BY: Robert Jowaiszas
December 31, 2025
Spending New Year’s Eve at the Paramount Hudson Valley Theater already comes with a sense of occasion. The nearly century-old venue — lovingly maintained and staffed in part by longtime volunteer ushers — felt especially alive that night. Several ushers, some of whom have been there for years, said they were looking forward to the show. By the end of the night, they were smiling, nodding along, and clearly enjoying themselves as much as the audience they helped seat.
The evening opened with Philadelphia Freedom, an Elton John tribute band fronted by Doug Delescavage. His piano-driven set was upbeat and immediately familiar, pulling the crowd in from the first few songs. Audience members clapped, sang along, and swayed in their seats. It was more than just a warm-up — it set a celebratory tone that carried through the entire evening and proved to be a natural pairing for what followed.
By the time Almost Queen took the stage, the theater was fully primed. Formed in New York in 2004, Almost Queen has built its reputation on musical accuracy and respect for Queen’s catalog, favoring tight harmonies and faithful arrangements over parody. More than twenty years in, their longevity shows in the confidence and control of their performances.
The band’s lineup — Joseph Russo on lead vocals, Steve Leonard on guitar and vocals, Randy Gregg on bass and vocals, and John Cappadona on drums and vocals — works as a cohesive unit, recreating Queen’s layered sound without excess.
Visually, the tribute was immediate and unmistakable. The lead singer appeared dressed in Freddie Mercury’s iconic Live Aid at Wembley Stadium (1985) look: a white tank top, blue jeans cut short, sneakers, slicked-back hair, and the famous mustache. In a lighter, human moment, he occasionally raised a Pepsi cup, pausing to let the audience in on the joke by explaining it was just apple juice — a playful wink that drew laughter and appreciation without breaking the flow of the show.
Musically, Almost Queen allowed the songs to breathe. Rather than racing through a checklist of hits, they let the dynamics build naturally. When the big moments arrived — Somebody to Love, Radio Ga Ga, Bohemian Rhapsody — the response was instinctive. Many in the audience couldn’t stop dancing once Queen’s melodies took hold. Heads bobbed, feet moved, and whole sections sang along from start to finish.
What stood out most was the shared experience. This wasn’t a passive crowd. The energy moved easily between stage and seats, with people on their feet throughout the theater. Even along the aisles and near the back, the music pulled everyone in.
The Paramount’s acoustics helped make arena-sized rock feel intimate, allowing harmonies to fill the room without overpowering it. As midnight approached, volunteer ushers lingered, watching people dance and sing as if the year wasn’t quite ready to end.
As the band took its final bow, the lead singer thanked the crowd as “my darlings,” a phrase Freddie Mercury often used, before adding warmly, “Have a happy New Year — we’ll be back.” It was a fitting close to a night built on connection and shared joy.
There may not be an official critic’s review dated December 31, 2025, but for those inside the Paramount that night, the verdict was clear: the pairing of Philadelphia Freedom and Almost Queen delivered a joyful, well-crafted New Year’s Eve concert that honored classic music, a historic venue, and the simple pleasure of live performance.