Tag: NYC

  • THE PORTAL Opens at the Minetta Lane Theatre

    Off-Broadway “modern Shamanic journey,” THE PORTAL, opened this weekend to a spiritually minded audience at The Minetta Lane Theatre. Before stepping foot inside the half-filled preview, I was informed that this groundbreaking concept incorporated elements of a live concert, choreographed dance performance, and movie all in one. THE PORTAL soundtrack is now available and I feel that the show flows even better by pre-listening to the mythological themes presented in the lyrics and compositions by Tierro Lee and Luke Comer with Charles Newman and David Sisko.

    Frontman Billy Lewis Jr., most recently credited on Fox’s “Glee,” appears on stage and sonically narrates the dreamlike adventure of Dante, through inspirational and symbolic landscapes, Alex Grey-influenced imagery and psychedelic desserts that I assume were once visited by Jim Morrison.  The audience is introduced to the voyage with songs like “Eclipse” and “Greeting,” sung by Lewis as the film, starring Dante (Christopher Soren Kelly), is projected on the large screen behind him. The eclectic mix of tribal and electronic beats, modern dance music and monstrous rock riffs are brought to life by percussionist Gilly Gonzalez and guitarist Paul Casanova who also appear on and off stage from scene to scene.

    Dante’s inner-demons appear to be haunting him in the film as actors portraying the same characters can be found roaming the theatre floor to terrorize and intrigue the audience.Fans of electronic giants like EOTO, The Disco Biscuits, and Beats Antique will appreciate the deep and transformational grooves during songs like “Trance,” “Synth” and “Space Weaver” while Jessica Aronoff and Nicole Spencer interpretively dance their way on and off the stage in between songs and themes. While there is not much live acting of any kind, there is a ritualistic Burning Man-influenced dance routine in nearly every song bringing the art forms together in a very unique fashion.

    The only way to truly understand THE PORTAL is to expect the unexpected and dive right in. Creative Director, Luke Comer, has developed a new way to present a rock opera story off-Broadway. As an audience member, each person can relate to many of the human experiences presented on screen and on stage while still enjoying live music, dance and film. Tickets can be purchased for Wednesday-Friday performances at 8PM and for Saturday performances at 5PM and 9PM.

    https://soundcloud.com/theportalnyc

  • Ghost Wraps Up Popestar Tour

    Last weekend, Swedish rockers, Ghost, ended yet another tour in North America, this time around, Ghost was on the road behind their Popestar EP release. The tour kicked off in September at the Main Street Armory in Rochester, NY, where NYS Music was on site getting a taste of the band’s new show. After traveling throughout North America, the band made their way back to the Northeast to wrap up their tour in Montreal and Brooklyn.

    Friday’s November 11th show in Montreal, was an example of how much a band can improve over time. Compared to the first show of the tour, the band was like a well-oiled machine. After a lineup change and getting used to the differences, Papa (lead singer) and the Nameless Ghouls (bandmates) seemed much more comfortable together on stage. Compared to night one of the tour, the bass tone was much heavier and more prominent. Even though the band sounded great on stage, there’s still a big piece missing from Omega being gone. For fans who didn’t know, the original rhythm guitarist Omega had left the band before the tour and the Nameless Ghoul, Water, took over his position. With a vacant bassist slot, Ghost recruited a new Nameless Ghoul. One of the biggest highlights of the show each night, was watching guitarists Alpha and Omega trade off guitar leads and rhythms. These two Ghouls are extremely talented and are a pleasure to watch on stage.

    Ghost brought most of its production that they had in Rochester, on night one of the tour. The restrictions for Ghost’s show varied from venue to venue depending on what was allowed. For instance, some of the smaller venues on tour like in Montreal, did not allow the band to fully utilize their production. On the other hand, at the King’s Theater in Brooklyn, where the tour wrapped up, Ghost was able to use everything they had with them.

    The setlist was kept the same both nights, mirroring the tour opener in Rochester. Ghost started the night off with the Popestar single “Square Hammer.” Each show was pretty identical when it came to theatrics from the Ghouls and Papa. If one word had to be used to describe Ghost, it would be theatrical. When people go see the band, it’s like going to see a performance instead of a regular “concert.”

    At the show on Saturday the 12th in Brooklyn, NY at the King’s Theater, Ghost was able to use their full production, which featured blasts of pyro from behind the stage. It was awesome being able to see Ghost end the tour in full force back in New York. For a band that was playing small clubs just a few years ago, Ghost is now selling out large theaters with ease and even adding second shows in some cities such as Toronto. It’s safe to say that Ghost is only going to continue to gain popularity with their next full release.

    Before the band played “Mummy Dust,” Papa Emeritus III went into a discussion aimed toward President Elect, Donald Trump. With all of the drama surrounding the election, going to a show was supposed to be a way to escape everything for the time being. But unfortunately, Papa decided to bring up politics and got the crowd going. Surprisingly the crowd in Montreal supported Papa’s views much more than Brooklyn did. Montreal really seemed to dislike Donald Trump and Brooklyn kept fairly quiet. But, once the band actually started playing “Mummy Dust,” all of that quickly faded away. The confetti cannons blew off, which also contained the popular “Mummy Dust Money,” which are fake bills with Papa’s face and 666 as the value. These bills are sought after by many fans and get shared in many fan groups online for people who couldn’t get any at the shows.

    As always, Ghost closed both shows with “Monstrance Clock.” The song is a great way to end the show, but there’s almost too much time taken before hand to introduce the song. The show is a “performance,” but realistically, if the conversation got cut down a bit, the band could play two or three more songs. At the end of the Brooklyn show, the final show of the tour, Papa thanked everyone and had the opening band come out on stage as well.

    Saturday’s farewell in Brooklyn marked the last time fans in the Untied States will see Ghost for quite some time. The Popestar Tour is over and it’s time for the band to work on their new album. There aren’t many details for the next album out yet, but it’s already been started and should be out by the end of 2017. Ghost has posted a teaser video already on their Facebook mentioning that Papa Emeritus IV is coming. With a new Papa Emeritus, it’s safe to assume that the Nameless Ghouls will also get a new look as well.

    It’s going to be a long wait for fans here considering they’ve essentially been spoiled with how often Ghost has come around. In the past year and a half, Ghost has hit many cities on the Black To The Future Tour, which lasted 2 legs, the Popestar Tour and other festival appearances such as Carolina Rebellion, Rock on the Range, Welcome to Rockville, and Rock N’ Derby.

    Be sure to keep a lookout on NYSMusic for Ghost news and the announcement for Papa Emeritus IV and the new album.

  • HeadCount Presents “Soundtrack to History” at Brooklyn Bowl

    Tuesday night saw, what seemed like, a never ending election style end to the tune of some funky, improvisational music at this photog’s favorite small NYC venue, Brooklyn Bowl. It was here that HeadCount presented a “Soundtrack to History” via the Everyone Orchestra. Hosted by Matt Butler, Everyone Orchestra is an ever changing cast of musicians who are conducted through a dry erase board and crowd participation.

    This evenings cast for Headcount’s “Soundtrack to History” was no slouch, and included Marc Brownstein, Steve Kimock, Marco Benevento, Karina Rykman, Mihali Savoulidas, Vinnie Amico, Jeremy Salken, Jay Jennings, Chris Bullock, Natalie Cressman, Jans Ingber, and, unannounced for the second set, Robert Randolph. What a list… apologies if I missed someone.

    headcount Soundtrack to HistoryAs you can tell from the gallery below, the Bowl had televisions tuned in to the election, offering a unique vibe to say the least.  There were cheers, jeers, eyes locked high to the walls and not at the stage, and nearly everyone on their cell phone. Not a reflection of the music in any way, as this was my favorite EO show I’ve caught over the years, exceeding expectations to be quite honest. Feel free to make your own call as the show is available on YouTube.

  • Buckethead Completes Two Night Stand at B.B. King’s Blues Club and Grill

    On September 22 and 23, guitar virtuoso, Buckethead, performed two nights in a row at B.B. King Blues Club & Grill in New York City. Buckethead, who is no stranger to the venue, packed in fans both nights and performed unique sets each night.

    In recent years, Buckethead has been essentially off the radar when it comes to live shows. While sitting in his coop somewhere, he’s been busy putting out album after album. Although these new albums may not be chart topping releases, the man with the white mask and bucket on his head never disappoints.

    BucketheadThe second show on Friday the 23rd was what every Buckethead fan could have wanted. The venue was packed tightly before Buckethead got on stage and seemed to keep getting tighter and tighter as the show went on. The show started shortly after 8PM with “Welcome to Bucketheadland.” With a catalog like the one he has, it’s impossible to tell what the man is going to throw at the crowd. After the opening song, it was another popular tune called “King James.”

    The night prior, fans in the crowd said Buckethead had played almost 3 whole hours. Unfortunately, Saturday’s show was only about 2 hours total, but no one was complaining. Back in May, Buckethead made one of his first tour stops, for what seemed to be ages, at B.B. King’s Blues Club & Grill. At that show he played 2 sets totaling 23 songs, that included “Nottingham Lace” and “Lebrontron.” This time around, he only played a total of 18 songs. The decrease in songs was more than likely due to Buckethead playing 2 nights in a row though, so there weren’t any complaints.

    Anyone that has seen Buckethead before knows that there isn’t much going on, up on stage. The stage itself is pretty bare. There are two Marshall cabinets with EVH 5150 heads. The floor contains a slew of guitar pedals and cables. Lastly, there are two pearl white Gibson Les Paul guitars, custom for Buckethead and sometimes a bass guitar. Buckethead doesn’t have any fancy backdrops or custom lighting like other bands/musicians have either. When someone goes to see Buckethead, the show is watching him play and listening to the music he can create.

    Buckethead There are absolutely no gimmicks at a Buckethead show. For those who don’t like the “costume” and “story” behind him, it’s something to look past since this guy is easily one of the best musicians of our time. Plus, the fact that no one has publicly seen or heard this man speak shows that Buckethead takes his image seriously and will probably never do what KISS did and lose the costume.

    BucketheadThe beginning of the set seemed to be hit after hit for Buckethead fans. It was a great feeling knowing almost every song Bucket played from the start. Other songs early in the evening were, “Want Some Slaw?,” “Big Sur Moon,” “Siege Engine,” “Giant Robot Theme,” and most of all “Jordan.” After all these songs, fans turned to one another in almost disbelief at the set they were hearing.

    One of the most entertaining parts of any Buckethead show is watching him improvise his songs. Songs like “Soothsayer,” one of Buckethead’s most popular, doesn’t sound like how it is on the record. Buckethead improvises so well, he can completely change a solo to one of his songs and make it even better.

    The night ended not with Buckethead showing off his incredible guitar skill, but with his dancing and nunchucks skills. After his presentation of the robot dancing and nunchucks, he took out his sack of toys and handed them out to his fans who were close to the stage. Lucky fans got to leave the venue with different masks, action figures and more.

    Buckethead Setlist: Welcome to Bucketheadland, King James, Want Some Slaw?, Crash Victim, Big Sur Moon, Siege Engine, Giant Robot Theme, Jordan, Mad Monster Party, Gory Head Stump 2006: The Pageant of the Slunks, The Redeem Team, Fountains of the Forgotten, Shaded Ray, Buckethead’s Toystore, Soothsayer, Jowls, The Embalmer, Jam, Toy Presentation

  • Hearing Aide: Big Eyes “Stake My Claim”

    Big Eyes, the female fronted punk rock band from New York City formed in 2009 by vocalist Kait Eldridge featuring Paul Ridenour, Malcolm Donaldson and Griffin Harrison. The band Big Eyes have a very Joan Jett vibe to them and with a comparable sound like that there is nowhere but up for this group to go. With their new album Stake My Claim being released on August 19 via Don Giovanni Records.

    This album flows with each track, starting off with a bang with the title track, the perfect way to get things rolling and gives you a good sense of what else is to come. Powerful guitars and drumming really put this track together well along with Kait’s vocals. “When You Were 25” continues the high energy and keeps you pulled into the record, allowing you to reminisce about your early twenties and the struggle of being a reckless youth needing to face the hardships of adulthood.  “Alls I Know,” the final track on the album, really ties the album up perfectly; this track starts off a bit slower than the rest and picks back up into that punk rock feel about a minute into the song.

    With so much potential this band has a very high ceiling and it can be heard through this album, maybe one day this band will share the stage with Joan Jett. The potential of this group is tremendous.

    Key Tracks: Stake My Claim, When You Were 25, Alls I Know

  • Photo Gallery: Happy Owl Fest 2016

    This past Saturday, on one of the hottest days of summer, the Happy Owl Fest flew into the quaint, Grateful Dead-esque ‘venue bar’ known as American Beauty, located in the midtown section of Manhattan. Typically, I would not be very excited to be inside for a festival in the middle of the summer, but fortunately, this venue’s air conditioning battled the 100 degree heat without mercy. At times, there were rumblings of people actually being cold. Add to this the ample selection of good craft beer, and American Beauty’s only food offering, a free personal cheese pizza with each beer, and you have a lovely way to spend the better portion of your weekend day. I haven’t even talked of the line up yet, which of course was the reason I was there in the first place.

    The schedule was ambitious, including nine acts between the hours of 3pm and 3am, with a bonus side hustle of the Phish webcast from Chula Vista, CA, which was projected in the main bar while the bands played on in the main stage area. I was one happy camper that I was able to catch the full sets of Polyvamp, Sylfox and the Hustler, Formula 5, and Sprocket. Alone across these four bands was an eclectic mix of music that should satisfy a majority of musical tastes. In sum, the Happy Owl Fest navigated improvisational rock, funk, and electronic with a dash of blues, not necessarily all at the same time.

    Should this event take place again next year under similar circumstances, I wouldn’t hesitate to make the trip. The balance between venue, beer, food, music and price of admission was quite welcome. The only suggestion I would make is for the venue to make a small investment in a house lighting system. On one hand, the noir scene makes for a rare experience in dedicated club venues these days. On the other hand, a little lighting action would would inject some energy into the room, in this photographer’s opinion.

    Till next year, enjoy my gallery from the first Happy Owl Fest.

  • The New Stew Stirs Up Brooklyn Bowl

    On Monday night in Brooklyn, recently-formed supergroup The New Stew, recreated the underappreciated live album Bill Withers: Live from Carnegie Hall. Walking onto the unusually danceable floor of the Bowl during the opening classic “Use Me”, you had the sense that those in attendance were not only there to hear Withers’ tunes, but also to see these well practiced musicians cook up something special.

    “Friend of Mine” concluded with Yonrico Scott (longtime member of The Derek Trucks Band) abandoning his percussion kit, grabbing a bongo, and joining lead singer Corey Glover (Living Colour/ Galactic) at the front of the stage while he beat the drum so hard that the audience could see wood chips flying off the seemingly handmade mallet. As a side note, this band was not a cover band, but a tribute band, and these sizzling improvisations continued to come to life all night while staying true to the set list created by Mr. Withers over 40 years prior.   Wither’s first hit, “Ain’t No Sunshine” found Glover pouring his heart out over the microphone while Roosevelt Collier closed his eyes and sent Withers a “thank you” in the form of “sacred steel” lap guitar notes. After the song faded away, Glover asked the room, “Why these songs so old and still so relevant,” which felt like the theme of the evening.

    On the day after Mother’s Day, “Grandma’s Hands” felt appropriately placed and gave the audience one more slow groove before jumping into “World Keeps Going Around.” Dave Yoke (Susan Tedeschi Band) on the 6-string, provided some friendly soloing competition with Collier on lap steel. The crowd ate it up during the uplifting rendition, which led to the first true love song of the night, “Let Me in Your Life.” In any great set list, the artist develops peaks and valleys from slow songs to barn-burners (or Bowl burners in this case). “Better Off Dead” out of the aforementioned song was definitely the transition piece missing from this beautiful puzzle. In the 15 years of the songwriter’s performing career, Withers became know as the “Troubadour of Soul,” covering many different genres. This one can definitely be filed as “F” for FUNK! Kevin Scott’s (Col. Bruce Hampton’s Pharaoh Gummit) bass spiced up the stew while Jared Stone (Stone’s Stew) added flavor from behind the drum kit.

    One thing missing from the original live recording was the witty banter provided by Withers in regards to his band and what influenced the writing of many of the tracks. In true tribute fashion, Glover connected with the audience in the same way when he stated “I wish I was down there watching that” in reference to Collier’s boiling hot solo during “For My Friend.” “I Can’t Write Left Handed” is like an R&B version of a wartime Johnny Cash song, which makes sense considering Withers shared some similarities in terms of the songwriters’ backgrounds. The two were humble, had a unique sense of humor and were proud to fight for independence and entertain the country they served (coincidentally Withers was born of the fourth of July). Another similarity between the two icons is their respect for their fellow man and few tunes cover that topic better than “Lean On Me.” After so many magical moments in the evening, it is hard to pick one highlight, but “Lean On Me” appeared to be the most anticipated song of the night as Withers fans new and old hugged it out during this spirit-lifter. The extended “call me” refrain was repeated almost a dozen times as the audience and band came together to complete a touching duo of slower tunes.

    Matt Slocum (Oteil and the Peacemakers) displayed his talent on the keys while teaming up with Collier and Scott during “Lonely Town, Lonely Street” to get the Bowl shaking again. Glover grinned from ear to ear after crushing “Hope She’ll Be Happier” and the room let him know it. The New Stew took us to church for the “Let Us Love” set closer which left the guests hungry for more as they returned for the medley encore of “Harlem/Cold Boloney.” The night ended with a Glover led call/response of “Do you feel good? Yes, yes, yes. Do you want to go home? No, no, no!”

    In a world where cover bands, Youtube and Spotify are the most prevalent means of listening to the sounds of yesteryear, rare supergroup tribute bands like The New Stew come along to not only bring us back in time, but to bring us back in spirit. While Bill Withers and his band provided the musicians with a soulful framework and influence, each member added their own special sauce to the dish making it a special that we hope to see on the Brooklyn Bowl menu again.

  • Photo Gallery – Marco Benevento at the Music Hall of Williamsburg

    Marco Benevento returned to his native Brooklyn to celebrate the release of his most recent record, The Story of Fred Short. The Music Hall of Williamsburg offered an intimate and comfortable backdrop for the energetic, smart, and at times quirky tunes that would fill the near two hour set.

    marco benevento Music Hall of WilliamsburgAnyone who has been to a show with Marco in the driver’s seat, or even riding shotgun, can attest that you won’t leave disappointed. Supporting him on this Saturday night was Andy Borger on drums, and Karina Rykman on bass. The trio was joined during the encore by Mikaela Davis on harp and Katie Jacoby on violin, kicking the set up just one more notch. Fortunately for anyone who missed out, there are more shows in the near future for you to soak up all the aforementioned ear candy (line-up subject to change). Till then, enjoy this photo gallery highlighting a few moments from the evening.

  • Plenty of Treats for Fans in moe.’s NYC Run

    moe. pulled out some excellent segues and rare songs for their St. Patrick’s Day run in NYC.

    The weekend started off St. Paddy’s Thursday with an intimate show at a smaller venue, Stage 48. The concert hall opened three years ago and has a capacity of about 1,100, with a horseshoe-shaped balcony area around the top, multiple bars and plenty of room for dancing.

    Jess Collier - moe. - Stage 48 - 3:17:16 - 01

    The boys didn’t waste any time getting into it, launching into a nearly half-hour-long “McBain” to start the show, which then slid into “Down Boy.”

    When guitar player Chuck Garvey took to his talk box in “Happy Hour Hero,” he sang into it a holiday wish for the crowd: “Happy St. Patrick’s Day you guys,” “I hope you have a very nice St. Patrick’s day. I hope you get real fucked up.”

    The band then played “Downward Facing Dog,” but they didn’t finish it; instead they transitioned into “Deep This Time” to end the set. DFD is broken into two distinct parts, so it’s perfect to break up within a show, but it doesn’t happen often, if ever.

    At the end of the set, bassist Rob Derhak, who had been coughing here and there throughout, made it pretty clear how he was feeling: “Thanks folks, I’m going to have to go get a blood transfusion, because that was like a four-hour first set.”

    Jess Collier - moe. - Stage 48 - 3:17:16 - 07

    The second set didn’t let up, though. It was a festive ride from the opening notes of “Billy Goat” all the way through the set to the apropos “New York City.” The set only stopped once, after going “all the way down to the bottom” with “The Pit” then finishing up “Downward Facing Dog” with the part that gets dark and guitarist Al Schnier nearly growls out the lyrics.

    After taking a quick breath, the band dove into the creepy-yet-whimsical “Bearsong,” which transitioned into Pink Floyd’s “Interstellar Overdrive.” Then the whole thing became a “The Pit” > “Tubing the River Styx” sandwich before going into “Farmer Ben.” Percussionist Jim Loughlin didn’t venture out from behind his setup as he often does when he’s singing a song, but it didn’t take any energy out of the crowd favorite that’s on the rarer side. The song always breaks down into a few covers, and this Ben had some very appropriate treats: “If I Should Fall From Grace With God” by the Pogues, “Shipping Up to Boston” by the Dropkick Murphy’s, and moe.’s own traditional Irish-sounding tune, “Raise a Glass.” The band played the full RAG and didn’t finish Ben before going into “New York City.”

    Jess Collier - moe. - Stage 48 - 3:17:16 - 20

    The encore featured some neat play with lyrics. moe. started with Neil Young’s “Down By the River,” which they hadn’t played since 2002, then played their own “Wind It Up.” “River” begins with the phrase, “Be on my side. I’ll be on your side,” and WIU both starts with similar lyrics and ends with a repetition of that phrase.

    3/17/16 Stage 48 setlist:

    I: McBain > Down Boy, It >(nh) Smoke, Rise > Happy Hour Hero, Downward Facing Dog > Deep This Time

    II: Billy Goat > Tubing The River Styx > The Pit > Downward Facing Dog, Bearsong > Interstellar Overdrive > The Pit > Tubing The River Styx > Farmer Ben > Raise A Glass > New York City

    E: Down By The River > Wind It Up

    Farmer Ben jam section: Ben> If I Should Fall From Grace With God > Ben > Shipping Up to Boston > Ben > Raise a Glass

    Jim Houle Photography - moe. NYC Playstation Theater - 031816 - Small Watermark-1

    On Friday, the fun moved to PlayStation Theater in Times Square. The band played the same venue in March 2015, but it was called the Best Buy Theater back then. This show kicked off right with “Yodalittle,” and the first set also featured a great “Puebla.”

    The second set began with the band’s second time ever playing “Cosmik Debris,” a Zappa cover that moe. debuted at their Halloween show in Philly. That gave way to a string of songs lasting nearly or more than 15 minutes each, the highlight of which was “She.” The set ended with “Suck a Lemon,” which the band hasn’t performed since 2014, and they encored with “Bodhisattva,” a Steely Dan tune moe. hasn’t played since 2003.

    3/18/2016 PlayStation Theater setlist:

    I: Yodelittle > Blue Jeans Pizza, Puebla > Bullet, Calyphornya, Gone, Queen Of Everything

    II: Cosmik Debris, Silver Sun >(nh) Kyle’s Song > Opium, She, Suck A Lemon

    E: Bodhisattva, Mexico

    Jim Houle Photography - moe. NYC Playstation - 031916 - Small Watermark-53

    Returning to the Playstation Theater on Saturday for the final night of the run, the revived audience welcomed moe. back to the stage with cheers and hands-full of beers.  With a quick entrance and a 4-count, the evening blasted off with a rocking, short but sweet “The Ghost of Ralph’s Mom.”  The highlight of the first set was the tasty “Brent Black” sandwich that included two fan-favorite covers from last year, House of Pains‘ “Jump Around” and “The Imperial March” from Star Wars.  As the intermission approached, some fans filtered outside into the streets of Times Square and some took to the media center of the theater lobby to play the few select Playstation console games mounted to walls.

    Set two came in easy with “The House of the Rising Sun,” which set a mellow mood for the “Lazarus” that followed. Special guest Suke Cerulo, from NY bands Lynch and Conehead Buddha, joined the group for a jammed out “Moth,” allowing Suke to explore the fretboard of his six-string guitar for the better part of ten minutes.   That song is what the crowd needed to be picked up into full dance-mode again and Cerulo delivered with class.  As the song ended, Suke waved to the grateful moe.rons and exited the dimly lit stage as Chuck melodically picked his way into “Rebubula.”  It seemed as though the setlist for the evening was hand picked by Rob, since most of the songs were either written/sang by him or rhythmically driven by the bass guitar.

    Jim Houle Photography - moe. NYC Playstation - 031916 - Small Watermark-10Before the encore, Al came out to sound off a few of the Al.nouncements for the night.  Since some of the songs ran a tad over length and the “Hard” curfew was only a few minutes away, Rob hilariously slapped the scribbled on pieces of notebook paper out of Al’s hands and apologized to the audience saying, “Sorry.  Blame me, blame me,”  The crowd took it in stride and cheered as moe. executed an emotional “Ziggy Stardust” by the late David Bowie.  A song which has become increasingly popular amongst the crew and community since Bowie passed away.

    3/19/2016 PlayStation Theater setlist:

    I: T.G.O.R.M., George, Blond Hair and Blue Eyes, Brent Black > Jump Around > Brent Black > The Imperial March > Brent Black

    II: The House of the Rising Sun, Lazarus > Ricky Marten > Time Ed, Moth, Rebubula > Four > Rebubula

    E: Ziggy Stardust

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  • Big Gigantic Got Rowdy with a Sold Out Terminal 5

    Big Gigantic commenced their Spring tour to a sold-out crowd at Terminal 5 this past Friday, March 11th. The performance was chock full of familiar samples, super funky sax, meticulous drumming and a new and unique stage setup that appeared to have the duo commanding a spacecraft through a galaxy of super light beams.

    tmckenna_biggigantic_t514

    Upon entering the venue, the energy level was extraordinary. Once Big G took the stage it was clearly evident why; the combination of their music style and the amount of energy and intensity they put into a performance is infectious. When you see saxophonist Dominic Lalli belting out a solo whilst sweating bullets or drummer Jeremy Salken laying down an intricate groove with tons of focus it’s very easy to appreciate their talent & dedication and give it back by showing off your funkiest moves to those closest to you. Big G got the crowd super hyped with tracks new and old, namely their new single, “Little Things” (feat. Angela McCluskey) which has an excellent balance of EDM styled builds and drops and anthemic piano/sax along with an excellent dose of sultry, soulful vocals. They dropped some Griz x Big Gigantic with “Let The Good Times Roll” as well as their celebrated remix of Aloe Blacc’s “Need A Dollar” which had fans sending singles off of the third level balcony. Ivan Jackson from Brasstracks was Big G’s very special guest and ably brought his brand of brass to the sold out crowd by guesting on a few tracks.

    Big Gigantic is forging an awesome place for themselves in the live instrument/production genre as their evolution of sound has continuously been on an upward trajectory. I’m hoping to catch their sets at some festivals this summer as they will surely not disappoint.

    Around New York, you can see Big Gigantic performing at Summer Camp Music Festival on May 29 and Camp Bisco on July 14.

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