Local act SUZE release new album Sounds from Thursday Evening
Somewhere deep within the bowels of a warehouse in Pittston — surrounded by floral supplies: foam, fake flowers, accents, vases, and assorted ephemera — lead singer and guitarist Adam McKinley of SUZE turns to make a point. “I’m really glad we’ve got a chance to talk to everyone in the band. Usually I feel like I’m just talking and they never get a chance to chime in.” A minute or two and a few twists and turns past even more endless rows of merchandise and it becomes clear why it’s important to hear from the rest of the guys. It’s hard to keep up with the pace of jabs and in-jokes at times, but eventually photographer Keith Perks corrals the five-piece band together for long enough to snap a few shots. Later, they undergo some serious discussion of cigarette-smoking in front of a “No Smoking” sign before judiciously heaping some flak on drummer Kevin Gallagher for breaking the previously agreed-upon “cigs-in-mouths” composition for the photo.
While it’s obvious these guys like to enjoy themselves and joke around, things turn way more serious when music comes up. SUZE began in 2007 when friends Adam McKinley and Brandin Shaffern (bass) started jamming with mutual friend Chris Bednar. One night, after filling in a quick set at a benefit show, Shaffern and McKinley were at a bar. McKinley began to talk about forming a band. As it turned out, Gallagher was in the same bar. “I was looking to jam with people, and I happened to be sitting a couple stools down from Adam,” he says. “Our mutual friend — Alan Peterson — heard McKinley talking about how he needed a drummer, so he just said ‘talk to this guy.’” A few beers later, and things began to develop from there.
“Chris and his wife were having a baby, so he decided he needed to spend more time with family,” says McKinley. “We only had a couple of original songs at that point, and in the fall of 2009 we added Adam Gabriel on lead guitar.” Like many of the SUZE stories, it was a pretty casual introduction: more mutual friends, and quick compatibility. “It was a very rigid audition,” Gabriel says with a laugh. “I think I just played and we said ‘alright!’”
The next addition to the band’s history starts when a series of laughter erupts over Gabriel breaking an ankle on his birthday. “We had a show the very next night, and obviously he couldn’t play,” recalls McKinley. “I had known Angelo [Miraglia] for about 15 years, and at the time I didn’t play any lead guitar parts. It would have been a pretty boring show without any kind of lead, so I asked him to just fill in and play some keyboard solos over the songs.”
With a full five-piece lineup, SUZE finally took its modern incarnation. “Once those two guys joined, the whole dynamic changed for the better,” says Shaffern.
“Well, that’s a matter of opinion, but…” jokes Gabriel. Even a ‘serious’ discussion with these guys is punctuated by the occasional ribbing.
With the full lineup, though, SUZE began to transition from mostly cover songs to original material. “We played a lot of covers,” says Shaffern, “but a lot of it was stuff people don’t really know – more or less jam bands, but not the obvious choices.” McKinley adds, “Like I always said, if you’re going to cover Cream, don’t cover ‘Sunshine of Your Love,’ you know? Do something else, that’s the way we looked at it. We’ve done an eclectic mix; we’ve even covered Wu-Tang Clan before.”
What started as a few friends jamming and playing an odd show or two had turned into something more. The band’s first album, When the World is Not Enough, resulted from the natural progression as SUZE developed more original material. “We didn’t even have a full album’s worth of material when we started recording,” says Gabriel. SUZE entered McCrindle Building Recording Studios with the intention of laying down tracks while writing new material.
“We weren’t experienced at that point, we thought ‘oh, five songs will take us forever,’” says McKinley. “We weren’t going in very often to record, so we figured we’d have enough time.” That time turned into two years of sporadic recording sessions, during which the band continued to write more material. From there it was a matter of promoting and playing more shows.
“Just having an album, something we could give to people, opened up some doors,” says Gallagher. “That’s when we started developing a fanbase. Before that it was like, ‘Hey, you guys rock! Where can we get more?’ and we had to say, ‘Uh, I dunno, look us up on MySpace or something I guess…’” Naturally, there’s a pause for laughter and reflection on old technology.
“One of our goals was go get into the River Street Jazz Cafe,” says Shaffern. “It’s one of the essential places to play original music around here, especially for our style.” The earlier days of playing mostly covers paid off when fans stuck around as the band transitioned to original music. At first, a few original songs weren’t enough to fill an entire setlist, but gradually the tide turned as the band’s output increased with additional contributions to the writing.
“Over time, we shed away a lot of covers and replaced them with more writing,” says Gallagher. “Adam [McKinley] does most of the writing, but we now have additional contribution, so it adds some variety. For example [Miraglia’s] songs have a much different structure from [McKinley’s]. And [Gabriel’s] songs are much different from either of those.” Immediately, everyone chimes in to make one point definite: writing in this band is a democracy. Everything is up for discussion, and while individual passions flare, ultimately the best sound wins out.
The conversation begins to border on the too-serious side, but comes to a grinding halt when too many “Adams” are thrown around. Reassurances are issued that editors are magical, and things continue.
The short story says McKinley writes lyrics and does much of the arrangement. Members of the band generate ideas — Miraglia might present a series of sketches, Gabriel may throw some riffs together, Shaffern comes up with a bassline, Gallagher gets an idea for a drum fill — and SUZE comes together enjoying making music.
Things have moved much more quickly for SUZE since the first album was released. With an increase of creative output during the lengthy recording process, it was less than a year before they began work on Sounds from Thursday Evening. For the second album, entering the studio was much more streamlined. “We learned a lot from the first album, how to work in the studio,” says Shaffern. “We got organized. We got focused.”
McKinley adds, “The first time – you go into the studio, you’re like 26 years old and you don’t really know anything, and then all of a sudden you’re in this professional environment. We had to write stuff on the fly, coming up with new arrangements. Honestly, before that we hadn’t even heard ourselves on a recording. You hear everything, hear yourself breathe.”
Miraglia pipes up, “You can even hear the drummer singing along…” and again the guys detour for a moment into some good-natured ball-busting. At some point, Shaffern describes the process as “A Rush” and the rest insist on that as the headline for the story.
The latest recording experience also gave SUZE the opportunity to add another dimension with the studio work of Carl Krupa adding saxophone and flute parts to six the tracks. “When the horns get involved, the whole mood of the song changes, and that was something of an epiphany for some of them. We didn’t even really know what we wanted, and he would just create great ideas on the fly,” says McKinley. While SUZE won’t be adding a regular woodwind instrumentalist to the lineup, Krupa will appear with the band for the album release show.
“All I have to say,” says Miraglia, “is that the flute on [album-closer] ‘Fall of the King’ – it transforms the whole song. It’s like magic.”
SUZE has continued to build a portfolio of material, but there aren’t immediate plans to rush back into the studio. “Last time there were a few songs here and there that we could have worked into the album, but they weren’t quite ready,” says Gallagher. “Same thing this time, they might not have fit, but with some development they can work for the future, it’s nice to have them in your pocket.”
After the band’s album release show at the River St. Jazz Cafe Friday, they’ll play a mirror show at Sarah Street Grill in Stroudsburg, which the band refers to as a “home away from home.” Other notable upcoming appearances an in-store release at Gallery of Sound on March 12 and a set on PA Live on March 24. McKinley rattles off a quick list of shows that will take SUZE throughout the region and as far south as Maryland. “We have a lot of stuff lined up, a lot of dates still to be announced, so we’ve got a full plate, and get the music in front of more people,” he says.
“As a product, this album is just leaps and bounds beyond our first one,” adds Gilbert. “We really just took it to the next level. We’ve got a mix of some new venues, some places we’ve played for a while, so the future is looking good.”
The excitement of opening a new chapter flows through this group, and it’s easy to share the enthusiasm – these guys are having a blast, and making music they love.
“We’re putting out music that we want to put out,” says Shaffern. “Some people may not like it, and that’s fine. We’re not targeting any sort of specific fanbase.”
“I think we’re eclectic when it comes to that,” says Gilbert. “We’ll have as many people our age, and people 20 and 30 years older than us getting down, you know? We work really hard at it.”
“We’re not just there to party, we want to put on a good show for people, and show people that we’re serious about this, and not just some party band that’s making extra cash on the weekend,” says McKinley.
There’s a moment of reflection and agreement on this, and it looks like we’re about to close on one of those rare serious notes.
“I would like to add, however,” interjects Miraglia, “that we can party.”
Laughter ensues, and it’s a fine way to sum these guys up.
— tucker hottes
IF YOU GO:
SUZE Sounds from Thursday Evening
album release party.
River Street Jazz Cafe, Plains
Friday, March 7, doors 8 p.m.
$5 at the door. 21 and older.
Grateful Art in The Electric City
We caught up with The Grateful Gallery’s John Warner about his upcoming appearance at The Backyard Ale House, 523 Linden St., Scranton, on Friday, March 7 as part of Susquehanna Breakdown’s Fee Free event. The night will feature selected works from The Grateful Gallery, as well as live music from The Kalob Griffin Band and The Tom Graham and Bill Orner Duo.
Give us a little background on your work.
I work primarily in the music business creating concert posters for bands like The Allman Brothers, Further, Phil Lesh & Friends, moe., Gov’t Mule and Warren Haynes to name a few. I’ve also created artwork for festivals like Lockn’, Gathering of the Vibes and Mountain Jam. In addition to posters, I design T-shirts and other band merchandise. I also work locally with Cabinet and this upcoming festival – the Susquehanna Breakdown.
How did you get involved in the business?
I’m originally from Binghamton, N.Y., not far from this area. As a kid, I was a huge fan of album artwork and it was my objective from a young age to become a professional artist. I started seeing the Grateful Dead, Phish and other jam bands in high school and I fell in love with the scene. I started making fan art back then in the ‘90s, selling my T-shirts in the parking lots at shows. I moved to California in 1990 and followed several Grateful Dead and Phish tours. At the same time, I was developing my design business, working with local bands and clubs. After a while, my art just kind of got noticed, my client list grew and I’ve been doing it for more than 20 years. I always prioritized developing good working relationships with the bands and have been designing for some of my clients for five, 10, 15 years now. In addition to artwork, I’ve worked on the business side of the music industry by booking bands, promoting shows and so on. In 2004, I moved to Austin, Texas to focus on developing my graphic design business, and at the same time I started managing a bar and booking shows there. I created the artwork for the shows and did promotion too. In 2007, I moved back to the Northeast and continued developing my design business with some great new clients like Citizen Cope. I met Cabinet in 2008 and booked them at a festival I was producing and promoting — the Hop Bottom Arts and Music Festival — which was in its second year in 2008. We’ve been friends ever since, and I am thrilled to design posters and other artwork for them.
You’re not “just” a full-time artist, then?
Oh, no — I work on the production side too. I work with Bill Orner who is the lead promoter for the Susquehanna Breakdown. I’ve helped with the nuts and bolts of the festival like layout and attractions. I also coordinate vending for a few music festivals.
How did you get involved with Susquehanna Breakdown?
In January 2013, Orner called me up and said “LiveNation is giving us the opportunity to host a festival at Montage Mountain.” He knew I had worked with Mountain Jam, Peach and other festivals and that I had some experience. He wanted to know if I would come on board to give a hand and we’d see what happens. I love Cabinet and it has been really awesome to see their success and growth over the years, so naturally I said “absolutely, anything I can do to help.” Initially, the festival was supposed to be outside by the front entrance to the venue. We had some bad luck with the weather, which turned into good luck, because they moved us all under the big Pavilion tent. I really don’t think it would have been the same if we hadn’t moved it under the Pavilion. It just added such a special vibe to an already great event. It was dumb luck that we wound up underneath the tent, but it totally transformed the look and feel of the whole thing. In the first year, despite bad weather, we put on a show that looked like a legit, real, big event.
Everything went really well, and it was pretty much an automatic decision that day that we were going to do this again. So Orner usually takes care of all the booking, ticketing, promotion and organization there, and I fill in the gap by coordinating food and craft vendors, sponsorships, that kind of stuff. This year the lineup just speaks for itself — it’s fantastic. We really have some great talent this year and we’re really looking forward to it.
It’s great to showcase local talent on a stage that houses giant national acts.
Well, that’s what it’s all about. I’m originally from the region — I love the area. My mom lives in Susquehanna County and there’s just so much local talent around here that I think all too often gets passed over. There’s the proximity between NYC and Philly, so we get overlooked, but I think our region is ready to get put on the map in a big way. I know there are a lot of people in this area who just have no idea that so much great music is in their back yard! The other day, I was checking out the Facebook page for Montage Mountain, and somebody posted “What’s with Montage Mountain booking these festivals with bands nobody’s ever heard of?” This is a good thing! This year’s lineup for Susquehanna Breakdown is amazing year with both local talent and nationally touring artists. I recommend skeptics come up to the show to check it out, because they’ll walk away thinking “wow, these bands are really good!”
It shows the strength of the local scene that we can support a main stage show with local acts.
Well, that’s the thing — last year could have been a huge failure and we wouldn’t even be having this conversation. It wouldn’t have come back. It gives me a feeling of pride that so many people came out to support Cabinet and the local scene, and the whole thing was a success. This year, I’m really hoping that we get a wider variety of the community to come up — those who aren’t necessarily Cabinet fans, friends and family, but people who just heard about the festival and thought it sounded pretty cool.
What’s going on Friday at The Backyard Alehouse?
A night of music by Susquehanna Breakdown artists The Kalob Griffin Band and Tom Graham, along with a chance to buy festival tickets with no service charge. (Ticket prices are $20 GA and $55 VIP.) I’m going to be there with a gallery of my artwork as part of a sneak preview of the Grateful Gallery concert poster and photography show that I bring to music festivals throughout the summer. I’ll also have some posters from Mike Dubois, another Grateful Gallery artist, and there’s a chance we’ll have a special guest and some other surprises. These gallery shows are a great opportunity to pick up a poster from a favorite band or a show you attended.
What can we look forward to at this year’s Susquehanna Breakdown?
In addition to the music, we also have a great variety of vendors and artisans this year. We have some of the best vendors in the country, like handmade apparel, accessories and artwork from the non profit Eden’s Rose Foundation; organic cotton and bamboo clothing from Hooked Productions; hand-painted ornaments made from recycled Christmas trees from our local favorite S.A.W. Family Creations; and Uncle John’s Outfitters, which is my own family business. We also have a couple of the best food vendors joining us — the Gouda Boys have an out-of-this-world menu and we are happy to have our local favorites Shady Grove Wraps. We’ve got some new stuff coming in like a children’s drum workshop from Everyone’s Drumming. There’s going to be something for everyone. It gives me an enormous amount of pride to be able to help bring this kind of event into my backyard.
— tucker hottes
The Pipes are Calling
RED HOT CHILLI PIPERS bring Bagrock to The F.M. Kirby Center
As we draw closer to the onslaught of various St. Patrick’s Day celebrations, you can almost hear the bagpipers approaching The 570 far off in the distance. When we think of bagpipers, thoughts of “Danny Boy” and “Amazing Grace” might come to mind, but a Scottish pipe group is gearing up to deliver the sounds of Coldplay, ZZ Top, the Eurythmics, Gary Neuman, Queen and more this weekend. Possibly the most famous bagpipe group in the world, the Red Hot Chilli Pipers perform at the F.M. Kirby Center for the Performing Arts on Saturday, Feb. 22. Doors to the show open at 7 p.m. with show time at 8 p.m.
Two-time winners of the Scottish Live Act of the Year, the Chillis have delivered their own style of rocking bagpipe covers — they call it Bagrock — to audiences around the world since 2003. The Pipers have released several records of covers and originals throughout the past decade (Music for the Kilted Generation, BLAST Live! and Bagrock to the Masses to name a few).
Band director Kevin MacDonald offered some details about the band to help American audiences further understand just what the Red Hot Chilli Pipers have to offer.
On their formation:
The Red Hot Chilli Pipers were formed in 2003 by five friends from varied walks of life — three students studying at the Royal Academy of Music and Drama, a fireman and a trainee accountant. There was a common thread amongst us all that we wanted to make a bit of extra money to see us through life. We came up with the idea to form a band playing rock covers on the bagpipes with accompanying percussion. The struggle was to come up with a name. The name came about by accident. One of our original band members was tidying his flat with his girlfriend and they were sorting out his CD collection and she put a Red Hot Chilli Peppers album amongst his piping collection. When he asked why she had done this, she replied I thought it said Red Hot Chilli Pipers — and hence the name was born.
On the name Red Hot Chili Pipers:
The name has never really gotten us into trouble — yet! At the start, when we had no identity people just laughed when they first hear the name. Now that we have our own identity in the UK and Europe and certain parts of the USA there is little or no confusion. In new areas it still throws up the odd enquiry. (The band doesn’t play any Peppers covers.)
On selecting a song to cover:
There are 10 of us involved in writing the material and we just try rock and pop songs and see what works. The one restriction is that the bagpipes only have nine available notes so not all songs work.
On original songs:
Not only do we cover rock songs but we also take traditional Scottish and Irish songs and add a rock element to them. Our style of music has its own description now — “Bagrock.”
On responses from artists whose songs they’ve covered:
We understand that Brian May really likes our cover of “We Will Rock You” — so that will do for me. He posted (that he liked it) on Facebook after we won a talent show in the UK in 2007 playing the song.
On the difficulty performing Bagrock:
The trick is to make it clever music and not bagpipe karaoke.
On the topic of performing with kilts:
We have become used to performing in kilts. The only difficulty we have in performing with them is that when we spin they tend to come up higher than we hope – although maybe some members of the audience enjoy this part.
The Red Hot Chilli Pipers perform at the F.M. Kirby Center for the Performing Arts on Saturday, Feb. 22. Doors to the show open at 7 p.m. with show time at 8 p.m. Ticket prices are $27 and $37 plus applicable fees. Tickets can be purchased at the Kirby Center Box Office (71 Public Square, Wilkes-Barre, PA) in person or by calling, (570) 826-1100 or at all Ticketmaster locations, ticketmaster.com or by calling 1-800-745-3000.
A Country Sell-Out
The only thing country superstar Luke Bryan knows how to do is sell records, win big awards and sell out concerts
Mega-country superstar and the Academy of Country Music’s Entertainer of the Year Luke Bryan is at the top of his game and packing arenas throughout the U.S. Bryan’s “That’s My Kind of Night Tour” hits Mohegan Sun Arena at Casey Plaza, Wilkes-Barre, on Friday, Feb. 14. Unfortunately for those fans without tickets, the show sold out shortly after going on sale. It was one of the fastest shows to sell out in the venue’s 15-year history (two of Bryan’s shows at Madison Square Garden in New York City sold out in a few minutes). The tour, which kicked off in January and runs through March 8, also features country stars Lee Brice and Cole Swindell.
Bryan’s latest record, Crash My Party, debuted at No. 1 on the Billboard 200 and Country sales chart, selling 527,783 copies, making it the largest sales debut for a country male artist since 2004. Additionally, Luke is one of only two country artists — the other being Taylor Swift — that have sold more than a half-million copies of an album in a single week since 2008. Luke’s 2013 Academy of Country Music Award wins for the highly coveted fan-voted Entertainer of the Year and Vocal Event (“Only Way I Know”) with Eric Church and Jason Aldean, along with his first-time ACM hosting duty with Blake Shelton, are just a couple of the recent career highlights Luke has enjoyed. He also took home the Artist of The Year Award at the America Country Awards in December, the night’s highest award, as well as Male Artist of the Year and Touring Artist of the Year bringing his total career wins at the ACAs to 12.
Bryan called his Entertainer of the Year nod somewhat of a validation.
“It’s checking the biggest goal for your career off the list,” he said. “It reminds me just how wonderful my fans are. It’s every emotion possible.”
Bryan goes on to talk about his life and the unreal moments he experiences day-to-day. “Every night that I’m selling places out is a pinch-me moment,” he says. “When a fan comes up to me in the Boston airport because she recognized me is a pinch-me moment. I tend to have a lot of pinch-me moments. There’s a lot of amazing stuff coming my way and I try to remember it and appreciate it.”
THE HEAVY BELLS ARE RINGING
J. Roddy Walston and The Business take part in The Fuzz 92.1 Private Artist Showcase
J. Roddy Walston and The Business wants to give its fans a full body and mind experience while listening to their music. “It seems like most bands write for either the animal side of people or for the side that’s more in tune with the spirit or even just the psyche, but we tend to just smash all those things together,” Walston said. “It’s like we’re writing religious songs for the animal side. We’ve got songs that feel like party songs but if you look at it closer, it’s something more cerebral. So for the people who want to dig in and connect all the weird crosswires, the song can turn into something else.”
You can see J. Roddy Walston and The Business take part in The Fuzz 92.1 Private Artist Showcase at the Fuzz 92.1 Radio Theatre, 5th floor of the Times-Tribune Building, 149 Penn Ave., Scranton on Feb. 10, at 7 p.m. The show is all ages. Sign up for free tickets at fuzz921.com or text THEATER to 88474. Tickets are first come, first served.
Essential Tremors, the third album from J. Roddy Walston and The Business, borrows its name from a nervous-system disorder that Roddy himself has long-struggled to keep under control. “It’s this condition where my hands shake sometimes not at all, but sometimes pretty bad,” says singer/pianist/guitarist Walston. “I’ve referenced it throughout all our records in some way, but it made sense to be more open about it on this album, which is partly about owning and embracing your weirdness instead of letting it hold you captive because you don’t even want to talk about it.”
The record opens with “Heavy Bells,” a powerful lead single which is currently in heavy-rotation on Fuzz 92.1 and has been charting at alternative radio for five months. The band (guitarist/vocalist Billy Gordon, bassist/vocalist Logan Davis and drummer Steve Colmus) let their various influences shine throughout Essential Tremors revealing their affinity for artists as such as Led Zeppelin, pre-disco-era Bee Gees, The Replacements, Randy Newman and the Southern soul artists like Booker T. and the M.G.’s, Otis Redding, Sam and Dave, Albert King,Wilson Pickett and Isaac Hayes.
J. Roddy Walston and The Business relocated to Baltimore in 2004 after Walston’s then-girlfriend (and now wife) began studying opera at the Peabody Conservatory of Music. Along with putting out their first full-length album (2007’s Hail Mega Boys), the band devoted the next few years to earning a reputation as a can’t-miss live act that devotees aptly liken to “AC/DC fronted by Jerry Lee Lewis.” Along with touring with the likes of The Black Keys, Lucero and the Lumineers, J. Roddy Walston and The Business have brought their show to such festivals as Lollapalooza, Austin City Limits and Bonnaroo. J. Roddy Walston and The Business recently announced an upcoming string of tour dates, including a spring run with Foals and Cage the Elephant set to begin April 21 and appearances at both Coachella and Wakarusa Music Festivals.
— tom graham
Catch J. Roddy Walston and The Business in The Fuzz 92.1 Private Artist Showcase at the Fuzz 92.1 Radio Theatre, 5th floor of the Times-Tribune Building, 149 Penn Ave., Scranton on Feb. 10 at 7 p.m. The show is all ages. Sign up for free tickets at fuzz921.com or text THEATER to 88474. Tickets are first come, first served.
Eagles On Ice
EAGLEMANIA BRING THE EAGLES GREATEST HITS TO THE CLARKS SUMMIT FESTIVAL OF ICE
The desire to get out of the bar-band bustle and in front of bigger crowds in larger venues served as the catalyst behind EagleMania’s recent success. After three years of honing their skills and searching for the right combination of voices and musicians, the self-proclaimed “World’s Greatest Tribute Band” is ready to bring their show to The 570. EagleMania will perform Feb. 15 at the Clarks Summit Elementary School, 401 W. Grove St., Clarks Summit as part of the 10th Annual Clarks Summit Festival of Ice. Tickets are $15 advance and $20 at the door.
Eaglemania is Frankie Reno (keyboards and vocals), John Gaechter (guitar and vocals),Ken Darcy (guitar and vocals), Steve French (lead vocals), Jon Weiswasser (drums) and Paul Kuklinski (bass). The band performs all of the hits of the Eagles, as well as material from members Don Henley, Glen Frey and Joe Walsh’s solo albums.
“When I first put the band together, we were veteran players involved the club scene,” Reno said. “We were all tired of doing the typical bar-band stuff. We wanted to find a project that would get us in front of a larger audience with the potential of playing bigger and better venues. I put together what I thought was a line-up that would work in the beginning, but I came to find out the difficulty in pulling off the Eagles harmonies and instrumentation. It was much more of a challenge than I had initially thought. It took me a year to find the right combination of musicians — the right voices that blended, the guys that could play the parts correctly. Ever since finding these musicians, things have gelled. These guys are some of the best musicians and vocalists I’ve ever worked with.”
The band is always working on new ways to deliver their music and take cues from the real Eagles for inspiration toward their own live sets. When asked if he had any particular favorite moments during their performances, Reno noted the acoustic segment of the show, when audiences can clearly hear the vocal melodies, front and center.
“One of the things we do is an acoustic set in the middle of the show — very similar if you’ve seen the Eagles in concert. They sit on their bar stools with their acoustic guitars and break the song down to the bare bones and really let the vocals shine. I enjoy that the most and the crowd seems to really get off on it. You can hear the harmonies and they’re not covered up by drums and guitars blaring. I take the most pride in our harmonies because it was the most challenging for us to pull off. We are so close to how the Eagles sound, there are times I get goose-bumps listening.”
— tom graham
Catch EagleMania at the Clarks Summit Elementary School, 401 W. Grove St., Clarks Summit on Feb. 15. The show is part of the 10th Annual Clarks Summit Festival of Ice. Doors open at 6 p.m. Opening act Hippie Nation takes the stage at 7 p.m. Attendees interested in competing in the Rock Star costume contest must register by 7 p.m. Tickets are $15 advance and $20 at the door. For more information about the Festival of Ice, visit theabingtons.org or call (570) 587-9045. For more EagleMania information and to check out tour dates, visit EagleManiaBand.com.