A
A TRIBUTE TO CHICAGO
SEPTEMBER 12 | 8 PM | TICKETS $25
This band is the first and longest running tribute to the band Chicago in the world! You'll hear Make Me Smile, Saturday in the Park, If You Leave Me Now, and so many more hits!
Christine Collins
Let me start by saying something that most promoters won’t: We’ve done this wrong.
Not all of us, not all the time, but enough to pollute the well and leave the industry’s most crucial workers— musicians, techs, creatives, and even the venues themselves—dying of thirst while corporate booking agents sip champagne behind the stage curtain.
I’ve seen the backend. I’ve stood in the pits, run the numbers, settled the nights, done the load-ins, watched the security cut corners, and listened to the excuses get handed out like drink tickets. And I know there is an entirely different way to do this. A smarter, cleaner, far more profitable way that doesn’t involve screwing your locals, shortchanging your regionals, and duct-taping your bottom line with imaginary backend costs labeled “administrative supplies” when we both know that means someone’s third Adderall prescription and 7,000 printer copies of a flyer nobody put up.
Here’s the dirty truth that most won’t tell you.
If your locals are only making a dollar or two per ticket they sold—while also handling their own promotion, designing their own graphics, writing their own press copy, engaging their fans, managing their gear, showing up on time, bringing their crowd, performing with quality, and not trashing the green room—you are not paying them for music. You are paying them as unpaid employees in your marketing department.
And they’re doing a better job than your intern.
Meanwhile, larger promoters are monopolizing markets so effectively, it’s starting to resemble the behavior of a hostile regime. What’s worse? The regional and independent promoters who emulate them thinking that’s the blueprint for success. These folks didn’t build a community—they built a trench. A shallow, disease-laden trench where the only thing that thrives is corporate brand rot and
predatory booking practices.
They’ll tell you it’s just business. No. It’s exploitation, padded with liability, under a tent of bad insurance. And I say that literally. If your production crew isn’t unionized (or seasoned at least), if your stagehands aren’t paid fairly, if you aren’t meeting the medical and security minimums required by your own insurance policy, you’re not just out of compliance. You’re a defendant of a lawsuit currently happening. Allegedly.
And let’s not pretend your settlement sheets are bulletproof either. If your headliner’s backend is being shaved down because someone decided they needed to charge $400 in “venue staples,” you’re not running a production. You’re running a racket. These figures including a padding should be long established before you begin to allow load in, let alone sign the contract. What’s done in the dark, always comes to the light.
Now let’s talk contracts. If there isn’t one—walk away. No apology needed. Artists, never get on stage without one. Ever. If you do, you are gambling with your art, your labor, your merch rights, your intellectual property, and your dignity. All at once. Any reputable promoter will understand the need for one of these, if nothing else than for business records on your own band and brand.
And speaking of merch; do not, under any circumstances, get blindsided by price match clauses. They are the quiet little bloodletting clause baked into large scale tours that demand openers match the inflated price of headliner merch. That $40 hoodie you finally turned a margin on? Now you’re being told it must be priced at $70 to avoid undercutting the guy with the platinum record and the 10bus entourage. It’s not just insulting. It’s highway robbery at your own table. And merch profit sharing can go right in the trash, too. Unless they paid your graphic designer and pay the interest on your account for that order they get zero portion of your merch sales.
So what’s the solution? We go symbiotic.
We stop treating shows like a cash grab and start structuring them like ecosystems. Every act on the bill matters. Every venue counts. Every piece of the night—load-in to load-out— should be constructed like an experience worth paying for, where everyone walks away compensated not only for what they brought to the table, but for the weight they carried when the people in charge didn’t. Strategy does not go unpaid.
A local opener that brings 40 paid heads deserves more than $40. They deserve a marketing fee, a performance wage, and residual support through cross-promotion and fair settlement. You can’t have it both ways. You can’t rely on bands to sell your tickets, hype your event, fill your room, and then treat them like disposable warm-up acts when it’s time to settle.
That’s not just bad business. It’s unsustainable. It’s terrible business ethics, practice, and law.
And if your business model only works when people are overworked, underpaid, and afraid to speak up, then what you’ve built isn’t a model. It’s a mirage. And it won’t survive the next wave of artist-led revolutions currently brewing in basements, group chats, and backyards across the country. We can do better. I’ve seen better. Shows where every act got paid fairly, where ticket prices made sense, where the production crew was treated like gold, and nobody had to beg for a bottle of water or a basic contract.
Shows that surpassed expected
Christine Collins
profit margins and didn’t bleed the artists dry to get there.
So if you’re a promoter still dragging your feet, still blaming ticket sales, still pretending locals are lucky to be on the bill, ask yourself this—are you booking talent, or are you just throwing bodies at a date to keep the calendar full while hoping someone else carries your weight?
Because I’ve done both. And only one of them builds a legacy. We cannot keep sipping from the poisoned well and wondering why everyone’s sick.
Start writing better contracts. Start paying fairly. Start building shows like the artform they are—not the scam they’ve become. And if you can’t do that, step aside. There’s a generation of women, independents, DIY champions, and rogue marketers who already know how to run it cleaner, faster, sharper, and with better ethics. And we’re not waiting to be let in. We’re already here. Now clean your books. And your conscience.
Tuesday, July 1
Salsa Night with Las Guaracheras
Tuesday, July 8
Progressive Americana Night with Nefesh Mountain
Tuesday, July 15
Newgrass Night with Sam Bush
Tuesday, July 22
Soul & Roots Night with Southern Avenue
Tuesday, July 29
Reggae Night with The Big Takeover
Tuesday, August 5
Local Rock Night with Rob Beaulieu Band
Tuesday, August 12
R&B Night with
Get ready for a wild night of MicroMania, where explosive wrestling meets epic showmanship—starring micro athletes with supersized personalities. Topped off with a live Rock N Roll performance by Mini Kiss. This event promises nonstop action and outrageous entertainment.
Get ready for a wild night of MicroMania, where explosive wrestling meets epic showmanship—starring micro athletes with supersized personalities. Topped off with a live Rock N Roll performance by Mini Kiss. This event promises nonstop action and outrageous entertainment.
Publisher/Editor/Advertising/Distribution/Marketing:
Layout/Graphic
Contributors:
By James Oliver Ryan
“Lost
The Lost Villages, ten communities in Ontario, Canada that were permanently submerged when the St. Lawrence Seaway was created in 1958, will be the subject of a talk by historian and author Jim Brownell on Wednesday, August 6 at 6:30 p.m. in Cape Vincent. Presented by the Cape Vincent Arts Council, the talk will take place at St. John’s Episcopal Church, 352 South Market St., Cape Vincent.
Brownell will discuss his book, “A Tour Through the Lands of the Lost Villages” and share his research into the heartbreaking story of lands lost to the unstoppable march of progress. As the St. Lawrence Seaway and hydroelectric projects reshaped the landscape in the late 1950s, a vast area was sacrificed, displacing more than 6,500 people and submerging their communities forever.
The book will be available for purchase at the presentation ($20, cash only).
As longtime president of the Lost Villages Historical Society in Long Sault, Ontario, Brownell has been at
the forefront of preserving the stories of those communities. In his book, he transforms decades of invaluable knowledge into a comprehensive guidebook and historical reference. He previously led bus tours of local landmarks related to the Lost Villages and wrote the book to recreate the feeling of being on a guided tour. In addition to being a local historian, Brownell is a retired teacher and a former Member of Provincial Parliament, Ontario.
The Cape Vincent Arts Council is a 501(c)(3) non-profit organization consisting entirely of volunteers. It is dedicated to providing opportunities for the public to enjoy and participate in cultural activities in and around Cape Vincent. Among the events it sponsors are the Concerts on the Green series, the Stroll on Broadway, the Riverside Music & Arts Festival, summer art classes, author presentations, art exhibitions, and the Thousand Islands International Piano Competition for Young People (Sept. 5-7, 2025).
“COVER TO COVER: The Double Axel Story” Now Available on Amazon
POTSDAM, NY — Music fans and regional history buffs alike can now take a deep dive into one of northern New York’s most enduring rock-androll legends. COVER TO COVER: The Double Axel Story is a new book that traces the full arc of the band Double Axel, which has been electrifying stages and entertaining generations of fans across the North Country and beyond since 1971.
Published through Kindle Direct Publishing, the book is now available for purchase on Amazon in both hardcover and paperback editions.
Cover to Cover tells the full story of Double Axel — from their early days playing school dances and local bars, to sharing larger stages and earning a loyal following throughout the region and beyond. With more than five decades of uninterrupted performances, Double Axel’s legacy is unmatched in upstate New York. The book features behind-the-scenes anecdotes, rare photos, fan stories, and a detailed look at the band’s evolving lineup, music style, and cultural impact.
Based in Potsdam, New York, Double Axel is currently comprised of Alex Vangellow, Frank Johns, and Rob Zolner — a trio of seasoned musicians who continue to keep the band’s highenergy sound alive and well. While others have been involved along the way, these individuals were the original members and remained with the group for its entire existence.
Adding depth and personal insight to the book is a heartfelt Foreword by Wally Siebel, an accomplished musician, former co-owner of Northern Music and Video, and respected com-
munity leader in Potsdam. His unique perspective sheds light on the band’s roots and their significance to the regional music scene.
“This book isn’t just about a band,” said author John Fallon. “It’s about a community, a sound, and a spirit that’s lasted through changing times, musical trends, and personal milestones. Double Axel has been the soundtrack to countless lives in northern New York — and now that story is finally being told in full.”
Whether you’re a longtime fan, a music historian, or someone discovering the band for the first time, COVER TO COVER offers an engaging look at a true rock-and-roll institution.
Availability:
COVER TO COVER: The Double Axel Story is available now on Amazon in hardcover and paperback formats.
About the Author:
John Fallon is the Principal at FALLON + Associates LLC, a fundraising and research consulting company based in Indiana. He spent several years living in New York’s North Country serving as President of SUNY Potsdam and became familiar with the impact of Double Axel during this period. Other books by Fallon include “The Gatesville General Store,” a series of humorous fictional stories published under the name J. Fallon about a gaggle of cranky southern Indiana octogenarians who gather weekday mornings over coffee to discuss world politics, sports, family matters and other subjects. Mostly what they do is engage in general tomfoolery.
---Bill Baker
There are times I like to go back in time and mentally recapture moments that are memorable. I consider myself very fortunate to have had the opportunity to be in the presence of greatness many times. Seeing the best at what they do while attending concerts, photographing musical artists, experiencing World Cup snowboarding, capturing the dare devils of extreme sports and PBR rodeo events. One of those memorable moments was the first time, and actually every time since, I have been in the presence of Joe Bonamassa. Breakthrough, his new album on the J&R Adventures label, has once again reminded me of how talented this musician is. One of the most prolific guitarists of the 21st century, his latest project was released in July of this year. Including his solo efforts, live recording and side projects, he has reached the top of the Billboard Charts twenty-eight times. One of the busiest artists in the music field, JB has been involved in over 50 album releases in the last 35 years. He has seventeen solo studio releases, is an integral part of the hard rock sound of Black Country Communion and the guitarist of Rock Candy Funk Party. He has partnered with Beth Hart on several albums playing guitar and sharing the vocal performances as a duet. Bonamassa has also contributed his distinct guitar
prowess on numerous projects for a wide variety of artists.
The new album Breakthrough features Joe Bonamassa’s instantly recognizable guitar and soulful vocals. He is joined by longtime collaborator, keyboardist Reese Wynans, Josh Smith on second guitar, percussionist Leman Carter, Calvin Turner on bass and Dannelle DeAndrea and Jade MacRae on backing vocals. The ten tracks present a wide spectrum of styles. The new album sounds fresh and authentic, focusing on rock more than many of the previous releases. Funk, Texas swing, hard rock, up-tempo blues rock to acoustic flavored singer songwriter compositions, it’s all here. The album is a testament to Bonamassa’s talents, from beginning to end it provides a collection that consists of timeless music. J B’s guitar caresses your senses. His constant evolution of his six string skills gives you grit and flair without taking away the song’s strong rhematic foundations.
Breakthrough features some amazing guitar, but the solos never take priority over the compositions. Add the emotional storytelling and you have a complete package.
The collaboration Joe Bonamassa and producer /co-writer Kevin Shirley deliver ten tracks that take you on a musical journey. You won’t be disappointed. Breakthrough is one of Joe’s best. The
Photography by Stage Door Images. Check out our concert images and more at www.stagedoorimages.com as well as the Stage Door Image Facebook Page
album starts with the heavy bass groove of the title track, “Breakthrough”, highlighted by JB’s guitar work and Wynans keyboards. One of my favorites follows with “Trigger Finger.” The rhythm section of Carter and Turner drives this song and believe me, they continue on every song, from the start of the album to the very last track. Oh, and the girls! The backup singers Dannelle and Jade add so much, everybody is on the same page. The guitar performance and soulful delivery of “Drive By The Exit Sign”, “Life After Dark” and the slow burning ballads of “Broken Record’ and “Shake This Ground” showcases all involved. The funky change of
pace of “Still Walkin With Me” and the upbeat “I’ll Take The Blame “are undeniable toe tappers. Rocking back into fray, the riff heavy “You Don’t Own Me” just completely rocks. If you’re not up playing air guitar to this one, you better check your pulse. The album closes with a blues rocker “Pains On Me” and as usual Joe Bonamassa shines.
As always, if you like what I like, you should take a test drive with the latest from Joe Bonamassa - Breakthrough available on CD, Album, Download or your favorite Streaming Device. Check out several videos available on You Tube.
---John Berbrich
No one else sounds quite like Nils Lofgren. He’s a singer-songwriter guitar-slinger w/ a difference. Starting at age seventeen, he recorded five albums w/ his first band, Grin. He also recorded & performed (as a piano player & guitarist) w/ Neil Young & his early band Crazy Horse. At age 24, Lofgren went out on his own & recorded his first solo record, sometimes known as the Fat Man album, due to the corpulent funhouse fellow on the cover. His second album is “Cry Tough” (1976), which I plan to discuss here.
But first, back to the three skills I mentioned. Lofgren’s not an amazing vocalist, but he’s got a voice that’s very easy to listen to. It’s not deep &
booming, or high & shrill. It’s more or less in the middle, almost sweet, w/ a soft roughness, if that makes sense. He doesn’t have to scream or yell, although he does raise his voice. Lofgren sings w/ attitude, & he definitely means what he says. As a songwriter, his topics are basically personal & barely post-teenager. He’s a proto-punk, or maybe just a brat. And he’s a romantic, writing about school & dancing, love & revenge, loyalty & betrayal. Lofgren likes to tell brief stories & his words are often poetic. On guitar, he’s not one of these guys who blasts lightning riffs you’ve heard hundreds of times before. I like to say he plays w/ a ping, whistle, & chime. The guitar is lyrical, passionate, & exciting. He knows how to get a
lot out of a few fiery quick notes or a moaning sustain. And he knows how to bring a solo to climax, a frequently overlooked skill.
Now to the songs. “Cry Tough” starts off side one. He promised this girl that he’s a hot dancer, & she threatens to break his nose if he doesn’t measure up.
The mysterious Dr. Feelgood advises him to “Cry Tough—throw that girl on the floor/ Help her up and watch her beg for more/ Cry Tough—pull down your soul/ You just need another shot of Rock N’ Roll.” This curious advice seems to help.
Next up is “It’s Not a Crime.” It’s okay to change your mind, especially when you’ve got a furious guitar solo in the middle.
Lofgren casually says, “Incidentally…It’s Over,” at the conclusion of another youthful romance. She just won’t get off his case, & he can’t take it any-
more. Hot guitar throughout.
“For Your Love” is his cover of the old Yardbirds’ song. Lofgren sounds sincere, but to me, despite all the frenzy, the recording lacks dynamic range & tension. Some wicked guitar licks, but overall dull.
Side two kicks off w/ the potent “Share a Little.” There’s fiendish guitar in this one & a dark atmosphere. He tells his woman that she’d better shape up, which leads into the oddball “Mud in Your Eye.” It’s offbeat rock w/ Scott Ball on upright acoustic bass & Holden Raphael on what sounds like tabla— drums played by hand w/ no cymbals. A girl has cheated on his brother & now he’s gonna set her straight.
In “Can’t Get Closer (WCGC),” a girl is going out w/ his best friend. He wants her, but she doesn’t even know
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his name. This is not a bitter song, just very sad. Cupid’s arrow has found Lofgren’s heart, & it’s breaking.
“You Lit a Fire,” tells the story. He’s burning.
There’s a different story in “Jailbait.” He’s a young man w/ a flaming desire for a seductive 14-year-old girl who looks 23. He goes over to her house when her dad’s not home—drinking the dad’s gin & enjoying the pleasures of his young daughter. The dad comes home from work early one day & catches them, but Lofgren manages to escape out a window, promising the girl that he’ll be back. The lines “I may break the law/ But they won’t catch me,” signal the end of the record.
Nils Lofgren has assembled some notable help in this recording. His
brother Tom helps out on guitar on a few songs. He employs several bass players (Chuck Rainey, Paul Stallworth, Wornell Jones, Scott Ball), two drummers (Jim Gordon & the illustrious Aynsley Dunbar—plus Emil Richards on percussion), Al Kooper on keyboards, & a bunch of background singers (including Buddy Miles). Two songs include orchestral arrangement by Al Kooper & Dominic Frontiere. You may recall Frontiere as the fellow who composed the theme music for the TV shows The Outer Limits, Rat Patrol, & The Fugitive.
“Cry Tough” is a satisfying album. Give it a good listen & at least three or four of these songs will appeal right away. The others will creep up on you. They might get you dancing.
By
You may only vote one time. Voting is free and open to anyone. If you want to vote for my Tas Cru Band LIVE album scroll to the category listing the Best Live Album nominees.
You do not have to vote in each category if you are not familiar with those artists or their nominated work. If you are not already subscribed to Blues Blast Magazine, you will be prompted to do so by providing an email address. After voting you wil get an email asking you to confirm your vote. You need to do this. GO TO THIS LINK TO VOTE NOW https://www.bluesblastmagazine.com/ vote/
Rest assured you will never be solicited for any $$$ and you can unsubscribe at any time. but as a subscriber you will receive a weekly email where you can read about featured artists and music. This is
a great way to get to know what’s going on, especially if you are new to the blues genre! Do yourself a favor and listen to the artists’ music before voting! Happy voting!
FESTIVALS & OTHER COOL EVENTS
In the Market for Blues (Omaha NEAugust 9th).
Stroll on Broadway Festival ( Cape Vincent NY - August 23rd)
Blues Cruise 2025 ( Buffalo NY - August 24th)
Blues in the Bay (Alexandria Bay NYAugust 31st)
August is going to be busy with performances to look forward to, starting with a return to the midwest for Omaha’s annual In the Market for the Blues on Saturday, August 9th. Tas will play a 2 hr
(315)
The Lyme Performing Arts Council’s Monday Music on the Lake concert series in Chaumont concludes on Aug. 18 with the band Doghill Road. All concerts in the series are free (donations accepted) and begin at 6:00 p.m. at Chaumont Village Beach, Rt. 12E (across from the Chaumont Fire Hall). Rain location is the Three Mile Bay Fire Hall, 8581 Rt. 12E. Food and beverages will be available for purchase, with proceeds benefiting the Three Mile Bay and Chaumont Volunteer Fire Departments.
The Monday Music on the Lake concert series is made possible with funds from the Statewide Community Regrants Program, a regrant program of the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature and administered by the St. Lawrence County Arts Council. Donations from the audience and businesses also support the series.
Doghill Road is an acoustic fourpiece band that performs Americana, folk, and bluegrass. The members are
veteran musicians from the North Country who have been playing together and sharing their love of music for many years. The band features Leean Carbone, bass and vocals; Bryant Kayser, guitar, mandolin, dobro, vocals; Tom Richter, banjo, guitar, vocals; and James Rooney, guitar, mandolin, vocals.
Other upcoming LPAC events:
BBQ ‘n’ Blues: Sunday, Sept. 7, from 1-5 pm at the Chaumont Fire Hall. Entertainment will be provided by the Jake Lozo Band and the Tas Cru Band. Admission is free.
Summer Send-Off: Saturday, Oct. 18, from 7-9 pm at the Chaumont Fire Hall. Featuring Skip Starr & the Renditions. Admission is free.
The non-profit Lyme Performing Arts Council (LPAC) is dedicated to providing live performances by skilled artists for the residents, both permanent and seasonal, of the Town of Lyme and surrounding communities.
set from 5 to 7 PM on the Dubliner Pub stage AND will be hosting the Finale Jam on the Harney’s Tavern stage starting at 9 PM. more info at https://omahablues. com/in-the-market-for -blues-2025/ Tas and Mia’s Eclipse Duo returns to historical and picturesque, Cape Vincent, NY on Saturday, August 23rd https//capevincent.org/broadway and then with the full band, we take a voyage on the Niagara River aboard the Miss Buffalo III to play the Western NY Blues Society 2025 Blues Cruise on Sunday, the 24th https://wnyblues.org. August closes out with Blues in the Bay in the heart fo the 1000 Islands of the St. Lawrence River. This marks our 4th appearance at the festival that spans 27 years running. We play Sunday the 31st from 3:30 to 5:30 PM. Tas will also be leading a blues education workshop n both Saturday 8/30 and Sunday 8/31.
TWO NEW ALBUMS IN THE WORKS
Almost finished is Mia’s Where I Belong. We are planning to share a track or two in the next newsletter. Tas is proud to have produced, help write songs and play on this record. We are doing some really neat things with this one - unique guitar tunings, employing a cajun-style accordion and keeping the arrangements peeled back in order to lett Mia’s incredible voice take center stage (as it should)!
Just starting is Tas’ new album, Won’t Give In. At this point, all 10 songs are written and ready for “woodshedding” through out the rest of the summer before hitting the studio in September. The album will include 8 new tunes and reworked versions of Bringing Out the Beast in Me (You Keep the Money - 2014) and 12 Step Woman (Grizzle n’ Bone - 2009). Expect this one to be vintage, gritty Cru!
