Umphrey’s McGee Spafford and Joshua Redman

Saturday, January 28 2017
6:30 PM Door | 7:30 PM Show

The Palace Theater 19 Clinton Ave
Albany, NY 12207

Tickets on sale Friday, October 21 at 11am at, Ticketmaster charge by phone 800 745-3000 and all Ticketmaster retail locations or the Palace box office 518-465-4663


After 18-plus years of performing more than 100 concerts annually, releasing eight studio albums and

selling more than 3.5 million tracks online, Umphrey’s McGee might be forgiven if they chose to rest on

their laurels. But then that wouldn’t be consistent with the work ethic demonstrated by the band, which

consistently attempts to raise the bar, setting and achieving new goals since forming on the Notre Dame

campus in South Bend, IN, in 1997. After releasing their eighth studio album, Similar Skin, the first for

their own indie label, Nothing Too Fancy (N2F) Music (distributed by RED), the group continue to push

the envelope and test the limits. Their brand-new studio album, The London Session, was a dream come

true for the members having been recorded at the legendary Studio Two at historic Abbey Road. The

stealth recording session yielded 10 tracks in a single day, proving once again, the prolific UM waits for

no one.

The original Umphrey’s McGee played a mix of originals and cover songs, waiting just eight months to

release their debut album, the cheekily titled Greatest Hits Volume III. Their initial “proper” recording,

Local Band Does OK, came out in 2002, followed shortly afterward by an appearance at the first-ever

Bonnaroo in Tennessee, selling more albums than any other band on the bill. The 2007 double album,

Live at the Murat, earned a four-star review in Rolling Stone and a Jammy for Best Live Album.

Despite attempts at categorizing UM, the band has devoted its craft to making their devoted followers feel

as if they are part of something larger, through such technology-fueled innovations as fan-curated sets, the

immersive high-end audio offering, “Headphones & Snowcones,” where the pristine sound of the live

soundboard mix is piped wirelessly through high-end personal monitor systems and headphones, as well

as making every live show since 2005 available via their live music portal UM were also

the first group to launch its own single-artist streaming service.

2014’s Similar Skin saw Umphrey’s McGee aim to strut their rock and progressive roots, with

touchstones ranging from the Police and U2 (“The Linear”), the Beatles (“No Diablo”), Nirvana (“Loose

Ends”) and Led Zeppelin (“Hindsight”) to Metallica, Soundgarden and Pantera (“Puppet String”) and

even the symphonic rock of Gentle Giant, King Crimson, Yes or Genesis (the closing nine-minute live

staple, “Bridgeless,” finally committed to record). “Every night, we have the opportunity to play whatever

and however long we want,” says singer/guitarist Brendan Bayliss. Going into the studio, the challenge

was to be as concise as possible, to trim all the fat we could.”

Recorded at IV Labs in Chicago between tour dates, Similar Skin was produced by Umphrey’s McGee

themselves as “a coherent vision,” featuring plenty of dynamics and contrast, with many of the songs

coming from their live repertoire. Thematically, Bayliss was inspired by his own fatherhood, tackling

such issues as living in the moment (“The Linear”), his own mortality (“Cut the Cable,” “Hourglass”),

having children (“No Diablo”), the things that bring us together (“Similar Skin”), the question of whether

there is a God (the Ryan Stasik slap-bass-driven “Puppet String”), sleep-walking (“Educated Guesses”),

the art of storytelling and, according to Brendan, “unresolved psychological issues from the past” (“Loose


Finding themselves in London for three shows at the Brooklyn Bowl in June 2014, the idea of

recording at Abbey Road was first proposed by Umphrey’s producer Manny Sanchez, a notion, as

Bayliss recently told Rolling Stone that seemed as likely as “being asked to give a sermon at the


“It wasn’t a goal,” he explains, “because it never seemed like a possibility.” But never to be bound by

what seems possible, UM secured a coveted day at the world’s most famous recording studio and dove in


The first songs Umphrey’s McGee recorded that day were altered acoustic arrangements of “Cut the

Cable” and “No Diablo,” from Similar Skin. “Something we could go in and get quickly,” according to


“Bad Friday,” a song the band debuted live in Denver the previous New Year’s Eve and “Comma Later,”

a song described by Rolling Stone as “smooth R&B menace with Jeff Beck-styled lead guitar” – was

another recent original, recalling the Rock and Roll Hall of Famer’s Wired album was also recorded at

Abbey Road under its cathedral-high ceiling.

“It makes one note just fold over and over again, coming back around,” marveled guitarist/ vocalist Jake

Cinninger, who ventured into the original microphone closet, where he discovered all the Neumann and

Telefunken mics The Beatles used still in pristine condition. “You can hear the echo in the room. The

notes keep singing operatically.”

“Glory,” “Eat” and “Out of Order” were three set-list regulars that had never been recorded for a studio

release. With time still left on the clock, the band decided to cut The Beatles’ “(I Want You) She’s So

Heavy,” for their own entertainment, but ultimately ending up including on the album.

Twelve hours after first setting foot in Abbey Road Studios, just before midnight, Umphrey’s McGee left

the historic room with their own new album, The London Session, what Rolling Stone dubs “a historical

primer, an evolution story inside 51 minutes.”

“You’re looking at 17 years of change,” says Bayliss. “We managed to capture a good representation of

our spectrum.”

Umphrey’s McGee are more than just a rock band – through nearly two decades, they have proven to be

on the cutting-edge of both music and technology, super-serving their fans through a community that

stretches from the campus of Notre Dame to the hallowed halls of Abbey Road.