NYS Music 20​18

Category: NYC Metro

  • New York Series: Bayside ‘Montauk’

    The air gets warmer, the sun sets later, and lines begin to form around the blocks of the Italian Ice shops that were boarded up all winter: summer is around the corner. There is something special about the transition from spring to summer that seems to put a smile everyone’s face and gives people hope for what is to come. While there is always reason to be optimistic about the summer fun you’ll have and the love you might find along the way, it is also important to avoid blindly believing everything is going to turn out the way you planned it in your head. Bayside’s “Montauk” provides a cautionary look at the darker side to the end of a summer fling, and proclaims a warning to what might happen if you get too involved with someone who you know you may never see again.

    The punk band Bayside has deep roots in New York (they are named after the Queens neighborhood where they formed), so it is not out of place that they wrote a song dedicated to one of the state’s most famous vacation getaways. When most people think of Montauk they often have wonderful memories of their time on the beach, eating lobster with their families, or visiting the Montauk lighthouse. However, when Bayside wrote “Montauk,” they made a conscious decision to avoid all of the pleasant memories they might have had and took a more negative, yet humbling, approach to writing about the seaside town. They wanted to remind people that unfortunate circumstances can occur in amazing places, and sometimes saying goodbye is the hardest part of life.

    Bayside Montauk“Montauk” tells the story of losing a love at summer’s end. The narrator had to say goodbye to a lover he ended up caring about more than he originally intended. Even though he knew the fling would end once the leaves began to change, he didn’t think it would hurt so much when the relationship actually ended. He knew the consequences to falling in love with someone in such a short amount of time together but he took the risk anyway. The narrator is filled with angst, misery and fear that he will never love again, and an even worse fear that he will regret losing his lover for the rest of his life. While anyone who has had their heart broken knows that in time it is possible to love again, the song provides a rational warning not to get too involved with someone you realistically may never see again after such a short period of time.

    Although it has never been confirmed, many fans believe “Montauk” was inspired by the movie Eternal Sunshine of the Spotless Mind (Jim Carrey, Kate Winslet) in which a painful breakup leads to a young couple undergoing a controversial medical procedure to have their memories wiped to forget it all. The movie takes place, in part, on Long Island and Montauk is where the two lovers always plan to meet, much like the lovers in Bayside’s “Montauk.”

    While “Montauk” may provide a cautionary measure about what could happen at the end of a summer fling, it is just that: cautionary. Sometimes it’s worth it to take the risk with someone, even if you don’t think you’ll ever see them again. If you find someone who made you happy, even if they left your life forever after a couple of months, it is important to learn from the past and remember how hard it was to end things; but it’s equally as important to appreciate the joy you once felt.

    ‘Montauk’ Lyrics: 

    It’s getting cold
    Thought it was too soon to tell but it was terribly old and as the heartbeat slows to a heartless crawl
    The lights went out,
    The lights went out and darkness filled the house on tiring night under a Long Island sky
    I thought I’d known the consequence,
    But sweetness,
    Can you believe this?
    This mess we’ve made of it
    This mess we’ve made of it
    In years to come it might make sense,
    But sweetness,
    Can you believe this?
    Just what’s become of it?
    What’s become of it?
    If you hear this and you think you’re ready,
    Then meet me in Montauk where we’ll write out in the sand,
    “Here lies the destiny of two hurt souls afraid to be cured again.”
    That could be our epitaph
    I thought I’d known the consequence,
    But sweetness,
    Can you believe this?
    This mess we’ve made of it
    This mess we’ve made of it
    In years to come it might make sense,
    But sweetness,
    Can you believe this?
    Just what’s become of it?
    What’s become of it?
    I thought I’d known the consequence,
    But sweetness,
    Can you believe this?
    This mess we’ve made of it
    This mess we’ve made of it
    In years to come it might make sense,
    But sweetness,
    Did you foresee this?
    Just what’s become of us?
    What’s become of us?

  • Hearing Aide: Teddy Midnight ‘French Press’

    French Press Album Cover

    Teddy Midnight, the Brooklyn-based live electronic band, dropped their newest EP, titled French Press, at its release party at Pianos NYC on April 26. The EP has a jazzy feel to it. It’s sample heavy, but it doesn’t feel like it is when listening to it. It doesn’t sound like something you’ve already heard; it’s got its own originality to it. One of the ways it’s able to do this is with it’s blend of new and vintage synths, keeping the music unpredictable. It uses combinations of Disco, Soul, 90s House, New Wave, Techno and a little Hip Hop, into non-stop, dance party vibes to keep itself intriguing to the listener.

    The EP starts off with the song “Say it Loud!” which is an all instrumental track except for the very end when the title of the song is said. It has a very, almost “New Order” feel to it which mostly comes from the repetitive drum machine acting as a backbone to the song. It then moves into the song “Eclipse (Go There)” which is also an instrumental track but more upbeat and best illustrates the intended Hip Hop feel. This sounds like a song that you might hear in a dance club soon. Both songs are good, but slightly repetitive and long. Each song lands close to the six and half minute mark, and for someone not particularly knowledgeable or invested in electronica, it was hard to sit through without having some repetitive pieces of the song to anchor onto, like a chorus.

    Then French Press takes a turn with its next song, “Come Over (feat. Tara Lawton & David Schnurman).” You finally get to hear some vocals and the fact the song is six minutes long is barely noticeable, unlike like the previous songs. The album then goes into “Mind the Gap,” which is another instrumental piece. It is very upbeat and has a lot of change-ups that make it one of a kind and continually interesting; this is important since it’s almost nine minutes long. The next song is “Not Enough” which starts off saying, “It’s not enough baby. It’s just not enough,” building up with the tempo in the song. The techno dance party feel increases with those lines appearing often in the change ups of the song. This song, much like “Come Over,” was easier on a listener like myself who might not have as much experience listening to instrumental electronic music. Even though it only really landed on those simple phrases throughout the song, it acted as a point of destination for the song to loop itself back in. The EP concludes on an instrumental version of “Come Over,” which was good, but knowing what it sounded like with the lyrics it felt like it was missing something slightly important to its overall feel. It was able to convey the emotion through the music but, without the words, the listener is left without a direction in which to run those emotions.

    The six song EP has a run time of 41 minutes, which is long but, if you’re into mellow synthesized electronica, this definitely could be an album for you. Even the dance party songs have very mellow undertones to them to make the EP something the listener can just close their eyes and disappear into. Not being someone who previously listened to much electronica music, this album wouldn’t necessarily be something I would pick up to listen to regularly, but it was a satisfying mix of those mellow, almost entrancing, undertones, and upbeat, “can’t sit still while listening to” overtones. First time listeners might want to start by dipping their toes in and starting with “Come Over” or “Not Enough.”

    Teddy Midnight will perform next on June 1 at Olives in Nyack, NY. And be sure to check out the entire EP available on SoundCloud and Spotify

    Key Tracks: 

    https://soundcloud.com/teddy-midnight/not-enough

    https://soundcloud.com/teddy-midnight/come-over

  • “Tour Without End (Twenty-One Portraits and a Protest)” Screening at The Kitchen

    The Kitchen announced they will be hosting the New York Premier for the film, “Tour Without End (Twenty-One Portraits and a Protest)”, on June 11 at 8 p.m.. The film was created by Lauren Parnes and is a Trump–era commentary on contemporary culture and politics told through the casting of real-life musicians, artists and actors as bands on tour. At the screening there will also be live musicians accompanying, including BB TAY VEE, Macy Rodman and JD Samson’s New Band.

    Photo courtesy of the Tour Without End website.

    The film was shot between 2014-2018 and involves over 15 DIY music spaces created around New York City. The film tries to act as an urgent time capsule to show how rapidly gentrification is affecting the city. It managed this by shooting in real environments and situations. Most of the scenes were semi scripted for the core group of characters but a lot of it ended up being improvised. The press release revealed that, “Because many of these performers are legends themselves in the New York City downtown scene, they are archetypes playing archetypes. The work revels in the sometimes hilarious— but always complex —band dynamics the characters endure in touring, collaborating, and aging in a youth-driven music industry. As the players move in and out of fictionalized characters and real life, the film moves in and out of non-linear narrative and historical document.”

    The Kitchen is one of New York City’s most forward-looking nonprofit spaces and is known for showing innovative work by emerging and established artists across all disciplines. Their programs range from dance, music, performance, and theater to video, film, and art, in addition to literary events, artists’ talks, and lecture series. The Kitchen was created in 1971 and has been a powerful force in shaping the cultural landscape of this country ever since.

    Show Information:

    Tour Without End
    June 11 – The Kitchen -New York City
    Tickets $15 General / $10 Members.

    With any questions about the screening, please contact the box office at boxoffice@thekitchen.org or by phone at 212.255.5793 x11.

    For more information on Tour Without End visit the website

  • My Father’s Place announces packed summer lineup on the North Shore

    My Father’s Place

    My Father’s Place, the famed establishment in Roslyn on Long Island returns this summer with dozens of shows lined up by owner Michael “Eppy” Epstein.

    Staten Island native Buster Poindexter kicks off the summer at Roslyn Hotel on June 29, and is followed by an evening with Livingston Taylor on June 30, a sold out performance featuring special guests Chris Kinnear and Andy Aledort.

    Long Island’s Blue Velvo performs original blues, roots and rock on July 3 and on July 5, Ray Lambiase and the Tin Kickers and Blue Race perform with Jeanna Lewis. July is rounded out by performances from jazz fusion band Brand X, Robert Gordon, 15 year-old Long Islander Brandon “Taz” Neiderauer, Third World, John Hammond, Garland Jeffreys with Frank Carillo and the Bandoleros, Michael Glabicki of Rusted Root, Vista Hill, Zebra, Buffalo-based jazz fusion band Spyro Gyra, Jill Sobule, NRBQ and Arlen Roth.

    August will find jazz pianist McCoy Tyner kicking things off on August 3, back to back performances by Long Island Music Hall of Fame members Barnaby Bye, Sophie B. Hawkins, Sweet Suzi Blues Band, The Blasters with special guest Lara Hope and the Ark-Tones, Howie Day, Glenn Tilbrook, Ken McGorry and the Achievements featuring Ray Lambiase and The Stollers, and Christine Spero Group to finish out the month.

    Tickets and memberships for the 200-seat supper club are available on the My Father’s Place website. Read more about My Father’s Place.

  • Long Island Music Scene Panel Recap

    On Thursday May 24, The Space at Westbury held an open forum for musicians, artist managers, the press, and music enthusiasts to discuss the state of the Long Island music scene. Appropriately titled “Are Tribute Bands Taking all the Gigs?,” two separate panels of Long Island music scene veterans sat down and had a necessary discussion on where the scene is currently, what it once was, and the direction they would like to see it move towards in the future.

    The first panel titled “Putting the Long Island Music Scene Under the Microscope” did just that. This panel was moderated by Jim Faith (musician, promoter, talent buyer, producer of Great South Bay Music Festival and Co-Founder of the LI Music Hall of Fame). With the guidance of Faith, a group of musicians, old and young, sat down to dissect what exactly is going on in the LI music scene. While many topics were brought up, the main theme discussed was whether the influx of tribute bands are oversaturating the market. To ensure everyone’s voice was heard, the panel was split nearly down the middle with musicians in tribute bands and musicians who play their own original music, accompanied by an unbiased voice from Newsday Pop Music Writer Glenn Gamboa.

    he Space at Westbury held an open forum for musicians, artist managers, the press, and music enthusiasts to discuss the state of the Long Island music scene.A major consensus that was agreed upon was that while tribute bands are on the rise on Long Island, it does not mean original artists must suffer as a result. Demographics reveal that the typical music listener on Long Island tends to be older, have a job, and family obligations, so it makes sense that they would spend their one night out a week seeing a band they know they will enjoy and can sing along to. However, this does not mean original music is a dead artform on Long Island. Almost every venue provides at least one night a week for original artists to play and gain exposure, despite how many or few people come out. What it essentially comes down to is local artists honing their craft, properly promoting themselves, collaborating with venues, and loving what they do. While the scene is not as vibrant as it was in the 1970’s, there is still plenty of new music to be seen every night on Long Island.

    The second panel, also moderated by Faith, picked up where the first left off and looked towards the future. Titled “Moving Forward: What Can Be Done to Nurture and Support Our Original Artists, Maintain a Vibrant Music Scene, and Continue Our Rich Music History”, the second panel had more of a focus on management and venues. Many of the musicians from the previous panel were replaced by an assortment of businessmen from venue owners to talent buyers, and even a local DJ/musician.

    The discussion of the second panel delved into issues managers and artists were encountering, and focused on ways to correct them. Much of the discussion centered around ways artists need to promote themselves; whether it’s on social media, local advertisements, working with the venue, or even just talking to people after shows. It was agreed upon that artists must be prepared for the business side of the scene when dealing with venues or record companies, and that while many of the artists may be from Long Island and play there often, it is important to venture out of the area to promote themselves. Although some may think the Long Island music scene may seem to be on the decline, as long as there are people who are passionate about live music and keeping things fresh, there is plenty of hope for the future.

  • Listen: Karolina Rose “Goodnight, Mr. Moon,” an electro-pop gem

    Karolina Rose, a Polish-American singer-songwriter based in Brooklyn today released her second single “Goodnight, Mr. Moon.” The midtempo and dark electro-pop gem explores grief through dreams while pulling on the moon as a muse. Rose will release her debut EP, produced by Andros Rodriguez (Florence and The Machine, Madonna) on August 10, and is already hard at work on her second EP with producer Elliot Jacobson (vérité, KAYE).

    The lyrical spark for “Goodnight, Mr. Moon” came from a conversation with experimental artist Heide Hatry, about her work with human ashes, and asked Karolina if she could write a song about death and perform it in her end of year showcase.  “As soon as I left the concert in the LES where she and I had met up, I had the song coming to me in my head and was singing it as I was walking down the street. Initially, it was just “How do I get you back? All the pieces in one. How do I get you back? All the pieces came undone.” I kept thinking about the theme of putting the pieces together to bring one’s loved one back,” recalls Rose. Coupling this concept with Karolina’s frequent nightmares, the first verse takes inspiration from a nightmare she woke from to see the moon projecting a spotlight onto the wall. Combining these two concepts led to her writing a song about a woman who processes her grief in dreams. “She thinks it is totally real until the end of the song when she wakes up from the dream and knows that it’s really time to say goodbye, indicated by the last lyrics: “Goodnight, Mr. Moon, you gave a kiss of peace, sweet gentle release.”

    With this dark seed of inspiration planted, thoughts of grief and delirium began to dance in Karolina’s head. ‘Goodnight, Mr. Moon’ is a grieving lunar daydream. After meeting producer Andros Rodriguez (Madonna, Florence and the Machine) last year, the two began collaborating shortly after and the Polish-American artist swapped the mundane for the magical, rediscovering her romantic soul. Now, with quixotic passion, Karolina explores a celestial grief. Listen to “Goodnight, Mr. Moon” on Spotify.

  • Brooklyn’s Castle Black Releases Music Video, New EP to Follow

    Brooklyn grunge, post-punk rockers Castle Black have released a music video for their song “Broken Bright Star,” which comes off the band’s 2017 EP, Trapped Under All You Know.

    Filmed in Brooklyn, the band once again turned to director Jeff Allyn Szwast for this project after directing the band’s video for “Dark Light.” The video shows their fondness for spells, dark magic and pagan-inspired rituals.

    Szwast talked about once again teaming up with Castle Black: “I love working with Castle Black, because I feel like we get to make these fun, narrative mini-films. Leigh and I have similar tastes in aesthetics and themes, and all of us enjoy infusing the work with a certain amount of ’90s head-nods, as we all draw a lot of our early influence from that era.”

    After recently hanging out in the studio, Castle Black is set to release their fourth EP this summer, titled The Gods That Adored You. The band tapped one of the industry’s best engineers/producers for the EP in Mark Plati, who has worked with artists like David Bowie, Prince, Spooky Ruben, The Cure and Duncan Sheik. The EP was recorded by Michael Abiuso, at Behind the Curtains Media studio, and mastered by Jamal Ruhe of West West Side Music.

    The female-fronted Castle Black will play two hometown shows in Brooklyn during their current tour on June 8 at TJO Presents Showcase (Northside Festival) and June 28, at The Well.

    Castle Black’s Remaining Tour Dates:

    June 8 – TJO Presents Showcase (Northside Festival), Brooklyn, NY
    June 28 – The Well, Brooklyn, NY
    July 6 – The Comet, Cincinnati, OH
    July 7 – TBA, Rock Island, IL
    July 8 – Bremen Cafe, Milwaukee, WI
    July 10 – FireHouse, Lancaster, OH
    July 11 – Melody Inn, Indianapolis, IN
    July 12 – The Cure Lounge, Louisville, KY
    July 14 – Camp Champe, West Branch, MI
    July 15 – Kelly’s Bar, Hamtramck, MI
    July 16 – Strum Around Productions, Sandusky, OH
    July 21 – The Uke, Manchester, NJ
    Aug. 3 – 9th Annual Elephant Talk Indie Music Fest, Mays Landing, NJ
    Aug. 4 – Kung Fu Necktie, Philadelphia, PA

    Facebook | Twitter

  • NYC Brazilian/American Alt-Rock Band, Added Color Release New EP ‘Mr. Industry’

    Brooklyn-based Brazilian/American rock band Added Color have released a their second EP Mr. Industry, featuring a unique blend of funk-infused alternative rock. The five-track release pulls on their Brazilian roots with pulsating energy and blend together a myriad of sounds, genres and inspiration into the album.

    Based in Brooklyn, Dan (drums/vocals) and Kiko Freiberg (guitar/vocals), are brothers hailing from São Paulo, Brazil, and joined forces with Tim Haggerty and Danny Dahan, for a fusion of backgrounds to form the band’s unique chemistry. Embracing and celebrating their widespread connections, the band has toured across the U.S. and toured internationally in Canada, Morocco and Brazil.

    Mr. Industry comes as a reflection and personification of the current state of the music and arts industry. “The character (Mr. Industry) represents the corporate mentality that has taken over the industry in a time where it is going through a crisis,” said Added Color. “Mr. Industry cares only about putting artists in a creative box and marketing them. Basically, if you sound like everyone else, it’s easier to associate you to other acts and sell you. The idea behind the EP connects with our overall message, which is about being yourself at all times no matter what. Mr. Industry is the force that we are fighting against as we live for honest and original music.”  Mr. Industry was recorded at state of the art Silver Cord Studios in Brooklyn, NY by Jamie Uertz (Blind Melon) and Grammy nominated Johann Meyer (Gojira/Roadrunner Records).

    The video for “‘Same Place’ documents their 2017 Spring Tour of Morocco, during which they played seven shows in seven different cities. The video’s trippy feel matches the theme of the song, which is about a dream in a dystopia where people conform to social norms and obligations as they get older.

    https://www.youtube.com/watch?v=a-FBYpuBV4Q

    Added Color will return to Morocco later this month, for a week-long string of dates, followed by a series of U.S. tour dates kicking off in late May. Stay tuned for the animated music video for “Panic Attack” coming soon.

    Added Color Morocco Tour Dates
    April 28 – Layounne, Morocco, Layounne Concert Hall, 8 PM
    May 1 – Safi, Morocco Safi Arts Center, 9 PM
    May 2 – Youssoufia, Morocco, OCP Place, 9 PM
    May 3 – Benguerir, Morocco, Benguerir Theater, 8 PM
    May 4 – Casablanca, Morocco, Megarama, 8 PM
    May 5 – Khouribga, Morocco, Mohammed VI Auditorium, 9 PM
    May 6 – El Jadida, Morocco, Performing Arts Center, 9 PM

    USA TOUR DATES
    June 1 – Northampton, MA, Fitzwilly’s, 9 PM
    June 15 – Portland, ME, House of Music, 9 PM
    June 16 – New London, CT, 33 Golden St, 10 PM
    July 12 – Manchester, NH, Shaskeen, 9 PM
    July 13 – Florence, MA, 13th Floor, 10 PM
    July 14 – New York, NY, Rockwood Music Hall, 11 PM
    July 20 – Fayetteville, NC, Drunk Horse Pub, 10 PM
    July 21 – Willmington, NC, Calico Room, 10 PM
    July 27 – Beckley, WV, Melody’s, 9 PM
    July 28 – Marietta, OH, Adelphia Theater, 9 PM
    Aug 2 – Chicago, IL, Tonic Room (Fuckapalooza), 8 PM
    Aug 4 – Pittsburgh, PA, Sound City Grille, 10 PM

  • The Black Dahlia Murder Kicks Off Tour

    Detroit’s melodic death metal band, The Black Dahlia Murder, have hit the road recently, and are set to visit over 40 cities across North America on their tour.

    The tour will take place in two parts, first seeing support from Homewrecker for the first twelve dates, starting in Minnesota and ending June 1 at Ground Zero in Traverse, MI. After a small break, the band will then head out with Whitechapel, Fleshgod, Apocalypse, Aversions Crown, and Shadow of Intent starting on June 8 in Chicago.

    The second portion of the tour will make two stops in New York, first on June 13, at Funk N’ Waffles in Rochester, and June 15, at Stage 48 in NYC.

    Formed in 2001, The Black Dahlia Murder has released eight studio albums, including 2017’s Nighbringers. The band’s last seven releases have charted on the Billboard 200, with the last five reaching inside the top 50 on the Billboard 200 chart.

    Dates with Homewrecker:

    May 19 – Red Carpet Nightclub – St. Cloud, MN
    May 20 – The Aquarium – Fargo, ND
    May 22 – Pub Station – Billings, MT
    May 23 – The Pin – Spokane, WA
    May 24 – Modified Ghost Fest – Vancouver, BC
    May 26 – Dicken’s – Calgary, AB
    May 27 – O’Brien’s – Saskatoon, SK
    May 28 – The Park Theater – Winnipeg, MB
    May 29 – Crocks – Thunder Bay, ON
    May 30 – The Working Class – Timmons, ON
    May 31 – Club 151 – North Bay, ON
    June 1 – Ground Zero – Traverse, MI

    Dates with Whitechapel, Fleshgod, Apocalypse, Aversions Crown, Shadow Of Intent:

    June 8 – House of Blues – Chicago, IL
    June 9 – Agora Theater – Cleveland, OH
    June 10 – St Andrews Hall – Detroit, MI
    June 12 – The Opera House – Toronto, ON
    June 13 – Funk N Waffles – Rochester, NY
    June 14 – Paradise Rock Club – Boston, MA
    June 15 – Stage 48 – New York, NY
    June 16 – Trocadero Theatre – Philadelphia, PA
    June 17 – Baltimore Soundstage – Baltimore, MD
    June 19 – The NorVa Theatre – Norfolk, VA
    June 20 – Tarheel – Jacksonville, NC
    June 22 – Jannus Live – St. Petersburg, FL
    June 23 – Revolution Live – Fort Lauderdale, FL
    June 24 – Masquerade – Atlanta, GA
    June 26 – Basement East – Nashville, TN
    June 27 – Southport Music Hall – New Orleans, LA
    June 28 – White Oak Music Hall – Houston, TX
    June 29 – Vibes Event Center – San Antonio, TX
    June 30 – Gas Monkey – Dallas, TX
    July 2 – El Rey Theater – Albuquerque, NM
    July 3 – The Pressroom – Phoenix, AZ
    July 5 – Strummer’s – Fresno, CA
    July 6 – House Of Blues – Anaheim, CA
    July 7 – The UC Theatre – Berkeley, CA
    July 8 – Ace Of Spades – Sacramento, CA
    July 10 – Ogden Theater – Denver, CO
    July 11 – The Truman – Kansas City, MO
    July 12 – Icon Lounge – Sioux Falls, SD
    July 13 – Cabooze – Minneapolis, MN
    July 14 – Rock USA – Oshkosh, WI *

    * The Black Dahlia Murder only

    Facebook | Twitter

  • The Space at Westbury to host May 24 forum “State of the Long Island Music Scene” Or “Are Tribute Bands Taking All the Gigs?”

    On May 24 at 7:30pm, The Space at Westbury will host a discussion forum with 15 panelists from across Long Island to discuss a pressing topic in the music scene across the Island – are tribute bands taking all the gigs?

    This topic could be discussed anywhere across the state, let alone the country, and has hit a chord in Long Island, where tribute bands and cover bands are keeping original music out of the clubs. Articles such as this from Newsday in April shine a light on the prevalence of tribute acts over local, original bands.

    The effort to put the Long Island music scene under a microscope is no small endeavor, and Great South Bay Music Festival promoter Jim Faith has organized this one night discussion to get to the heart of the problem. Panelists include working original artists & tribute bands, artists that play in both original and tribute acts, venue owners, media representatives, and Jim Faith serving as host of the evening.

    Included on the panel are Glenn Gamboa (Newsday), Michael Delguidice (Michael Delguidice Band), Ian Kenny (King Neptune, NGHBRS), Joe Rock (Radio celebrity/DJ), Katie Pearlman (The Joni Project/Katie Pearlman Band), Michael ‘Eppy’ Epstein (Owner: My Father’s Place), Dan Welch (Owner: 89 North, Suffolk Recording Studio) and many more.

    The night kicks off at 7:30 p.m. with a goal of lively dialogue on the state of the scene, the realities that all artists and venues face, and how collectively, we can make it better. A $10 suggested donation to the LI Music Hall of Fame is the cover charge for the event. Find out more info or RSVP here.

    Watch footage from last year’s ‘State of the Long Island Music Scene’