the past will not change the present and will only prolong your ability to move on.

Cut off all communication. If this person has been open to continue communication or you’re attempting to “stay friends” - stop that, too! Maybe down the line you can be friends, but you need to erase this person from your life for a bit to let your brain and body do a reset. Trust me. You will not be open to new opportunities while you still feel connected to your past.

Go to therapy. I know therapy can be expensive, but take a look at some of the online options that are working to make it more accessible. Friends are great, but therapy will give you space to work through where you’re stuck so you can look to your friends to help you start having some fun again.

Grab a few friends, get dressed up and go somewhere where you can take photos (doesn’t have to be a club - a nice dinner or brunch our works!. You don’t have to get back on an app immediately, or ever. But, reminding yourself that you are sexy and desirable is an important step in the process. (This advice is for everyonenot just women! We don’t tell men it’s OK to go out and take photos while you look and feel good. That’s a shame…and it’s why there are so many dating app photos that consist of bathroom selfies or men holding fish.)

It does take time to get over a break up, but these points will help you move things along and get back to yourself. Detox your body and mind from your ex and then fill that space back up with taking great care of yourself and having a DAMN good time! Living well is always the best revenge!

| may events

Ellen Pieroni & Encyclopedia of Soul Mercer Patterson Quintet Heard | Emily Barnes Catfish In the Sky Cold Chocolate Golfstrom | Jacob Shipley Sara Milonovich & Greg Andersen | Guitaro 5000 Carling & Will | Mr. Moose & Friends | Rolling Pebbles & More!

| crossword 518 FUN

ACROSS DOWN

3 Former Troy Mayor that you're probably gonna get wrong only because who can spell that name?

5 NYS Governor from the 50s, not responsible for a decimal system

Note from the editor and puzzle creator, Erin Harkes: Some folks have told me this is too hard. It’s not hard if you’ve read the paper! All of the answers are there! And I don’t just mean the answer key!

10 There was definitely no nepotism when our Rory Graham assigned the interview for this band.

15 The minor league baseball team that plays at 1 Down

6 What people still call MVP Arena 16 This connects Troy and Watervliet and for some reason people pronounce it "congers"

9 What people still call MVP Arena 18 Dutch or Sheriff

1 Longtime senator who had a baseball field named after him after he secured funds for it totally on the up and up

2 Some people pronounce Stewart's this way and I guess it's so rampant they had a debate about it.

4 In December 2010, this former Washington County Courtroom became a theater!

6 Metroland broke the story about this park getting a facelift in time for summer!

7 22 Down is selling it. You wanna buy it?

8 If 12 down is correct, this prominent landmark (and hiking trail) in Schoharie Valley would be part of the face. (don't blow it!)

11 This band was formed in Saratoga and named after the sea in which the lead singer put his feet in while visiting Italy

12 This mountain range is described by some as Rip Van Winkle lying down. Or my dad lied to me.

13 The Van Dyke has this brewery partner

14 The Van Dyke has this food partner

17 This "great" lake is actually a reservoir created to keep the Hudson from flooding in the 20s and 30s.

19 Local band named after not the trunks, but the

20 Our Newsworthy article apolitically discussed how this affects musicians. Just facts. No opinions.

21 If you buy a train ticket to Albany I hate to tell you this is where you'll get off.

22 Owner of 7 Down

23 What people still call MVP Arena

24 This is in Washington PARK and you can see PLAYS there. (this is an easy one, guys)

25 Named for a Dutch city, sitting on either side of the Mohawk, part of the Erie Canal

26 The Hangar in Hudson is moving the fun outdoors for this event in May!

CROSSWORD ANSWER KEY can be found on page 70

| night & day

|art

Albany Institute of History & Art

2/1/2025 - 7/20/2025

Americans Who Tell the Truth

3/29/2025 - 10/13/2025

On the Road to Cragsmoor with Charles Courtney Curran

Ongoing

Ancient Egypt: Ongoing

Ongoing

The Hudson River School: Landscape Paintings from the Albany Institute

Albany Library Pine Hills Branch

12/6/2024 - 5/10/2025

Repeat Play: The Art of Pattern (Art at APL in partnership with Opalka Gallery)

Feibes & Schmitt Gallery

1/25/2025 - 5/11/2025

Odili Donald Odita: A Survey of Context

J.Gernon Picture Framing & Fine Art

4/25/2025 - 6/13/2025, 6:00 PM

The Animal World of Doug Cohn, DVM

R Gallery at Arlene’s

5/2/2025 - 5/31/2025

R Gallery at Arlene’s Member Select Show

The Arts Center of the Capital Region

4/14/2025 - 5/9/2025

Teaching Artist Showcase

|theater

Arts Center of the Capital Region

5/2/2025 - 5/10/2025, 7:30 PM

Thinking Too Loud

4/25/2025 - 5/18/2025, varies Rosie is Red And Everybody is Blue

Confetti Stage, Inc.

5/2/2025 - 5/11/2025, varies Fairview

Iselin Family Studio @ Cap Rep 5/29/2025 - 6/8/2025, varies Eclipsed (bttuny)

Palace Theater

5/16/2025 - , 7:00 PM

The Great Gatsby

Proctors

5/2/2025 - , 8:00 PM Clue

5/3/2025 - , 2:00 PM Clue

5/3/2025 - , 8:00 PM Clue

5/4/2025 - , 1:00 PM Clue

5/4/2025 - , 6:30 PM Clue

5/10/2025 - , 7:00 PM

High School Musical Theatre Awards 2025

5/17/2025 - , 12:00 PM

Barbara’s School of the Dance 50th Anniversary Recital

5/17/2025 - , 3:00 PM

Sister’s Summer School Catechism

5/17/2025 - , 4:00 PM

Barbara’s School of the Dance 50th Anniversary Recital

5/18/2025 - , 1:00 PM

The Dance Studio, MainStage

5/24/2025 - , 7:30 PM

Shade: Hosted by Opal Essence

REP

4/25/2025 - 5/18/2025, varies

Rosie is Red And Everybody is Blue

5/29/2025 - , 4:00 PM

June 08, 2025: Eclipsed (Bttuny)

5/29/2025 - , 7:30 PM

June 08, 2025: Eclipsed (Bttuny)

Steamer No. 10 Theatre

5/2/2025 - 5/11/2025, 7:00 PM

Carrie: The Musical

The Egg Performing Arts Center

4/26/2025 - , 7:30 PM

Pro Musica on Broadway

5/16/2025 - , 7:30 PM

Josh Gates Live!

UPAC

4/26/2025 - , 1:00 PM

MET: Live in HD Le Nozze Di Figaro (Mozart)

UPH

5/3/2025 - , 7:30 PM

The Psychology of a Murderer

5/28/2025 - , 5:00 PM

Opera Saratoga Presents: In a Grove (Saratoga Spa State Park)

5/28/2025 - , 7:00 PM

Opera Saratoga Presents: In a Grove (Saratoga Spa State Park)

5/29/2025 - , 5:00 PM

Opera Saratoga Presents: In a Grove (Saratoga Spa State Park)

5/29/2025 - , 7:00 PM

Opera Saratoga Presents: In a Grove (Saratoga Spa State Park)

|film

Proctors

4/29/25, 7:00 PM

ICFS and Union College Film Studies present: Rear Window (1954)

5/1/25, 7:00 PM

ONE TO ONE: JOHN & YOKO

5/6/25, 7:00 PM

ICFS and Union College Film Studies present: The Birds (1963)

5/8/25, 7:00 PM

Dario Argento’s PHENOMENA

5/20/25, 2:00 PM

Exhibition on Screen presents “Michaelangelo: Love and Death”

5/20/25, 7:00 PM

Exhibition on Screen presents “Michaelangelo: Love and Death”

5/22/25, 7:00 PM

EYES WIDER, EARS WIDER, NOTHING SHUT!

5/30/25, 7:00 PM

DARIO ARGENTO’s DOOR INTO DARKNESS

Spectrum 8

4/24/25, 1:00 PM

Sing-a-long-a The Sound Of Music

4/26/25, 1:00 PM

Who Framed Roger Rabbit?

4/26/25, varies Polyester (1981)

4/27/25, 1:30 PM Polyester (1981)

4/27/25, 4:00 PM Who Framed Roger Rabbit?

4/28/25, 7:00 PM Who Framed Roger Rabbit?

4/30/25, 7:30 PM Polyester (1981)

5/1/25, varies Who Framed Roger Rabbit?

5/3/25, varies The Man Who Knew Too Much (1956)

5/4/25, varies Shadow of a Doubt (1943)

5/5/25, varies The Man Who Knew Too Much (1956)

5/7/25, varies Shadow of a Doubt (1943)

5/10/25, varies Mr. & Mrs. Smith

5/11/25, varies Rancho Notorious

5/12/25, varies Mr. & Mrs. Smith

5/14/25, varies Rancho Notorious

5/17/25, varies Badlands

5/18/25, varies Cat On A Hot Tin Roof (1958)

5/19/25, varies Badlands

5/21/25, varies Cat On A Hot Tin Roof (1958)

5/24/25, varies Grand Hotel (1932)

5/25/25, varies Take Me Out to the Ball Game

5/26/25, varies Grand Hotel (1932)

5/28/25, varies Take Me Out to the Ball Game

|poetry

Claverack Library

5/7/2025, 6:00 PM Writer Wednesday

Hudson Library

4/30/2025, 5:00 PM Writing Workshop

5/14/2025, 5:00 PM Writing Workshop

5/28/2025, 5:00 PM Writing Workshop

La Perla Restaurant

4/30/2025, 6:30 PM Poetry & Prose @ La Perla

5/28/2025, 6:30 AM Poetry & Prose @ La Perla

Mochalisa’s Cafe

5/7/2025, 12:30 PM Midday Write-In

MOPCO

5/4/2025, 4:00 PM Variety Open Mic

Ophelias On Broadway 4/28/2025, 8:00 PM INVOCATION ALBANY POETRY OPEN MIC NIGHT AT OPHELIA’S

Saratoga Senior Center

5/9/2025, 1:00 PM

Saratoga Senior Center Poetry Open Mic

Schuylerville Public Library

4/26/2025, 7:30 PM Poetry Night

SHS Black Box Theater

4/25/2025, 4:30 PM

Youth Poetry Slam

The Fuze Box

4/26/2025, 5:00 PM

You Me and Poetry: My Favorite Song

|comedy

Cohoes Music Hall 4/25/25, 8:00 PM

Nick Dipaolo

Comedy Works Saratoga 4/25/25, 8:00 PM

Tony Dabas & Guests

4/25/25, 10:00 PM Open Mic

4/26/25, 7:00 PM

Tony Dabas & Guests

4/26/25, 9:00 PM

Tony Dabas & Guests

5/2/25, 10:00 PM Open Mic

5/9/25, 10:00 PM Open Mic

| night & day

Bethlehem Middle School

5/4/25, 3:00 PM

Empire State Youth Orchestra: Concertino Strings, Woodwinds, Brass & Flute Choir

Black Bear Inn

4/29/25, 8:00 PM Open Mic

4/30/25, 8:00 PM Karaoke

5/6/25, 8:00 PM Open Mic

5/7/25, 8:00 PM Karaoke

5/13/25, 8:00 PM Open Mic

5/14/25, 8:00 PM Karaoke

5/20/25, 8:00 PM Open Mic

5/21/25, 8:00 PM Karaoke

5/26/25, 1:00 PM NY Players

5/27/25, 8:00 PM Open Mic

5/28/25, 8:00 PM Karaoke

Carl B Taylor Auditorium, SUNY Schenectady

5/4/25, 7:00 PM

Empire State Youth Orchestra: Youth & Repertory Jazz

5/11/25, 3:00 PM

Empire State Youth Orchestra: Wind Orchestra

5/11/25, 5:30 PM Empire State Youth Orchestra: Chamber Music & Fiddle Ensemble

Carson’s Woodside Tavern

4/24/25, 6:00 PM Rob Fleming

4/25/25, 6:00 PM Micah Scoville

4/26/25, 6:00 PM Jenna Sue Duo

4/27/25, 6:00 PM Juniper & Chris Carey

5/1/25, 6:00 PM Russ Kennedy

5/2/25, 6:00 PM Steve Candlen

5/3/25, 6:00 PM Jukebox Rebellion - Kentucky Derby Party

5/4/25, 6:00 PM Jeff Brisbin

5/8/25, 6:00 PM

Stef Solo

5/9/25, 6:00 PM The Schmooze

5/10/25, 6:00 PM Brother Junction

5/11/25, 6:00 PM

Jeanne & Azzaam - Mother’s Day

5/15/25, 6:00 PM Padraic Decker

5/16/25, 6:00 PM Pretty Wreckless

5/17/25, 6:00 PM Seth Warden & Co.

5/18/25, 6:00 PM The Accents

5/22/25, 6:00 PM Toga Boys

5/23/25, 6:00 PM Grand Central Station

5/24/25, 6:00 PM The Wallies

5/25/25, 6:00 PM Funk Evolution

5/26/25, 6:00 PM

Skippy & The Pistons - Memorial Day

5/29/25, 6:00 PM Completely Different

5/30/25, 6:00 PM Upstate Vibe

5/31/25, 6:00 PM Grit & Whiskey

Cohoes Music Hall

4/26/25, 8:00 PM

Start Making Sense & The Ocean Avenue Stompers

4/27/25, 7:00 PM

Start Making Sense & The Ocean Avenue Stompers

5/1/25, 7:30 PM Lights Out Presents The Jersey Beach Boys

5/2/25, 7:30 PM Sweet Baby James - #1 James Taylor Tribute

5/3/25, 8:00 PM Al Stewart & Livingston Taylor

5/9/25, 7:30 PM The B-Street Band: A Tribute to The Boss

5/10/25, 7:30 PM Vixen

5/11/25, 7:00 PM

The Ultimate Journey Experience By LEGEND

5/15/25, 7:00 PM TayTay Dance Party & Laser Light Show featuring DJ SWIFTIE

5/16/25, 7:30 PM Crazy Train

5/17/25, 7:30 PM Deja Vu

5/18/25, 3:00 PM

Georgette Jones - Kevin Richards’ Country Close-Up Series

5/22/25, 8:00 PM

Get Zep! Performing Chronicles 1969-1970

5/23/25, 7:30 PM Van Halen Nation

5/23/25, 10:00 PM Get Zep! Performing Chronicles 1969-1970

5/24/25, 7:30 PM

Run For Cover - A Tribute to Rush w/s/g Jack Nemier

Crandall Public Library

4/24/25, 7:00 PM

Live! Folklife Concert: Bon Débarras

5/1/25, 7:00 PM

Live! Folklife Concert: Pat Byrne

5/8/25, 7:00 PM Live! Folklife Concert: Johnny Campbell

5/15/25, 7:00 PM

Live! Folklife Concert: Kathleen Parks

Dancing Grain Brewing

5/17/25, 5:30 PM The Insolent Willies

Dee Dee’s Tavern

5/3/25, 7:00 PM Earth To Joe

Downtown Social 4/26/25, 6:00 PM

Peter Pashoukos

East Greenbush Community Library

5/4/25, 2:00 PM

Midnight Choir (Acoustic Trio)

Emack & Bolio’s 4/25/25, 7:00 PM

Moe Green

4/26/25, 7:00 PM

Shades of Blue

5/3/25, 7:00 PM

Larry Parker

5/4/25, 2:00 PM

Kids Open Mic

5/9/25, 7:00 PM

Capital Grove

5/10/25, 7:00 PM

Pearl

5/16/25, 7:00 PM

Dan Bernstein

5/17/25, 7:00 PM

Alan Goldberg

5/23/25, 7:00 PM

Duck n Du

5/24/25, 7:00 PM

Old Friends Duo

5/31/25, 1:00 PM

Dave Hart

6/1/25, 2:00 PM

Kids Open Mic

EMPAC Studio 1

4/25/25, 7:00 PM

Victoria Shen & Mariam Rezaei

EMPAC Theater

5/2/25, 7:00 PM

Rama Gottfried & Yarn/Wire: Ontopoiesis

Empire Enderground

5/24/25, 6:30 PM

Iron Gate

Empire Live

4/24/25, 7:00 PM The Funeral Portrait

4/26/25, 5:30 PM

Brick By Brick EP Release Party

4/30/25, 7:00 PM

The Bouncing Souls - East Coast! F#ck You! Tour

5/5/25, 7:00 PM Dying Fetus

5/6/25, 7:00 PM

Silent Planet & Invent Animate - The Bloom In Heaven Tour

5/9/25, 7:00 PM

Pain Of Truth & Sunami: Coast 2 Coast Tour

5/20/25, 8:00 PM Wilderado

5/24/25, 7:00 PM

Arm’s Length with special guests: Prince Daddy & The Hyena

5/31/25, 7:30 PM

Sunny Day Real Estate - Tour 2025

Empire Underground

4/25/25, 7:30 PM Hamro

4/26/25, 8:00 PM WCDB’s Spring Show w/ Been Stellar

5/1/25, 8:00 PM Better Lovers

5/2/25, 7:30 PM Crobot

5/3/25, 8:00 PM

Bit Brigade Performs “Super Mario World” + “F-Zero” LIVE

5/7/25, 7:00 PM The Queers

5/13/25, 8:30 PM Baroness Red & Blue Tour

5/17/25, 5:00 PM Record Release Party davidhalprin thirteen angels/ Chris Sanders & the Better Days, Tooth and Nail, Berkstar

5/17/25, 7:00 PM David Halprin

5/20/25, 7:00 PM Apes of the State

5/30/25, 6:30 PM Keep Flying

5/31/25, 7:00 PM New Monarchy

| night & day

|music (cont'd)

First Reformed Church

4/27/25, 5:00 AM

Michael Benedict’s Jazz Vibes

Funny Bone

5/17/25, 1:00 PM

The Day Players

Hangar on the Hudson

5/3/25, 4:00 PM

The Spring Thing

5/8/25, 8:00 PM

Mark Hummel & Anson Funderburgh

Hangar on the Hudson

5/18/25, 2:00 PM

Capital Region Blues Network (CRBN) Fundraiser

Historic Salem Courthouse

4/25/25, 7:00 PM

Live! Folklife Concert: Bon Débarras

5/2/25, 7:00 PM

Live! Folklife Concert: Pat Byrne

5/9/25, 7:00 PM

Live! Folklife Concert: Johnny Campbell

5/16/25, 7:00 PM

Live! Folklife Concert: Kathleen Parks

Kenmore Ballroom

5/2/25, 6:00 PM

Candlelight: The Best Of Hans Zimmer

Lark Hall

4/25/25, 6:00 PM

Happy Hour with the New Planets at The Eleven at Lark Hall (FREE SHOW)

4/25/25, 8:00 PM

Moon Hooch w/s/g Future Joy

4/26/25, 6:00 PM

Happy Hour with Todd Nelson at The Eleven at Lark Hall

5/1/25, 8:00 PM

Will Evans with special guest Layton Meachum

5/2/25, 8:00 PM

The Steel Wheels w/s/g Jack Broadbent

5/2/25, 10:00 PM

Funky Fridays with Tad Cautious The Eleven at Lark Hall

5/3/25, 6:00 PM

Capital Zen at The Eleven at Lark Hall (FREE SHOW)

5/3/25, 8:00 PM

Hilltop w/s/g Residual Groove

5/7/25, 6:00 PM

Caity Gallagher Residency at The Eleven at Lark Hall

5/8/25, 6:00 PM

Tulip Fest Pre Party at The Eleven with Nickopotamus (FREE Show)

5/9/25, 6:00 PM

The Alec Lewis Group at The Eleven at Lark Hall (FREE SHOW)

5/9/25, 8:00 PM

Jimkata & Space Bacon

5/10/25, 8:00 PM

The Wheel Recreate 6/14/76 at The Beacon

5/15/25, 8:00 PM

Marvel Years w/s/g Father Figure & Atlas.B

5/16/25, 8:00 PM Run Rabbit Run

5/17/25, 8:00 PM

Lark Hall presents Carsie Blanton

5/22/25, 6:00 PM

Jenna Nicholls live at The Eleven (FREE SHOW)

5/23/25, 8:00 PM Southern Avenue

5/29/25, 6:00 PM

Member Social featuring The Ky McClinton Band at The Eleven

5/30/25, 8:00 PM

COUNTDOWN: A Pre-Pride Variety Show

5/31/25, 6:00 PM

Happy Hour with Monkey & the Crowbar at the Eleven (FREE show)

Lyrical Ballad Bookstore

5/5/25, 7:30 PM

Reality Distortion

Mabee Farm Historic Site

5/16/25, 7:00 PM

Cold Chocolate w/ Everest Rising

McGeary’s Irish Pub

4/27/25, 7:00 PM

McGeary’s Presents: Blues Jam

5/4/25, 7:00 PM

McGeary’s Presents: Blues Jam

5/5/25, 7:00 PM

Jim Gaudet + Rail Road Boys

5/11/25, 7:00 PM

McGeary’s Presents: Blues Jam

5/18/25, 7:00 PM

McGeary’s Presents: Blues Jam

5/25/25, 7:00 PM

McGeary’s Presents: Blues Jam

5/31/25, 7:00 PM Off The Record

Metroland Now Stage, 18 Curran Lane

5/15/25, 4:30 PM

The Pine Boys // Yort

5/22/25, 4:30 PM

Carolyn Shapiro // Little Saints

5/29/25, 4:30 PM

Lucas Garrett Duo // The Sugar Hold

MoJo’s Cafe & Gallery

5/4/25, 7:00 PM

Paper Prince EP Release w/ Barbie Barker

5/8/25, 7:00 PM

Lucio Barbarino - Chris Gockley - Matthew Klane

5/9/25, 7:00 PM

Joel Harrison Band

5/10/25, 7:00 PM

Ian Galipeau & Jagels-Ambrose Duo

5/16/25, 7:00 PM

The Most Jazzy Fellas

5/17/25, 7:00 PM

MoJo’s 1-Year Birthday Party

5/20/25, 6:30 AM

Power Breakfast Club

5/24/25, 7:00 PM

Dylan Patrick Ward + Jay Maloney + Banjo Gorman

5/31/25, 7:00 PM

Collar City Pride Night

Moon & River Cafe

4/24/25, 6:00 PM

Dave Kitchen Jazz

4/25/25, 7:00 PM

RISING ARTIST - Simon Elijah

4/26/25, 7:00 PM

SCOTT BRAVO

4/30/25, 7:00 PM

Rick Sacchetti & Tony King

5/2/25, 6:00 PM

Piano By Peter Van Keuren

5/3/25, 7:00 PM

Rockabilly Hall of Fame - Marty Wendell

5/10/25, 8:00 PM

The Co-Conspirators

Mount Ida Preservation Hall

5/12/25, 6:30 PM

LUNA Series Presents: Zan & the Winterfolk

MVP Arena

4/24/25, 7:00 PM Brantley Gilbert

4/25/25, 8:00 PM

UAlbany Park Fest w/ NLE Choppa

5/15/25, 6:00 PM

Kane Brown: The High Road Tour

No Fun

4/25/25, 8:00 PM

MIDNIGHTCHOIR

4/27/25, 7:00 PM

Niis / Pollyanna / Local TBA

5/3/25, 7:00 PM

The Mystery Lights / Sun Natives / Abyssmals

5/5/25, 7:00 PM

Electric Six / Messer Chups / Safety Meeting

5/6/25, 7:00 PM

L.A. Witch / Daiistar / Flavour

5/9/25, 7:00 PM Vs Self / Punxsutawney / Senior Living

5/15/25, 7:00 PM

Sunflower Bean

5/18/25, 7:00 PM

Dikembe / Teenage Halloween / Glazed / ETLY / Scotchka

5/27/25, 7:00 PM

Christopher Owens (Of Girls) / Blue Ranger

5/29/25, 7:00 PM

First Rodeo / Dan Carr and the Cure for Asthma / Billy and the Great Western Postal Service

Ophelia’s on Broadway

5/1/25, 7:00 PM

Mango Cat Presents One Time Weekend with special guest Hippie Crippler

Palace Theater

4/29/25, 7:30 PM

Melissa Etheridge & Joss Stone

5/3/25, 7:30 PM

Albany Symphony: Music of John Williams

5/21/25, 8:00 PM

Pat Benatar & Neil Giraldo

Patrick’s Pub

4/28/25, 6:00 PM

Open Mic Night w/ John McAurthur

5/5/25, 6:00 PM

Open Mic Night w/ John McAurthur

5/12/25, 6:00 PM

Open Mic Night w/ John McAurthur

5/19/25, 6:00 PM

Open Mic Night w/ John McAurthur

5/26/25, 6:00 PM

Open Mic Night w/ John McAurthur

Proctors

4/26/25, 7:00 PM

Golden Oldies Spectacular – 2025

4/27/25, 6:00 PM

The Eddies Regional Music Awards 2025

5/12/25, 8:00 PM

Bush

5/22/25, 7:00 PM

EYES WIDER, EARS WIDER, NOTHING SHUT!

Rustic Barn Pub

4/24/25, 6:00 PM

Open Mic

4/24/25, 6:00 PM

Open Mic Night featuring Matt Mirabile

4/25/25, 8:00 PM

Ginger Geezus

4/26/25, 7:00 PM

Coconut Telegraph (Jimmy Buffet Tribute Band)

5/1/25, 6:00 PM

Open Mic Featuring Leslie Barkman

5/2/25, 8:00 PM

The Bear Bones Project

5/3/25, 7:00 PM

Get Up Jack

5/4/25, 2:00 PM

Foodstock 13 Benefit

5/8/25, 6:00 PM

Open Mic Featuring Evan Lewis

5/9/25, 7:00 PM

Chris Sanders

| night & day

|music (cont'd)

The Strand Theatre

4/25/25, 8:00 PM

1981 - The Concert - Simon and Garfunkel Tribute Show

4/26/25, 8:00 PM

Physical Graffiti - The Ultimate Led Zepplin Tribute

4/28/25, 7:00 PM Lobby Concert: Lucas Garrett

5/2/25, 7:30 PM

Locals Live Showcase: China Shop Bulls, Grape Nehi, Jule Roz

5/3/25, 8:00 PM

Best Friends Girl - Tribute to The Cars

5/9/25, 8:00 PM

A Brothers Revival - The Music of The Allman Brothers

5/11/25, 3:00 PM

The Cooper’s Cave Composer’s Consortium

5/16/25, 8:00 PM

Ernie LaRouche - Solo Piano and Vocal Performance

5/17/25, 7:00 PM

Biltro Productions Presents: Tribute Spectacular - Elvis, Blues Brothers and more

5/22/25, 7:00 PM

Returning the Call: Darnizzle Live at The Strand Theater

5/24/25, 8:00 PM

Bon Halen - The best of Bon Jovi and Van Halen

5/31/25, 8:00 PM

Wooden Ships - a tribute to Crosby, Stills, Nash

The Waiting Room

5/13/25, 7:30 PM

Song City, w/ Reese Fulmer, Eric-Jon Tasker, Delaney Hafener (Belle Curves), Dust Bowl Faeries

Tighe Bistro Americain

4/30/25, 7:00 PM

Open Mic

Tubby’s

4/24/25, 7:00 PM

Psymon Spine + Open Head + Freakout

Spot DJs

4/25/25, 7:00 PM

Josephine Foster + Gray/Smith + Speer

4/26/25, 7:00 PM

Bria Salmena

4/30/25, 7:00 PM

Horse Jumper Of Love + Boo Boo Spoiler

UPAC

5/17/25, 6:00 PM

CCE’s Annual Recital Motown Sound

UPH

4/26/25, 7:30 PM Passport Series: Vieux Farka Touré

5/1/25, 7:30 PM

In the Round: Lady Blackbird

5/2/25, 7:30 PM Orleans

5/4/25, 4:00 PM

Sunday Jazz at UPH: Brian Patneaude Quartet

5/10/25, 7:30 PM

The RESET: An Immersive Sound Healing Experience with Davin Youngs

5/17/25, 7:30 PM

Sara Evans

5/24/25, 7:30 PM

New York Voices

Van Slycks at Rivers

4/24/25, 7:00 PM

DJ Biz

4/25/25, 8:00 PM

Grand Central Station & DJ Nick Papa Giorgio

4/26/25, 8:00 PM

Soul City Groove & DJ Show

4/30/25, 2:00 PM Roxy and The Rollers

5/1/25, 7:00 PM

Country Line Dancing with DJ Kevin Richards

5/2/25, 8:00 PM

Country Weekends with Beadle Brothers

5/3/25, 8:00 PM

Country Weekends with Tame The Rooster & DJ Kevin Richards

5/4/25, 7:00 PM

Jose Cuervo Presents: Latin Nights with Alex Torres and His Latin Orchestra

5/7/25, 2:00 PM Roadhouse 60’s

5/8/25, 7:00 PM DJ Reel

5/9/25, 8:00 PM

The Accents & DJ Nick Papa Giorgio

5/10/25, 8:00 PM Downtown Horns & DJ Tek

5/14/25, 2:00 PM

Joe’s Boys

5/15/25, 7:00 PM

DJ Ness Nice

5/16/25, 8:00 PM

The Refrigerators & DJ Reel

5/17/25, 8:00 PM

Lucid Street & DJ Tomb

5/21/25, 2:00 PM

Whisper Band

5/22/25, 7:00 PM

DJ MixItUp

5/23/25, 8:00 PM

Guilty Pleasure & DJ Mister Mo

5/24/25, 8:00 PM

Rhythm Pilots & DJ Ness Nice

5/25/25, 7:00 PM

Latin Nights with Rafy Cabrera Band

5/28/25, 2:00 PM The Rogues

5/29/25, 7:00 PM

DJ Nick Papa Giorgio

5/30/25, 8:00 PM

Code Groove & Young Wise

5/31/25, 8:00 PM

Hit N Run and DJ Prophet

Vapor Nightclub at Saratoga Casino

4/25/25, 7:30 PM The Accents

4/26/25, 7:30 PM

Big Sky Country

5/2/25, 7:30 PM Gravity

5/3/25, 8:00 PM

80s & 90s Party with DJ NPG

5/9/25, 8:30 PM The Refrigerators

5/10/25, 8:30 PM Skeeter Creek

5/16/25, 8:30 PM

Big Sky Country

5/17/25, 8:00 PM

Totally 2000s with DJ NPG

5/30/25, 7:30 PM THE BRAT PACK

5/31/25, 8:00 PM

Rewind Party with DJ NPG