State Fair Hound

An independent view of the New York State Fair

Category: Concert critiques (Page 1 of 4)

The Burbs

Baby boom-generation visitors fondly recall childhood trips to the original Suburban Park, a classic amusement park in Manlius that held magical appeal to kids wearing Keds. The tacky fun house, the zesty pizza, the miniature train, the rock ‘n’ roll bands and the rickety roller coaster made the trip an indispensable part of every kid’s summer. Those former thrill-seeking youngsters are now senior citizens who would like to enjoy entertainment in front of the big stage at the western end of the New York State Fair now known as Suburban Park.

But there’s precious little to inspire the lengthy trek. If this dismal lineup is the future of the stage, it will never live up to the name Suburban Park. The shows booked there have skewed almost exclusively toward much younger fans, who will identify the moniker with ear-shattering, pulsating beats of acts that feature drums as lead instruments. For seniors–really for many folks who love music and value actual singing and playing talent–there’s been little reason to spend a summer evening on the sloping lawn. As usual, that’s especially true for country music fans.

On the Trail, Day 5–Bueno!

Sunday is one of the very rare days at the New York State Fair with a musical show worth waiting for—Texican rockers Los Lonely Boys. They’ll fire up at Chevrolet Court at 1 p.m.

There’s a new concert promoter this year booking acts at Chevy Court and at Suburban Park, but the same old problem–too many performers who can’t sing or play an instrument, country that isn’t really country, unknowns and “tribute bands,” which are performers you never heard of imitating famous acts. Why bother? The new promoter, despite being Nashville-based wouldn’t know real country music if it bit them on their Wranglers. Pathetic.

Los Lonely boys have irresistible Latino rock flair and won a pop vocal group Grammy for their 2004 anthem “Heaven,” which also made Billboard’s country chart.

Country Counted Out

It’s the latest chapter of a familiar story. Romeo Entertainment Group, the first-year State Fair concert booking agency, has fallen right into line with the usual tone-deaf incompetence by bringing in a series of soulless country music pretenders while completely neglecting fans who love and respect genuine country artists. It isn’t that classic country acts aren’t available to play Central New York. Multiple Grammy-winning western swing band Asleep At The Wheel (shown in a photo by Paul Wakker) played the Homer Center For the Arts, just north of Cortland, on Aug. 13, while country Hall-of-Fame member Ricky Skaggs and his bluegrass act Kentucky Thunder will play there soon, followed by widely-respected singer-songwriter Rosanne Cash. Down the Thruway, the Erie County Fair brought in a country triple-bill headlined by Tracy Lawrence.

You could draw the conclusion that the light attendance at Chevy Court for last year’s Crystal Gayle concert led to the Fair to shy away from vintage country acts, but one lukewarm response doesn’t justify intentional neglect of senior country fans, something that has been going on for years. If you read that the Fair has something for everyone on their concert schedule, don’t believe it.

Gayle Force Performance

For many years, traditional country music was a dominant force on New York State Fair stages. CRYSTAL 4But for about a dozen years, it’s become exceedingly rare. So when Crystal Gayle, a classic country singer with decades of popularity, performed on Wednesday it’s was a real treat for those on the Chevy Court benches.

Many of those fans perked up upon hearing the familiar notes leading into the Grammy-winning song “Don’t It Make My Brown Eyes Blue,” one of the greatest singles in country music history and a crossover hit as well. Gayle’s impeccable timing and lush phrasing is still powerful 47 years after that landmark recording was paced by Country Hall-of-Fame pianist Pig Robbins’ lilting intro. That award-winning song, composed by Richard Leigh, came near the end of her hour-long set.

Earlier, Gayle sang fewer of her 18 chart-topping hits than may have been expected–she did “Talking in Your Sleep”, “Somebody Loves You” and “I’ll Get Over You,” among others. She also sprinkled her set with songs made famous by Patsy Cline, Johnny Rodriguez and the Osborne Brothers while also performing her rendition of “Coal Miner’s Daughter” to lead into a warm reminiscence of her famed sister, Loretta Lynn. She recalled how Loretta advised her to find her own musical identity, which worked out very well for little sister.

CRYSTAL 5Fans may have been wondering if Gayle still wears her famed brunette locks calf-length–she does. It’s her trademark look, much like Willie Nelson’s pony tail, Jimmy Dickens’ height or Dolly Parton’s–well, you know. Her sky blue tunic, tall black boots and plethora of gold and turquoise jewelry completed her fashion statement.

Her warmth and charisma are often traits of many country performers of her generation and should serve as a lesson for young artists, full of arrogance and attitude. For Gayle and her contemporaries, class and respect are as much a part of the show as fiddles and harmony. Let’s hope the Fair give us more classic country shows in future years.

Blue Kentucky Girl

Finally!

At long last, the New York State Fair has added a genuine country performer to its Chevrolet Court lineup.

Grand Ole Opry member Crystal Gayle,CRYSTAL best known for her 1977  Grammy-winning record “Don’t It Make My Brown Eyes Blue,” will sing on the Stan Colella stage on Wednesday, Aug. 28 at 1 p.m.

Gayle started out as the coal miner’s other daughter, the younger sister of legendary Loretta Lynn, but shrewdly forged her own path with a more sophisticated vocal style that made her one of country’s most popular artists of the 70s and 80s. While Loretta had a girl-next-door quality, Crystal’s sultry voice and impressive range placed her in a different neighborhood as she brought passion to a string of hits as long as her famous hair.

Early arrival is advisable as fans, starved for classic country at the Fair, are sure to overflow the Chevy Court benches to hear Gayle’s romantic repertoire, including “Talking in Your Sleep,” “I’ll Get Over You” and “If You Ever Change Your Mind.”

One show won’t make up for years of neglecting country fans, but it could be a start.

On The Trail, Day 12–Brand New Chevy

The emergence of the Suburban Park–formerly Chevrolet Park–stage over the past few years has taken some of the spotlight off Chevrolet Court at the New York State Fair as both bookend stages host daily concerts.

SELFIEThe Fair badly needed an alternative to the overcrowding at the court that made it nearly impossible for many fans to derive maximum enjoyment there and they decided to use the Park stage for most of the acts they judge to become the bigger draws, attendance-wise.

At one time, there were plans to replace the Chevy Court stage and the adjoining building, moving them back to increase space in front of the stage. But that now seems to be unnecessary as placement of acts can be managed to steer the biggest crowds to Suburban Park, leaving moderately-sized audiences in Chevy Court.

Some acts still draw tens of thousands of fans to that area, but you don’t generally see the massive overflow of years past. In order to create space in that area, vendor tents were moved out of surrounding streets several years ago, likely sacrificing some revenue. Large projection screens now flank the stage to offer a view from afar.

Fair planners use an established method for estimating crowd size, based upon a grid system that looks at defined areas with previously-determined capacities and adding up the occupied areas. It’s still an approximation, but when you come down to it, the actual numbers aren’t as important as other essential questions with an enormous crowd performing there.

COURT CROWD DAY-15

Regulating the crowd has proven difficult. Attempts to control the spacing and movement of that many fans with temporary fencing has been largely unsuccessful, in some cases making the situation worse by creating barriers to people spreading out or moving out of overcrowded areas. COURT RULES 15The rule prohibiting smoking at Chevy Court, heartily endorsed by The Hound, is now being stringently enforced, with staff encouraging compliance with posted rules.

They even moved the Chevrolet display out of the venue named for it. In addition to creating a nice concert space, preserving Chevy Court  kept intact a Fair locale that is both prominent and pretty. The sprawling Suburban Park can’t match Chevy Court’s ambience. The grassy, tree-lined court area benefits from being surrounded by those handsome buildings and close to the wine court, restrooms and food stands.

Stone Faces

Chevrolet Court really is the quintessential Fair locale, primarily due to those stoic buildings, all around 100 years old. The Fairgrounds’ original design, created by Buffalo architects Green and Wicks in 1907, started with completion of what is currently known as the Center of Progress Building the following year. That design is most evident around the landscaped courtyard now known as Chevrolet Court, where a grouping of major buildings forms a rectangle running south of the main gate to the majestic Horticulture Building.

HORT ENT 19The Fair’s major buildings reflect styles of the turn of the century, developing trends of the early 20th century and strong local influences.The first phase of construction took about 20 years to complete, culminating with the erection of the major buildings by the late 1930s.

While there are definite similarities to the buildings–a number of them are crowned by a cupola–each has its own character, particularly in terms of decorative touches. A stroll around the court reveals the varied look of the buildings at the fair’s core.

The two most similar buildings face each other bordering Cole Muffler Court to the east and west. The Center of Progress Building is the sister building of the Science and Technology and Dairy complex, stylistically and relative to the original design plan as both are bordered by full-length columns.

One important similarity from building to building is the combination of a functional interior disguised by a more aesthetically appealing exterior. There’s no denying that the look of today’s Fair is sharply different than some of its predecessors. No surprise there, given the ages of the buildings. But the sturdy structures have survived, including the stint during World War II, when the Fairgrounds were used as a  military base.

Today, they are the very foundation of the New York State Fair, both beautiful and functional.

 

Chapel Hart Burn

One of the few promising concerts in the New York State Fair lineup this year ricocheted between dynamic and off-target Wednesday evening at Chevy Court when country trio Chapel Hart played to a disappointing crowd that failed fill the benches.CH 2

The Mississippi trio started strong with original country material that showed off their lush harmony, hinting that this show would live up to its promise. But later they lost their way, covering several hits released by other performers, unfortunately including rock songs from Fleetwood Mac and Journey.

Lead singer Devynn Hart is charismatic and witty, but she doesn’t know when to stop talking and get back to music. Her mildly amusing monologues went way too long, particularly when she gushed about service members and veterans, leading into the ladies singing one of the hokiest, sappiest songs to ever hit the country charts, hypocritical lounge singer Lee Greenwood’s gratuitous “God Bless the USA.”

POINTDevynn Hart invoked legendary women Loretta Lynn and Dolly Parton in her talks and Chapel Hart should follow their lead. Overall these ladies showed that they have genuine talent that deserves better presentation.

Another point that was clear on Wednesday is that the Fair has some work to do in terms of training security staff at Chevy Court. Some staff–not all–exhibit a rude and overzealous attitude that was in full force, even though the small audience could have allowed for a less rigid approach. They rarely ask politely, instead arrogantly acting as if any minor issue is a major security risk and treating customers with hostility. They also more subtlety interfere with fan enjoyment by carelessly blocking sight lines when there’s no reason to do so. Rude conduct is rampant at Chevy Court and State Fair employees shouldn’t add to it.

 

On The Trail, Day 8–Country Cousins

When Chevrolet Court passers-by at the New York State Fair catch the sound of gorgeous harmonies emanating from the stage on Aug. 30, they may recognize covers of classic country songs like Loretta Lynn’s “Don’t Come Home A’drinkin’ “or Alabama’s “Dixieland Delight.” CHAPEL HART

If those songs cause music fans to turn their heads toward the stage, they may be surprised to see three young, African-American women doing the singing. The Mississippi ladies performing will be two sisters and their cousin who call their act Chapel Hart.

The trio gained notice in 2022 on the TV talent show America’s Got Talent. While their emergence will no doubt be seen as breaking cultural barriers, they seem to have a bright future beautifully blending their voices with old-fashioned country spirit.

GB CROWDThese country cousins respect tradition by covering ground that had been almost exclusively for white artists. Once you’ve heard them, it’s their sound that makes them special, not their appearance. Hall of Fame country singer Charley Pride was something of a novelty as an African American when he began, but he wouldn’t have become the legendary performer he surely was unless he flawlessly sang the notes while pouring his heart into the stories and emotions they captured.

Thus Chapel Hart seeks to follow the tradition of such country family acts as the Judds, the Sweethearts of the Rodeo, the Whites, the Forrester Sisters and even the Carter Family, acts carried by multiple women who were family. It isn’t often that you can say that a Chevy Court act features something we haven’t seen before, so Chapel Hart is a not-to-be-missed concert. Show time is 6 p.m.

The timing of this concert is perfect as Wednesday is Women’s Day at the New York State Fair. WOMEN DANCERSHome base for some of the observances is logically the Harriet May Mills Art and Home Center which will host various activities throughout the day. The classically-designed, pillar-enhanced structure, long known as the Women’s Building, hosts traditionally female-centric homemaking skills with artistic handicrafts, dresses, quilts, rugs and artworks prominently exhibited, while culinary masterpieces compete for ribbons.

This year marks the third New York State Fair under the administration of a woman governor, which boosts the significance of Women’s Day at the Fair.

While you’re in the Art and Home Center you can take a break at the Empire Theatre, located a few stairs above the ground floor, for a performance of magician Steve Trash. The dimly-lit auditorium offers comfortable chairs and air conditioning where you can relax and enjoy entertainment from local music, dance or acting troupes. Stage shows, often presented with youthful enthusiasm, are generally free of charge. The schedule of performances is listed on the Fair’s website and may be posted outside the building entrance nearest the Pan African Village.

Go upstairs to the musical instrument museum to enjoy some vintage pieces including several keyboard instruments. Follow the sound of music to the classic organs and a player piano. CIRCUSDownstairs, authentic model circuses and carnivals bring back historical memories of fairs past with colorful posters lining the surrounding walls.

If attending the New York State Fair means missing your favorite television cooking show, you can get a live chef lesson in the high-tech demonstration kitchen. The schedule is on the Fair website and posted outside the northern entrance to the building.

 

Black Listed

Did you hear that country music icon Clint Black is appearing at a major upstate New York event in August?

No, it’s not the New York State Fair. CP SHOWThe dynamic Black will play on Aug. 13 at the Erie County Fair in Hamburg. His 90s country contemporaries Clay Walker and Tracy Byrd are on the bill that night in what sounds like a terrific triple-bill for fans of that cowboy-hat era.

Meanwhile the State Fair’s hopelessly incompetent booking agency has signed yet another–you guessed it– rapper.

The recently-announced shows featuring bland pop-country singer Lainey Wilson and lounge-singer-turned-phony-patriot Lee Greenwood amount to a feeble attempt to appease fans of genuine country music. GRANDSTAND 15Many of us remember when Clint Black performed three very entertaining concerts at the State Fair grandstand in 1993, 1994 and 1998. That was back when they had a competent booking agent–the legendary Joe LaGuardia–instead of clueless outsiders.

With nine weeks left until opening day, it may be too soon to predict that the current itinerary of the Chevrolet Music Series will surpass last year as the worst Fair concert line-up in history. But the over-saturation of the Chevy stages–particularly Suburban Park–with rap “artists,” several sporting names that look like typographical errors, has gone way too far. Clint Black is one of many classic country acts that have been ignored for years by the Fair. Its lineup, as currently comprised, desperately needs balance and variety. Bringing in some classic country acts and other performers who can actually sing and play instruments is a good place to start.

 

 

 

 

Hip Hopping to Conclusions

A recent article by Geoff Herbert in the Syracuse Post-Standard/syracuse.com makes the case that hip hop has surpassed rock and country as the most popular musical  style at the New York State Fair. It’s hard to accept such a theory based upon the acts booked this year by the incompetent agency used by New York State to create the concert lineup for the two major stages. CP STAGEIt’s unreasonable to say that country popularity has faded when fans are given no opportunity to show up for an act with bona fide country cred.

This year may have been the worst lineup in Fair history with a half-dozen hip hop acts and fewer major rock bands, while the handful of country performers were exclusively newcomers or second-stringers with one exception. The biggest name was Jimmie Allen, who sings lightweight pop with a twang and a heavy beat that mimics hip hop. Thus Allen is the definition of what current commercial radio passes off as country, though it’s completely unsatisfying for fans who know real country.

AWAITING SHOWIt was nothing less than laughable when clueless local media referred to sideshow goofballs Big and Rich as “country superstars.” These two flakes have cracked the Billboard Country Chart top ten exactly twice over the course of the past 19 years, not exactly superstar credentials. When they played the grandstand in 2009, their crude and insulting show drew a paltry crowd.

While other upstate venues staged impressive artists including Lorrie Morgan, Clint Black, Sara Evans, Martina McBride, Emmylou Harris,  Mary Chapin Carpenter and Rhonda Vincent this summer, the Fair whiffed completely on genuine, traditional-style country.

Again.

If other venues can book such talent, why can’t the Fair?

No surprise–they sure don’t know much about country music as they signed unknown country “stars” like American Idol (uh-oh) singer Alex Miller and Niko Moon. ERNEST 2Another kid,  Ernest (State Fair Hound refuses to ignore standard journalistic practice to spell his name in capital letters as he prefers) put on an entirely credible show at Chevy Court, but he’s not exactly a big name in capital letters or otherwise.

Rap fans should certainly have a chance to cheer their favorites, but it’s been several years since the Fair brought in a top-flight, real country act, especially one with the track record to draw the fans who consistently filled concert seats in years past. Those folks are still here and they still want to hear country.

It’s unfair to compare the audiences’ response to minor league or fledgling country acts against some of hip hop’s biggest names. Numbers aside, when you book 52 shows over 13 days, a wide variety of acts is the logical way to go.

This infuriating issue is nothing new, but maybe a new exec at the top of the Fair’s team, whether it’s Sean Hennessey or someone else, will do something to correct it. They should start right now.

 

 

 

 

 

 

 

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