New York hip hop is often thought of as music with a classic “boom-bap” style beat, intricate rhyme schemes, vivid lyrical content, grittiness and smooth flow. When people think of NY hip-hop, the five boroughs and their respective legends come to mind…But everyone always forgets about the suburb attached to the City’s hip; Long Island. When you think of Long Island, you think of rich people, strip malls & mindless self-indulgence. Musically you think of pop punk and garage bands. But walk into a Long Island bar or music venue and you might just catch a rare breed; the Long Island emcee. Among this rare breed there’s a sound that would be hard to forget; Doug G the Nightchild performing tracks off of his EP Nightchild.
The Nightchild EP coincides with the change in Doug Gallardo’s moniker from “Doug G” to “Doug G the Nightchild.” Going for a darker, grittier route in both instrumentals and lyrics, songs on the record cite feelings of disgust, hate, rage, teetering on brokenness and impending apathy. In other words, the boiling angst that can be found in the millennial counterculture. Doug delivers this feeling through hard-hitting, atypical beats, clever word play, smooth flowing multi-rhyme schemes and tons of vocal energy that most people can’t muster live nor in the booth.
“66669” is the song that will get the audience jumping and shouting back the lyrics. The hook is as simple as the chant “six-six-six-six-nine” over a trap style beat, with edgy, aggressive vocals. “66669” in context of the song is Doug being the “devil” and “69” being what he’s doing/will be doing to your girl, the game, etc. My initial reaction to the song was “damn that sh*t is thug as f*ck”…but the Nightchild isn’t thug, just a real NY lyricist.
Doug captures the essence of what he’s living and feeling a la songs like “Death to Your Drug Dealer,” which captures the state-of-affairs on Long Island where addiction to heroin and opiates runs rampant. The issue of this poison ruining the lives of young men and women is one that many listeners will be able to connect to. “Emotionless” expresses the guttural feelings of “hating the pain away,” and taps in to the apathy that most millennials are feeling.
Overall, this five-song EP does two very essential things; it snapshots an energetic and constant performance that would appeal to a new listener, and it gives Doug’s established fan-base something with a lot of substance and some new flavor to enjoy. By being able to accomplish these things, Doug G The Nightchild continues to grow his following both online and at live shows. What makes this EP a noteworthy piece of art from the Long Island music scene is first and foremost Doug’s vocal performance and energy. Without having to utilize a singer, catchy hooks or overbearingly fast flow (disclaimer; people are dumb enough to think rapping fast equivalates to having the best flow), Doug establishes a unique sound that captures your attention throughout the entire EP.
Be on the look out for Doug G the Nightchild at a NYC or Long Island music venue, often performing alongside his counterpart Bearded Legend as BLDG.
Key Tracks: 66669, Emotionless, Death to Your Drug Dealer
Matisyahu may have found a unique niche in the Jewish reggae and hip hop scenes, and with the 2017 release of his sixth studio album Undercurrent, his religious convictions are woven into a stream of consciousness that flows between genres throughout the album. The album was described in a recent press release stating, “The vulnerability felt throughout the lyrical narrative comes from acceptance in uncertainty. “Step out into the Light” sets the tone for the record, as Matisyahu delves into a musical reframing of the Jewish philosophical differences between the constant of faith and the immediacy of trust.”
Matisyahu completed the album with a team of esteemed collaborators including some who have a long history working with Matisyahu on past projects. Aaron Dugan (guitarist), Stu Brooks (bassist), Joe Tomino (drums), Tim Keiper (drums) Cyro Baptista (percussion) and Big Yuki (keys) serve as the vehicle through which Marisyahu delivers his rhythmic remarks.
Undercurrent serves as the musical checkpoint along Matisyahu’s continued journey of seeking greater truth within himself and the world around him. “Step out into the Light” opens the album with a modern hip hop vibe. Matisyahu quickly entangles the album with religion, mentioning a dreidel in the first few lines. The lyrics are at times ambiguous but flow well. Matisyahu offers some seemingly deep philosophical musings but leaves it to the listener to fully unpack their meaning
“Coming up Empty,” is more heavily produced than much of Matisyahu’s work and may catch fans off guard. “Blue Sky Playground” is heavy on the hip hop and is the first song on the album worth a head bob or two. Halfway through, the nasty hip hop groove fades to a mellow jam which rounds out the eight-minute track. “Forest of Faith” is easygoing and pleasant on the ears with instrumentation that sounds like a tropical xylophone. “Head Right” tricks the listener into thinking its a heavy rock tune, but quickly morphs into a hip hop/reggae hybrid and flips back and forth to the rock realm. “Driftin” concludes the eight-track album with a song that could almost be split into tow separate tracks. The first half serves as a low key hip hop track akin to Dirty Heads before the last seven minutes resort to minimalist instrumentation with Matisyahu displaying his beatboxing ability. This album will certainly keep listeners on their toes.
Key Tracks: Blue Sky Playground, Forest of Faith, Head Right
Body Count have returned with a vengeance. For the first time since 1994’s Born Dead, the band has finally put out two consecutive albums with the same line-up. And this is clearly Body Count’s best line up since the original lineup. So what does Bloodlust bring to the table?
The album starts off with “Civil War” which features Megadeth’s Dave Mustaine on additional guitars, clearly stating that this album is going more political this time through. Obviously with the political climate as well as the on going violence in inner city areas around the country, Ice-T and the gang are here to make a statement. Then going into the first single release “The Ski Mask Way, ” which has the old school Body Count feel to it, shows the band is on point, clutch, and heavy as ever. Not to mention the production on the album is top notch.
Similar to the previous album Manslaughter, Body Count has dialed up some additional help from other big names in metal. And on the song “All Love Is Lost” Max Cavalera of Soulfly lends his deadly vocals which was a nice touch to the track. Following that Body Count busts out a kick ass Slayer medley cover which is a cool way to segue at the halfway point in the album. I would call it heavy metal half time. Lamb Of Gods’ Randy Blythe also makes a guest appearance with “Walk With Me” where his vocals make a brutal mix with Ernie C’s nasty guitar riffs and Ill Will’s relentless drumming.
The tail end of the album grabs you by the collar and gets politically heavy with “No Lives Matter” whether you agree or disagree with what Ice-T and gang have to spit out, you can’t deny the beats and breakdowns kick major ass, but that’s the beauty of it. The music is damn catchy, it helps convey the message that much easier. The last track “Black Hoodie” which pays tribute to KRS-One while conveying one last message, is the album’s best track and leaves you wanting more.
In conclusion, a lot has changed since their first album from 1992, the previous album Manslaughter was aimed at society, this album attacks politics and discrimination. While all the breakdowns, amazing Ernie C riffs, spectacular drumming, and powerful lyrics from Ice-T are all there, which we are used to hearing from a Body Count album, the album did feel much shorter than their previous album and there are not as many guitar solos and there are no ballads or clean singing vocals from Ice-T or Ernie C. But it is still a fantastic metal album and a solid entry to the Body Count catalogue. This is one of their best albums to date and a lead candidate for best metal album of 2017.
Key Tracks: All Love Is Lost, Walk With Me, No Lives Matter, Black Hoodie
Riff Raff gave Syracuse “4 million” reasons why they should have been at The Lost Horizon This past Thursday, March 2, performing his signature brand of crunk braggadocio to a packed house of CNY’s trillest. Draped in a gold chain to match his shiny rings and belt buckle, the Houston-based rapper dazzled the audience with thumping beats and catchy refrains about his lavish lifestyle. The crescendo of his set was the aforementioned banger “4 million,” which had the crowd singing in unison about Riff Raff’s purported income from the 2016 fiscal year.
All in all, it was a high-energy performance and unforgettable party for everyone in attendance. The opening acts were Sig Roy, Dom x Vince Cioci, followed by Cuse Williams featuring DJ Lionheart. Yola Cerew replaced Atrilla for one last crowd exciter before Riff Raff hit the stage. The first song in Cuse Williams’ set “Left for Dead” was definitely a highlight of the evening. The track began with clips from a news report about a shooting in Syracuse, and was followed by heartfelt lyrics against gun violence.
The Syracuse Area Music Awards, affectionately known as the SAMMYS, wrapped up its 25th edition Friday, March 3, 2017 at the Palace Theater in Syracuse with a brief performance from freshly inducted Hall of Famers moe.
Ahead of Saturday night’s show at the F Shed, moe. closed out the two-night affair with a three song set of “Tailspin,” “Spine of a Dog” and “Buster.” Friday night’s awards ceremony, hosted by veteran Syracuse DJ and staunch supporter of the local scene, Dave Frisina, featured awards in 18 categories, including three People’s Choice categories, and performances by four Syracuse area bands, reflecting the broad range of styles and talent found in and around the Salt City.
The SAMMYS is the brainchild of Frank Malfitano and now under the care of Liz Nowak. In 1993 Malfitano created the celebration of area music for an event at the Landmark Theatre. The event changed venues several times over the years before finally settling on the grand old Palace Theater on James Street in the Eastwood district.
The festivities began with the Hall of Fame dinner Thursday night, upstairs at the Dinosaur Bar-B-Que. The Dinosaur has been one of Syracuse’s premier music venues since opening on Willow Street in 1990 and was a fitting venue for the honors and stories that filled the room.
This year’s inductees were Mohawk Valley via Buffalo jamband moe., pioneering new wave singer/guitarist Meegan Voss, 70s blues rock artists Jukin’ Bone and singer-songwriter Paul Case. Also being honored were Anthony and Patricia DeAngelis for Music Educators of the Year and Lifetime Achievement Award recipient Vincent Falcone. It was a night that had the feel of a class reunion. Hugs and excited shouts from people who haven’t seen each other in years mingled with stories of years’ past in venues no longer around.
The inductions and awards ceremonies were hosted by Dave Frisina, a 1994 SAMMYS Hall of Fame inductee, long-time Syracuse radio personality, champion of local music and self-professed band dad. His son, Mike is a member of Syracuse-based band Simplelife. Most, if not all, of those in the room have dealt with him in some way throughout their career. A man like Frisina is what every music town needs. He is local music’s strongest advocate and has the platform for it at his current station 105.9 The Rebel.
Induction and acceptance speeches were filled with anecdotes and inside jokes. Though, most in attendance, were on the inside of those jokes. Memories of broken down vans, vanished venues and bad decisions peppered the speeches. It was the talk of well-worn musicians who have dedicated their craft not to become famous, but simply to play. To the outsider, it was a look at a scarcely seen side of the working musician.
The first honor of the night was for Educators of the Year. Husband and wife, Anthony and Patricia DeAngelis, two area music teachers were honored for their decades of influence on local musicians at Syracuse University, Colgate University, LeMoyne College, the Lyncourt School and Onondaga Community College. They were inducted by their well-spoken and surprisingly laid-back granddaughter Olivia.
Voss was inducted by her husband and band-mate in the Verbs, drummer Steve Jordan. In her acceptance speech, she pleaded to “Save the clubs.” Case, visibly touched at the recognition for his long career avoided revealing too much of past days on the road, “My kids are in the room.” He lavished praise on fellow musicians in the room, including Jukin’ Bone member Joe Whiting as well as the master of ceremonies.
Case, sporting a black tux and pronounced the Best Dressed in the Room by Frisina, closed his acceptance speech saying, “You get up. You drive to the gig. You set up. You play your ass off. You tear down. You drive a million miles home, week after week, month after month, decade after decade. You do it for the music.” He then dedicated his award to the late Bob Fleming of the Mossback Mule Band, who passed away in September.
Accepting for Jukin’ Bone was Whiting, Mark Doyle and John DeMaso. Discussing the problems of being a young band, Whiting offered a piece of advice, “I would recommend not signing contracts under the influence of anything distilled or brewed, made in a laboratory or passed around and smoked,” eliciting loud laughter from the audience.
The final inductee of the night was moe. Al Schnier spoke first in accepting the honor, speaking of all the Syracuse area venues spent taking in shows as a fledgling musician. Schnier lauded promoters such as Chuck Chao of Creative Concerts, who inducted the band, thanking them for shaping who they became as musicians:
We came here as kids to see concerts Chuck (Chao) was promoting. They made us fans. Whether it was Driving Sideways or the Todd Hobin Band or the New York Flyers or 805; these were the bands we looked up to as kids. They could have been the Allman Brothers or the Grateful Dead; they were the same to us. You guys were rock stars.
Drummer Vinnie Amico attributed the band’s style to its Upstate New York roots, “We all wear our hearts on our sleeves. We all kind of have this style, this thing we do, because of where we’re from. We’re blue collar, baby. We work hard, we play our music that way. There’s an edge to our music and that’s a testament to Upstate New York.”
“The Oddities of the World” – the SAMMYS Hall of Fame Class of 2017
On Friday, 54 artists were nominated among 13 Syracuse Area Music Awards categories. Sprinkled in among the awards were performances by several of the Syracuse area’s finest musicians, representing genres ranging from blues rock to country, rap, alt-rock and jam. There is definitely a varied and vibrant scene in Central New York.
Emcee Dave Frisina kept the event lively and loose, often interacting with presenters and winners as they approached the microphone. Best Jam Band winner, Joe Driscoll, affectionately referred to the host as a jedi to laughter from the crowd.
The performances throughout the night revealed the depth of talent in the area. The Ripcords opened the night accompanied by the Boneyard Horns. They ripped through three bluesy/tex-mex style songs, kicking off the night in a celebratory fashion. Unfortunately, just as they seemed to be letting loose, their set was over. You can get a taste of what the Ripcords have to offer at their ReverbNation page here.
Best R&B recipient Alani Skye had several family members in attendance and received perhaps the most vocal and joyous reception to a win. Her win for Don’t Forget About Mewas never in question for the vocalist as she accepted the award.
A performance by rap artist Curtis “Tall Bucks” McDowell and the Brownskin Band followed. The rhythm section of the Brownskin band mixed equal parts jazz and funk behind McDowell’s rhymes. A guest appearance by Syracuse rapper Real Tall for the song “Solar Radiation” had elements of early ’90s era Leaders of the New School collective.
The reality of life as a working musician came to light when Lauren Mettler was awarded the SAMMY for Best Folk. After an awkward pause waiting for the recipient to make her way to the stage, her brother made his way up to accept. In his speech, he stated how he had just texted her and she was still on her way to the theater. So, as any good brother would do, he stalled for time as she made her way down the aisle, peeling her coat off as she ran towards the stage.
Mettler mentioned how she had just gotten out of work and was trying to get to the theater as quickly as possible, even though she never thought she’d win. Such is life for those looking to make a go of it in the music industry. Everyday jobs sometimes throw hurdles at you along the way. Mettler was genuinely surprised and pleased with her award.
One of the night’s cutest moments came when the award for Best Hip Hop/Rap was awarded to World Be Free for the album Nigg@$ to Gods. He was on the West Coast touring and couldn’t attend the ceremony. As his family accepted the award on his behalf, his young son took a turn on the microphone as his dad’s public relations manager, exclaiming, “My dad has CDs for ten dollars!”
Country artists Chris Taylor of the Custom Taylor Band plead with the audience to get up and dance along to their performance. A funky “Keep Me in Mind” slowly drew the audience to its feet and a rousing rendition of the Charlie Daniels Band’s “The Devil Went Down to Georgia” easily won over the crowd.
The Brian Bourke Award for Best New Artist was awarded to Funk ‘n Waffles regulars, reggae-soul band Root Shock. This presentation seemed to be the biggest crowd pleaser of the night as fellow musicians and fans alike rose to cheer their win.
Previous Bourke Award winner, the Spring Street Family Band took over the Palace with their high energy alt-rock performance that even had a band member’s dad jumping up on stage to take video with his phone. Their performance brought the audience to the stage, turning what was a somber awards ceremony into a full-fledged rawk show with a funk-metal-alt sound reminiscent of Rage Against the Machine or Faith No More.
The ceremonies concluded with the awarding of the People’s Choice SAMMYS. Over 110,000 online votes were tallied in categories of Best Band, Best Live Venue and Best Festival or Music Series. The New York State Fair wrapped up the venue and festival categories with their representative thanking all of the venues in the area for supporting the live music that becomes a part of the fair each year.
The award for Best Band went to Cortland-area country band, Small Town Shade, who also won the SAMMY for Best Country Performance for the EP Ring it Up.
moe. wrapped the SAMMYS with a lively three-song set that included “Tailspin,” “Spine of a Dog” > “Buster.” Schnier commented about the lack of curfew at the venue and suggested they keep playing until they are thrown off the stage. To the disappointment of many, Schnier apparently as well, the lights came on at the end of “Buster,” bringing a close to the two-day celebration of Syracuse area music for another year.
Best Jazz: Second Line Syracuse, Second Line Syracuse Best Other Category: Syracuse Society for New Music, Music Here & Now Best Folk: Lauren Mettler, Patchwork Best Jam Band: Joe Driscoll & Sekou Kouyate, Monistic Theory Best R & B: Alani Skye, Don’t Forget About Me Best Pop: The Jess Novak Band, Inches From The Sun Best Americana: Driftwood, City Lights Best Blues: Tas Cru, Simmered and Stewed Best Hard Rock: Breaking Solace – Shatter the Silence Best Alternative: Bell & Sgroi, Bell & Sgroi Best Rock: King Chro and the Talismen, King Chro and the Talismen Best Hip-Hop/Rap: World Be Free, Nigg@$ To Gods Best Singer/Songwriter: Alanna Boudreau, Champion Best Country: Small Town Shade, Ring It Up EP
Brian Bourke Award for Best New Artist: Root Shock
People’s Choice Awards were conducted in an online poll for three categories. Over 110,000 votes were tallied. The winners were:
Favorite Band: Small Town Shade Favorite venue to see live music: Chevy Court at the New York State Fair Favorite festival or music series: The Great New York State Fair
On Saturday, February 25, the bizarre weeklong heatwave in Buffalo finally came to an end as snow blustered across the city. And at the Waiting Room, numerous patrons were wearing Wu-Tang Clan shirts, GZA hats, and one wearing a New York Rangers style jersey, but with Wu-Tang images instead. The smell of weed permeated the air, and the audience on the bottom floor stage was packed from the front stage to where the merchandise stand would normally be. Wu-Tang was certainly representing this evening. And the crowd was here for one of it’s prime members: GZA the Genius.
Born Gary Grice from Brooklyn, New York, the GZA is the cousin of Wu-Tang mastermind RZA. He’s the oldest member of the 9-piece rap group and the only MC who released an album before the Wu-Tang Clan formed. He’s often regarded as having one of the most extensive vocabularies of any MC, which I suppose comes naturally with being in a group with as far ranging rhyme styles as the Wu-Tang Clan. It must come from trying to keep up with everyone else.
GZA wasn’t touring behind a new release. His last solo work was 2008’s Pro Tools, and the last Wu-Tang project was the infamous Once Upon a Time in Shaolin. The Genius decided to take the mostly Wu-Tang clad audience on a trip down memory lane, spitting out some of his best-known rhymes from his 90’s glory period.
The majority of the first set of song/excerpts were from the acclaimed Liquid Swords, the album that established where, even if he was solo, GZA was one of the most lyrically adept members of the clan. From the standard hip-hop braggado of “Duel of the Iron Mic,” and “Shadowboxin’,” to the more street-conscious “Gold,” “I Got Ya Back,” and “Living in the World Today,” it’s impressive how GZA can still manage such precise, dense lyrics from albums made 2 decades ago, even as the backing tracks cut out to let the audience chant along some of the iconic lines.
Something else that was prominent throughout the performance was how GZA, in his effort to appeal to the massive Wu-Tang fans there, would rap some of the other MC’s lines, occasionally some songs he had no part in. The DJ said a few times during the set this show was dedicated to the deceased Ol’ Dirty Bastard. And as a proper tribute goes, the audience was hectic as the piano line of “Shimmy Shimmy Ya,” started playing, with them shouting how they “like it raaaaaw.” The same was for when songs from the Wu-Tang’s debut Enter the Wu-Tang (36 Chambers) was playing. Aside from “Clan in Da Front,” essentially a GZA solo track, he went through other MC’s verses on “Protect Ya Neck,” “Wu-Tang Clan Ain’t Nuthin ta F’ Wit,” and “C.R.E.A.M.” (dolla dolla bils y’all!)
During a break in-between songs, GZA asked the crowd where we got the name Buffalo from anyway, out of curiosity. Mainly because he goes through towns with Native American names, of which Buffalo is one such place. GZA then went on a bit where he asked if there were any Trump supporters here (there were none), followed by if there were anti-Trump people there, where the whole crowd responded. He then gave off a “we’re not with you,” before saying how “we’re gonna make America great again our way.”
GZA even jumped into the crowd to do a rendition of “Crash Your Crew,” surrounded by eager fans taking cell phone pics and videos. Some bodyguards came out from backstage in case any fans got a bit too crazy. He also casually signed autographs in the middle of his set, sometimes while still in the middle of rapping. That showed the level of cool and experience GZA gave off.
The show ended with a seemingly freestyle bit incorporating “Triumph,” “Shame on a Nigga,” and “Wu-Tang Clan Ain’t Nuthin ta F’ Wit,” ending an hour-long set keeping the Wu faithful plenty satisfied. And no doubt if any other of the Wu’s killer bees ever come into town again, the same situation will play itself out again.
Rob Garza and Eric Hilton, better known as the electronic duo, Thievery Corporation, have been genre-blending their way from upbeat dance halls to groovy lounges for over two decades. Their new album, The Temple of I & I, which drops on February 10, presents two middle-aged music-heads redefining their sound once again. While their last album, Saudade, took the group to Brazil to gather ideas from their bossa nova upbringing, Temple drops them off on the beautiful beaches of Jamaica in search of inspiration from a higher power.
The roots rock reggae feel can be found immediately as “Thief Rockers” treats listeners to their first hit and much like featured artist Zee’s lyrics indicate, the sound has also “got the magic ganja gonna make your head spin.” The delicate mix of ambient-dub with Jamaican vocals sets the vibe for the remainder of the hour-long Caribbean vacation.
Thievery Corporation is known for eliciting talent from hip-hop to trance backgrounds, and in their new album, they discovered Kingston’s own singer and MC, Racquel Jones. “Letter to the Editor” is the first of two tracks she appears on and her fast paced flow glides well with the disco-dub beat. Long-time collaborator, Mr. Lif, uses his lyrics to tackle worldwide socioeconomic conditions in “Ghetto Matrix.” After a highly political 2016, this protest-tronic piece fits into early 2017 with unfortunate ease. “It’s a complex plan that keeps us confined,” can be easily said about political interest in Jamaica as well as here in the states and around the world.
Our nation’s capitol is where Thievery Corporation calls home and in tracks like “Weapons of Distraction,” “Road Blocks,” and Mr. Lif’s second appearance, and“Fight to Survive,” there are signs of revolt and reaction to injustices from the duo and the supporting artists. While The Temple of I & I could serve as a good sit-down and smoke a joint album, it also works as a stand up and raise a fist mix.
“Strike the Root,” showcases a Thievery Corporation regular, Notch Howell, singing over a dub beat with a horn section that sounds reminiscent to the Star Wars “Force Theme.” “Let The Chalice Blaze” is a timeless track from these electronic kingpins that would fit nicely on to any one of their eight studio albums. The Temple of I & I may be one of their wordiest releases to date, but this instrumental track brings new and old Corp. fans to a safe space.
In reference to the record’s title, Hilton explains, “It is a place of worship that exists only in our imagination.” While the album sounds uniquely different from previous releases, there is the central theme of consciousness and self-reflection that melodically finds its way into most of their work. The eclectic arrangement of varying themes and sonic journeys give each listener a chance to enter one’s own temple.
Key Tracks: Thief Rockers, The Temple of I & I, Let The Chalice Blaze
The field for the 13th edition of Mountain Jam is set. The annual Catskills festival, held at Hunter Mountain, announced its lineup and headliners, Tom Petty and the Heartbreakers and the Steve Miller Band back in November. Friday, the full line up was announced, including additional headliner String Cheese Incident.
Also added to the June 16-18 bill are indie folk artists the Head and the Heart, reggae rapper Matisyahu, Brooklyn-based sax buskers Moon Hooch, Sudanese pop, krautrock, free jazz artist Sinkane, country legend Marty Stuart and his Fabulous Superlatives and “hometown” girl Amy Helm and the Handsome Strangers.
Helm is the daughter of the late Band drummer Levon Helm, whose studio, affectionately known as “the Barn,” is located in nearby Woodstock.
Matisyahu, Moon Hooch and Sinkane will participate in the Late Night Jam. The full lineup is available here.
Noticeably absent from this year’s bill are festival hosts Govt Mule and Mountain Jam regular Grace Potter. However, festival mainstays Michael Franti and Spearhead and Gary Clark, Jr. will appear. Also appearing is Peter Frampton, St. Paul and the Broken Bones, Holly Bowling, TAUK, White Denim and the Big Takeover.
Mountain Jam prides itself on its family inclusive environment and the kids can expect to see sets from the Paul Green Rock Academy and Ratboy Jr. along with kid friendly activities in the Kozy Kids area.
Three-day general admission tickets, camping and parking passes as well as several VIP packages are available at the festival’s website.
Firefly, the first ever fan curated music festival, has announced the lineup for this year’s weekend of live music and camping. The sixth annual event takes place on June 15-18 at The Woodlands in Dover, Delaware. With the lineup announcement, rumors were laid to rest and the Swedish House Mafia will not be part of the lineup, and they won’t be missed with the stacked lineup Firefly has produced for 2017.
Headliners for the biggest east coast music and camping festival will include the Weeknd, Muse, Twenty One Pilots, Chance the Rapper and Bob Dylan and his band. The festival will also feature Thirty Seconds to Mars, Alan Walker, Weezer, Dillon Francis, T-Pain, Busta Rhymes, Galantis, Benny Benassi, DJ Jazzy Jeff, AFI, Flume, Phantogram, K. Flay, Kesha, O.A.R., Franz Ferdinand, Daya, Capital Cities and OK GO.
Being the first ever fan curated festival, Firefly festival lovers had the chance to pick the lineup, choose what merchandise was sold and what designs would look like, activities, food and even the entertainment for Wednesday night’s pre-party as NYS Music reported earlier this year.
Since its inception in 2012, Firefly has produced a great mix of musical talent across several genres. Some of the best in the music industry have graced the festival stages throughout the years. Past performers include Paul McCartney, the Red Hot Chili Peppers, Tom Petty and the Heartbreakers, John Legend, Bassnectar, the Killers, Lupe Fiasco, Calvin Harris, Ellie Goulding, Foo Fighters, Imagine Dragons, the Chainsmokers, Blink-182 and Deadmau5.
General admission passes for the four day weekend are now available and start at $289. Camping packages are also available at the FireflyFestival website.
Since Ginuwine came out with his would-be classic “Pony” in 1996, you’d be hard pressed to find someone who couldn’t at least sing the chorus back to you. His career continued strong through the early 2000’s with songs like “Differences,” “In Those Jeans,” and collaborations with people like P.Diddy, Missy Elliot, Nas, and more.
Flash forward to 2017 and he is still beloved by his fans and actively proving to his critics that he has had the staying power over his more than 20 year career, to sell out shows and set the crowds ablaze. He is the real MVP; Most Valuable ‘Pony’, and a King of R&B.
While covering his sold out January 26 show at Vapor Nightclub in Saratoga Springs, one major thing struck me; the energy. Ginuwine’s live show was not the watered down nostalgia that you tend to expect from an artist in the 3rd decade of their career. It was electric, upbeat, relevant and above all, entertaining.
Playing about 90 minutes with a 7 piece live band, who were fantastic in their own right, Ginuwine was warm and giving to his fans. He frequently hopped into the crowd, grabbing hands, giving hugs, and dancing. Vocally, Ginuwine is still rich with strength and tone, a true feat after so many years in the business. The buzz in the crowd was that he thoroughly impressed everyone in attendance including those who showed up not expecting much.
After watching him own the sold out crowd from the beginning to the end of his performance, I don’t doubt that he will continue to sell out shows as his come back progresses. It was a surefire reminder that the real OG’s are never to be counted out. Upstate NY made it clear, they still love Ginuwine.
The Nightchild EP coincides with the change in Doug Gallardo’s moniker from “Doug G” to “Doug G the Nightchild.” Going for a darker, grittier route in both instrumentals and lyrics, songs on the record cite feelings of disgust, hate, rage, teetering on brokenness and impending apathy. In other words, the boiling angst that can be found in the millennial counterculture. Doug delivers this feeling through hard-hitting, atypical beats, clever word play, smooth flowing multi-rhyme schemes and tons of vocal energy that most people can’t muster live nor in the booth.
Body Count have returned with a vengeance. For the first time since 1994’s Born Dead, the band has finally put out two consecutive albums with the same line-up. And this is clearly Body Count’s best line up since the original lineup. So what does Bloodlust bring to the table?
All in all, it was a high-energy performance and unforgettable party for everyone in attendance. The opening acts were Sig Roy, Dom x Vince Cioci, followed by Cuse Williams featuring DJ Lionheart. Yola Cerew replaced Atrilla for one last crowd exciter before Riff Raff hit the stage. The first song in Cuse Williams’ set “Left for Dead” was definitely a highlight of the evening. The track began with clips from a news report about a shooting in Syracuse, and was followed by heartfelt lyrics against gun violence.
Born Gary Grice from Brooklyn, New York, the GZA is the cousin of Wu-Tang mastermind RZA. He’s the oldest member of the 9-piece rap group and the only MC who released an album before the Wu-Tang Clan formed. He’s often regarded as having one of the most extensive vocabularies of any MC, which I suppose comes naturally with being in a group with as far ranging rhyme styles as the Wu-Tang Clan. It must come from trying to keep up with everyone else.
GZA even jumped into the crowd to do a rendition of “Crash Your Crew,” surrounded by eager fans taking cell phone pics and videos. Some bodyguards came out from backstage in case any fans got a bit too crazy. He also casually signed autographs in the middle of his set, sometimes while still in the middle of rapping. That showed the level of cool and experience GZA gave off.
While covering his sold out January 26 show at