Tag Archives: Trey Anastasio

cat_reviews

Trey Anastasio Band Are Firing on All Cylinders

January 24th, 2013

Trey Anastasio Band – The Capitol Theatre – January 23, 2013


Just a little more than 20 years ago, Trey Anastasio led Phish through two sold-out shows at The Capitol Theatre in Port Chester, N.Y. That weekend was equal parts present talent and future potential. And two decades of nearly constant playing later, potential fulfilled and then some, Anastasio returned to the historic, restored venue—the same, but different: better—for another two sold-out nights, with a second, completely different band also well on their way to maximizing their possibilities. Last night’s show opened with “Cayman Review,” setting an upbeat, major-key celebratory mood. Anastasio isn’t the lead guitarist in this group, he’s the bandleader, modeling himself, the band (percussion and a horn section that doubled as backup singers along with the traditional guitar, bass, drums, keyboards) and the music after other big bands of yore: shades of Tito Puente on the Latin-tinged opener; classic big jazz band for “Magilla”; James Brown’s heyday group in “Push On ’Til the Day”; and even notes of full orchestral music on the prog-rock “Scabbard” and “Goodbye Head,” both of which showed the prowess of an ensemble that’s grown along with Anastasio’s solo career.

Throughout two full sets, the band had plenty of opportunities to show off their wares, and like a good bandleader, Anastasio was generous with the spotlight: James Casey added a perfect dollop of flute to “Heavy Things”; Jennifer Hartswick nailed the vocals to the Gorillaz cover “Clint Eastwood”; Natalie Cressman rocked the Knopfler on trombone during the “Sultans of Swing” encore; Ray Paczkowski’s organ pushing and prodding the guitar solo in “Simple Twist Up Dave”; bassist Tony Markellis laid down the shag-carpet groove in “Push On”; and percussionist extraordinaire Cyro Baptista did a little bit of everything. Of course, what I meant to say was that Anastasio isn’t merely the lead guitar player in his own band. The show was obviously loaded with Biggie Size comes-with-fries-and-a-Coke guitar solos and jams to satisfy an audience giddy to gobble up more. In this way, the true model for the band might be Santana’s mid-era bands. The highlight jams came in “Money Love and Change,” with the group going full on jam band, scintillating guitar work leading the way.

During second-set opener “Sand” the show finally turned darker, the lights starting to find the nooks and crannies of the venue and Anastasio flexing his six-stringed muscle through the signature techno groove and the full-bore rock and roll tilt coming out of “Alaska.” Quiet moments also found their way into the set list: “Architect,” a ballad from Anastasio’s newest album began quietly, slowly building to a soaring climax, and the band’s wonderful “Ooh Child” cover was a feel-good sing-along highlight. Anastasio was chatty throughout the night, joking about how he was gung ho to play the show’s original date (the day after Hurricane Sandy struck) without realizing how big a storm it was and also extolling the virtues of the new and improved Capitol Theatre. So why stop there? I’m guessing it won’t be another 20 years until the next visit back to Port Chester. —A. Stein

(Don’t miss seeing Trey Anastasio Band play The Capitol Theatre tonight and The Wellmont Theatre tomorrow.)

 

Exclusive Video: Trey Anastasio Plays New Album’s Opening Track

October 17th, 2012

While guitar god Trey Anastasio is best known as the frontman and guitarist of Vermont quartet Phish, he’s put out a number of solo albums, including Traveler, which just came out yesterday. Above, at The Wellmont Theatre, the Trey Anastasio Band play the LP’s opening track, “Corona,” which Rolling Stone calls a “shimmering, love-versus-the-apocalypse ode.”

In making Traveler, Anastasio got to play with musicians from some of his favorite current bands, including members of the National, Bon Iver and Mates of State. While rehearsing at The Wellmont, he discusses the new material, playing some orchestra shows and working with Broadway musicians. Watch the interview: http://tbp.im/Wn0YpV.

Don’t miss anything. Subscribe to The Bowery Presents Live to watch more performances and interviews like these, and the latest info on our upcoming live-streaming shows.

cat_preview

The Roots/Bob Weir – The Capitol Theatre – September 7, 2012

September 10th, 2012

This show was a benefit for HeadCount.

Photos courtesy of JC McIlwaine | jcmcilwaine.com

(See the Roots play the Capitol Theatre three more Fridays this month: with the Dirty Dozen Brass Band on 9/14, with Karl Denson’s Tiny Universe on 9/21, and on 9/28.)

cat_preview

Trey Anastasio – Terminal 5 – February 22, 2011

February 23rd, 2011

Trey Anastasio - Terminal 5 - February 22, 2011

Photos courtesy of Greg Notch | notch.org

cat_reviews

Trey Anastasio Launches Tour in Portland, Maine

February 21st, 2011

State Theatre – Trey Anastasio – February 18, 2011

(Photo: Gregg Greenwood)

(Photo: Gregg Greenwood)

On Friday night the vibe at the State Theatre was one of anticipation as those in attendance waited for Trey Anastasio to take the stage and begin his new tour. He played most of the first set—mainly Phish originals—alone. Some acoustic highlights included a sublime version of “Cavern” and an energetic “Suzy Greenberg.” Eventually horns came out and then the entire Trey Anastasio Band closed the set with a raucous cover of OutKast’s “Hey Ya.” The singer-guitarist beamed while his energy inspired the crowd, which responded with its own intensity.

Before the second set, Anastasio said, “We are going to play some loud rock and roll.” And with the full TAB lineup on fire, that proved to be true. “Acting the Devil,” played for the first time in almost nine years, was a big surprise. Perhaps the words had referenced Anastasio’s past situation, but that was all clearly behind him, and he let everyone know. His perfect rendition of “Sand” drew excited roars from the crowd. Another inspired bust out came in the encore with “In the Wee Wee Hours” getting played for the first time since 2002, prompting a boogiefest. All in all, Anastasio was on a mission, and he let the music (and energy) speak for itself. —Rob Arken

cat_preview

Trey Anastasio Medals at Terminal 5

February 17th, 2010

Trey Anastasio – Terminal 5 – February 16, 2010

Trey Anastasio - Terminal 5 - February 16, 2010
Toward the beginning of the second set of Trey Anastasio’s marathon show at Terminal 5 last night, someone tossed the Phish guitarist a Brian Leetch USA hockey jersey, which he displayed on his amp the rest of the night and then wore during the encore. It was appropriate because Anastasio was playing like an Olympian. From the get-go, it was pure joy, as the mind-probing lights seemed to be induced purely by his smile and energy. Hopping around the stage like a moguls skier, he eased his band into the evening with strong versions of “Push On ’Til the Day,” “Mozambique” and “Gotta Jibboo.”

The Classic TAB, with a horn section and a bass-drums-keys rhythm section backing Anastasio, acted more like a jazz ensemble than a jam band. While it would have been easy for everything to devolve into filler between axe solos, Anastasio has fleshed out this side project with its own fully functioning repertoire. This got mixed up a bit at the end of the first set with an extended solo acoustic sing-along featuring the typically rocking Phish songs “Sample in a Jar,” “Chalkdust Torture” and “Wilson” that was pure joy for musician and audience alike. The second set featured counterintuitively horn-heavy covers of classic-rock staples “Black Dog” (mightily sung by Jennifer the trumpet player) and “Sultans of Swing.”

Still the highlights of the night were when the band relaxed into a groove and Anastasio just shredded. The band reduced to a quartet on songs like “Jibboo” and “Sand”—the bass and drums transforming into gates in a slalom downhill, and Anastasio barreling downhill, gaining momentum and dangerous speeds, with just fractions of a second the difference between gold and crashing and burning. And at the critical moment, the horns would return for a tremendous climax, and there was no question about who would be taking the podium. —A. Stein

Photos courtesy of Gregg Greenwood | www.gregggreenwood.com