Rapper Cardi B brought her ” Femme It Forward” tour to Saratoga Performing Arts Center on Friday September 6th. The South Bronx native had originally been slated to perform on May 26, but rescheduled the show to September, but that didn’t keep the fans from packing SPAC.
Cardi gave fans a short 50 minute set, but fans didn’t mind as she churned through her hits, even though hits like “Money” and others were consensed from their album length. With multiple costume changes, plus Nicole Bus and Teyana Taylor leading the way, Cardi B gave Saratoga a night to remember.
20,000 fans showed up to party with Ice Cube to see the legendary rap icon, movie star and Rock n’ Roll Hall of Famer packed Chevy Court at theNew York State Fair. Decked out in his trademark black bandana, tucked under a ball cap and dark sunglasses, Ice Cube got the party kicked off with the body moving track, “The New Funkadelic.”
Ice Cube and hype man Dub C “WC” delivered a slew of bass heavy, pumping dance songs spanning Ice Cube’s 30-year career from his beginnings in NWA to his most current release Everythang’s Corrupt.
Ice Cube paused and addressed the crowd shouting, “There ain’t nothing like rockin’ a house on Friday night.” He was quickly corrected by Dub C who pointed out that it was still only the middle of the week. “Whenever you see Ice Cube, it’s a goddamn Friday,” the rapper said as he gave Dub C the stare down.
Ice Cube kept the crowd bumping with notables such as “Check Yo Self,” “Straight Outta Compton” (tease) bridging into “Gansta Gansta,” followed by “No Vaseline.” The set felt short, 60-minutes, but no one in the crowd could complain about the closing number, “It was a Good Day,” one of his greatest tracks ever. So, for all of you who had their doubts, who didn’t think Cube could get on stage and still rock the mic, I say, “You better check yo’ Self before you wreck yo’ self.”
Setlist: That New Funkadelic, Now I Gotta Wet’cha, You Know How We Do It, Bop Gun (One Nation), Check Yo’ Self, Friday, Roll All Day, We Be Clubbin’, Straight Outta Compton (N.W.A.), No Vaseline, Natural Born Killaz, $100 Dollar Bill Y’all, I Ain’t Got No Haters, You Can Do It, Go to Church, It Was a Good Day.
NYC has waited for a Rowdytown. We finally got one last Friday as Big Gigantic’s Rowdytown New York 3D descended into the Brooklyn Mirage to a sold out crowd. Hippie Sabotage, Shallou, Louis Futon and ilo ilo were the supporting artists at this high-energy EDM event. The industrial views of Manhattan from the venue combined with the onstage sensory odyssey made for a crazy night of music.
Ashe sings with Big Gigantic
Ilo ilo started off the evening. Little is known about this enigmatic duo, though recently they took Louis the Child on a scavenger hunt through New York City to release the track “come thru.” Their eclectic mix of electro-pop and bass distortion really got the crowd going.
ilo ilo
Los Angeles-based Louis Futon brought his exciting mix of electronic hip hop, r&b and soul to the stage next. He was joined by Hailey Niswanger (flute, saxophone), Jawann Blanchey (drums) and Ariel Shrumpet (trumpet), with Blanchey on stage the entire time. His blend of fresh beats, organic instruments and clever visual displays was particularly tasty.
Louis Futon
Shallou, also from Los Angeles, kept the party going with delicious ambient and house melodies. The venue was almost full to capacity at this point, and the crowd was really digging Shallou’s visual production.
Shallou
Big Gigantic took the stage to a roaring crowd wearing 3D glasses. The band members include Dominic Lalli (saxophone/producer) and Jeremy Salken (drums). Behind the band sat a huge LED screen with vibrant 3D imagery that coordinated with the lights on stage and at high points in the venue. Big Gigantic played new hits and old favorites, starting with songs like “Touch the Sky” and “C’mon.” Halfway through the set, singer Ashe joined the band on stage for their recent collaboration, “Friends.”
Big Gigantic’s Dominic Lalli and Jeremy Salken
Sacramento, California’s Hippie Sabotage provided even more high energy as the late night entertainment after Big Gigantic’s monster set. This indie electro duo isn’t afraid of late nights, as they started at 2:20 a.m. and blazed into the night.
NYC is still reeling from our first Rowdytown 3D party. The outdoor festival feel was well executed, bands were on point, and the venue was perfect for the occasion. NYC looks forward to the next one.
Every music loving Suffolk resident knows that the Great South Bay Music Festival is our time to shine each summer. We don’t get to host the Governors Ball, the closest Warped Tour ever got was Jones Beach and calling Nassau Coliseum convenient to get to, when you live in Wading River, is pretty much bologna. But if one thing is clear, it’s that our fine state of New York is a divinely fertile nesting ground for music and arts of all sorts. When you live in eastern Suffolk, traveling “up the island” is always a necessary headache in order to reach said fertile nesting ground.
2019 Music Festival Pamphlet
But then there was Jim Faith – who created the heart of the Great South Bay Music Festival nestled down on the bay in Patchogue, NY. And don’t be fooled superstitious concert goers, for this festival now in its 13th year, was absolutely the most dynamic yet – (however please note, there will be “No Frisbee throwing in front of the Main Stage area” says the festival’s website).
Each night hosted a specific genre that allowed the festival to uphold its tradition of eclectic sound. From our hometown heroes Taking Back Sunday, to rock/reggae sweethearts Slightly Stoopid, festival heavy hitters Lotus and certified musical legends America – it is safe to say this diverse festival had something for pretty much everyone.
For those looking to dive into our local music scene, this place was abuzz from the moment the music kicked off. On multiple smaller stages scattered throughout the grounds, all four days had some super compelling lesser known artists that deserve their slot on your Spotify playlist.
Festival goers enjoy the performances at Great South Bay 2019
As opening day got underway, Thursday saw a lazy stream of fest-goers making their way into the venue due to earlier wet conditions. Ultimately though to the joy of the attendees, the sky cleared up for the night other than a few stubborn clouds.
Whatever We Are made their Great South Bay debut performing many great originals and having tremendous chemistry the main stage, performing through strong winds and grey skies. Ex-My Chemical Romance backup guitarist, Frank Iero, performed a great setlist with his band, Future Violents. They set the energy level high and helped the crowd ignore the weather and wind that took out one of the ‘Great South Bay banners’ on the Coors Light Stage. Long time fans were ecstatic to see Glassjaw, local post-hardcore band from Hempstead. Their loyal following did them proud, showing allegiance to songs well over a decade old. Not performing often these days, The Great South Bay Music Festival couldn’t have been happier to host this performance for a crowd that welcomed them back to the stage. Lead singer Daryl Palumbo and crew rocked onlookers for an hour with a hard and heavy performance.
Gabrielle Ross – Whatever We Are
Frank Iero and the Future Violents
Daryl Palumbo of Glassjaw
When Long Island favorites Taking Back Sunday came out, they were greeted by a cheer that only your home state could conjure. Over the course of their hour and fifteen-minute slot singer, Adam Lazzara (ham that he is) swung his mic and inserted the band’s personal anecdotes between songs. Essentially their entire performance was a hybrid of mosh-pit and sing-along. It was clear that their fans hadn’t forgotten, even the most obscure lyrics from their beloved album, Tell All Your Friends, which celebrates its 20th anniversary this year. There’s something really special about local acts playing to the fans who lifted them up to the level of success they enjoy today, and Taking Back Sunday’s performance was no exception.
Taking Back Sunday performs a thunderous setlist and keeps the rain away!
FRIDAY:
As Friday commenced the crowd embraced the beginning of the weekend’s forecasted heat wave, which brought temperatures up into the 90’s. But to the surprise of many, at the gate of the festival each person was offered complementary water courtesy of Long Island Cares. This seemingly small gesture really highlighted the overall neighborhood feel the gathering aims for.
Although the weather was hot, with free water in hand, the crowd entered psyched and ready to celebrate a summer night with insane music. The mood of the crowd went perfectly with the day’s theme which is traditionally reggae/hip-hop fusion. Over at the main stage, local reggae darlings Oogee Wawa were busy captivating an audience that proved they were ready to party. With a tour schedule that boasts playing 200 gigs a year since 2013, these fellas know how to hype a crowd. Their infectious energy was the absolute perfect kickoff to the night.
Oogee Wawa delivers a joyful and amazing performance sharing love for their fans
Meanwhile over at the Clamshell Bandshell, standout independent act and hip-hop artist Dudley Music took the stage. Right away the lyricism was impressive – his thoughts were clear, meaningful and well delivered. Accompanied by a full band including guitar, drums and bass – Dudley’s musicianship blew onlookers away as he switched between multiple instruments, including keyboard and saxophone. His musical arrangements were creative, cohesive and well thought out. The deeper into his set, the larger the crowd got, until there were a couple hundred people grooving and hollering for more. Ending his set, he weaved “This is How We Do It” by Montell Jordan into his own original track and captured the audience by engaging them in a sing-along that left more than a few wanting more. Dudley, without question, won over some new fans and exposed the crowd to a style they may not have experienced before.
Dudley Music plays for their fans at Clamshell band
Once it was time for Sublime with Rome, the steadily increasing crowd began to squeeze up towards the stage. That night old school Sublime fans were out! As the words “she was living in a single room with three other individuals…” played (a classic Sublime soundbite taken from the film Beyond the Valley of the Dolls), the crowd suddenly erupted with cheers. This tune, considered a cornerstone Sublime song by fans, was played along with an impressive set of tracks from back when the band still had original lead singer Bradley Nowell. For the most part they played throwback Sublime songs, only peppering in their newer additions here and there. The crowd showed Eric Wilson, the only original Sublime member left, showed massive amount of love as he was exiting the stage.
By the time Slightly Stoopid’s set was up, a overwhelming crowd had amassed. Their passionate fans went out of their minds as the members wandered to their places, thick clouds of synthetic smoke drifted in the background. Opening with the dynamic instrumental, “Dabbington,” their horn section of trombone and saxophone immediately made waves. Per usual, throughout the performance lead vocals were shared by frontmen Miles Doughty and Kyle McDonald, who also crisscrossed back and forth between bass and guitar. While playing some of their super early surf-punk songs in order to let fans “get the wiggles out,” a proud mosh-pit formed in the center of the crowd to the mild chagrin of security. The band fed so well off of everyone’s energy during the entirety of the performance, Slightly Stoopid made it very clear that they appreciated the love New York had to show these Cali natives.
Sublime with Rome
Slightly Stoopid
SATURDAY:
As the years float by, Great South Bay Music Festival has grown and morphed into the success it is today. One of the evolutions being the additional stages that are scattered throughout the grounds. Having these outlets are fantastic as it allows the festival to veer off theme each night, giving even more artists the opportunity to showcase their talents.
This year’s newest addition was the Busker Stage, bringing the festival grand total of four. As fest-goers leisurely strolled the area leafing through the vendor’s offerings, Andrew Fortier and Tricycle began to croon. They had a pragmatic, salt of the earth feel accompanied by a rich three part harmony that was nothing short of angelic. They were the nights best kept secret.
Andrew Fortier and Tricycle
As the sun began to set, Spafford kicked off the jam band lineup over on the main stage. This group of musically talented men captivated the eager crowd and compelled their spirits to let loose, dance and enjoy. Even through the stifling heat – hands waved, feet were moving and by-george you better believe the hula hoops came out. The band’s sound had a lighthearted airiness about it that easily carried you right through their lengthy improvisations. It felt appropriate that a gorgeous breeze off the bay began sweeping over the crowd as their set concluded.
Next up was Dweezil Zappa, opening his set with a heavy and energetic tune. If the jam band night is nothing else, it is certainly relentlessly energetic. Zappa relinquished vocal responsibilities to multiple other band members as he jammed on lead guitar for the majority of the performance. Vocalist Cian Coey stood out as a powerhouse, ending their first number with a resounding high note, like it was straight off a Guns ‘N Roses track. The crowd went wild with appreciation. When Dweezil himself lent his vocal contributions, it was more like a spoken word piece being woven into music. His unique stylized delivery made the lyrics stand out, really giving the entire performance a commanding presence.
Darkness fell over the grounds as headliner, Lotus, made their way into the spotlight. As they began to play, glow sticks were abound with neon colors flying through the sky. The group’s offering were a bit hard to categorize. At first their dance friendly, funky 70’s vibe, created something that sounded like it should have been on the Superbad soundtrack. Blend that up with some kaleidoscopic synthesizer and then sprinkle in a diverse array of sound effects; that probably still wouldn’t fully describe the sound. At times it was difficult to even discern what instrument was creating each sound. It was truly a carnival for the ears – a colorful whirlwind of notes. Throughout this set of progressive jams the band had their dark and brooding moments; but each song ultimately concluded with a positive outburst of that dance friendly, funky sound.
Dweezil Zappa
Spafford
Lotus
SUNDAY:
As the music festival’s last day commenced it seemed somewhat appropriate that it also turned out to be the hottest day yet. As the flock of music fans sizzled on the grass everyone there brought their best spirits to finish out the weekend on a high note.
The Clamshell Bandshell got down to business right away with The End of America, a band from Philadelphia, PA, that brought some tight three-part-harmonies to the joys of a growing crowd. The outfit easily coaxed every passersby into listening, as it just felt natural to wander towards their sound. The vocalists (playing an acoustic and electric guitar and banjo respectively) gave a soulful, meaningful delivery of lyrics. They came across as a band that really had something to say, important messengers during times of trouble.
Over on the main stage Edgar Winter emerged as the sun still blazed in the sky. He began by playing “Free Ride,” which got people immediately invested in the classic tune. He also engaged the crowd by narrating small stories between each song that gave the entire performance a personal touch. One particular song, “Tobacco Road,” ended up turning into a 15-minute long anthem. Several minutes in he broke off into a call and response with his guitarist – Edgar creating the vocals followed by guitar mimicking his notes. This then flowed into an epic interlude of crazy improvised scatting which morphed into several instrumental covers of famous rock melodies such as Led Zeppelin’s “Kashmir.” Towards the end of the set Edgar took a moment to make a heartfelt shoutout to his brother Johnny Winter who passed away back in 2014. The crowd paid homage to his brother’s memory with a barrage of claps and screams.
The music group WAR notably featured sweet soulful harmonica licks from the very first song. Some rich vocal harmonies over a funky beat accompanied by of course (as this became the brass hero of the festival) the saxophone. WAR played the opening notes of popular track “Spill The Wine” to the crowd’s delight. Everyone really came together enjoying the music that was so happy and energetic, it was like a Sunday night family party. Then drummer, Salvador Rodriguez, sang a version of their ballad “So.” Belting notes with the vocal clarity found in pop stars, Rodriguez left the crowd seriously spellbound. Finishing off with the classic “Why Cant We Be Friends,” Lonnie Jordan and his crew delivered a super high energy finale – everyone in attendance could tell the band was having the time of their lives.
Lonnie Jordan, 71, has been last standing original member of WAR for over 20 year.
The very last of the entire four day bonanza was America. They have officially been performing together for 50 years and they certainly took the stage with the poise and showmanship of those who have been in the game. Throughout their performance there were multiple guitar rips that made them worthy of the label “classic rock.” Mid-set they put their own spin on Beatles song (which is always a crowd pleaser) Eleanor Rigby. As their set was winding down, America continued playing as a lightning storm rolled in over the bay. They continued on for as long as they possibly could, but were ultimately forced to cut their last songs short for everyone’s safety. They never got to play Horse With No Name, their extremely popular and arguably most well known song.
Edgar Winter
Lonnie Jordan
America
All in all the feel of this year’s gathering captured exactly what Jim Faith had initially set out to do, bring our local neighborhoods together in peace and music. It felt much like a big block party or backyard barbecue. It was commonplace as a passerby to see people running into friends and exchanging excited hugs. There were giggling kids running around and groups of people hanging back in lawn chairs enjoying cold beers and each other’s company. The festival can be pretty much exactly what you decide to make of it. So whether it’s a relaxed chill session or an energetic experience at the front of the stage, The Great South Bay Music Festival has got you completely covered!
SPAC’s jam-packed July schedule kicked off Monday night with Blink-182 and Lil Wayne coming into town. The contrasting styles of the iconic pop-punk band and hip-hop legend, Lil Wayne, made the night all the more interesting, bringing in thousands of fans from each performer. Blink-182 is celebrating the 20 year anniversary of their most notorious album, Enema of the State.
The night kicked off with Welsh punk band Neck Deep. After their brief, eight song set, there was a 15 minute turn-around before Lil Wayne emerged from the giant Young Money logo at the center of the stage accompanied by a 4-piece rock band. The set was filled with impressive raps with a voice that is identifiable to only as Lil Wayne, solos you wouldn’t see at most hip-hop shows and an audience that was shouting out every bar through the hour long set. However, Lil Wayne never made the night about himself, constantly shouting out his band, fellow rappers and showing love to his loyal fans.
The intermission between Lil Wayne and Blink-182 was cut off when all the house lights came down and the voice of Jules Winnfield (Samuel L. Jackson) came over the speakers reciting the now iconic Ezekiel 25:17 from Pulp Fiction. The moment at the end of the passage when the gunshot a fired, the lights shot on and Blink-182 began playing “Dumpweed,” the first song from Enema of the State. The band played the album straight through, as they have at each show throughout this tour. The album is one of the genre’s greatest, including hits such as “All The Small Things,” “What’s My Age Again?,” and “Adam’s Song.” After playing the record in its entirety, Mark Hoppus (bass) came out into the crowd and played a brief acoustic set. Following this, the band paid tribute to Nipsey Hussle, a rapper who tragically passed away earlier this year.
Travis Barker and his drum set were encapsulated by a spherical cage. Barker proceeded to play a two-minute solo and began spinning and flipping in the sphere, accompanied by a mini light show. Blink-182 finished off the night with a few more of their hits, including “I Miss You” and “The Rock Show, before finally closing the show with “Dammit.” Blink-182 brought the same energy they’ve been showcasing for over 25 years, the same energy their fans have come to know and love.
Slick Rick the Ruler was joined by DJ T.G.I.F and Giant Gorilla Dog Thing for Albany’s Alive at 5 summer concert series at its location under I-787 on Thursday, June 20. Ricky Martin Lloyd Walters, known to the world as Slick Rick and widely regarded as “hip-hop’s greatest storyteller,” is a London-born, Grammy-nominated performer and the most successful British-American rapper in music history.
The hip-hop veteran began his career in 1983, as a member of Doug E. Fresh’s Get Fresh Crew, pioneering what is today celebrated as the “Golden Age of Hip- Hop.” Recognizing the need for positive influences, Rick has devoted his time to mentoring youth on the dangers of violence. Additionally, he has partnered with various local and national organizations to raise awareness and funds for the issues impacting underserved communities.
Woodstock may be returning to Central New York at Vernon Downs for the 50 year anniversary of the iconic music and arts festival. Scheduled to be held Aug. 16-18, some of the previously announced headliners for the event include Jay-Z, The Raconteurs, The Killers, Miley Cyrus, John Fogerty and Dead & Company.
The festival would still be held on the originally planned weekend of Aug. 16-18, only now possibly at Vernon Downs Casino Hotel in Vernon, a small town located along the New York State Thruway between Syracuse and Rome. There would most likely be no camping and the performances would run from until 11:00 p.m. each day.
After Watkins Glen International Speedway pulled out as host of Woodstock 50 on June 10, organizer Michael Lang vowed the festival would still be happening and that they were in discussions with other venues. It now appears that Vernon Downs was one of those venues.
Michael Lang is no stranger to the Central New York area. Woodstock ’99 was held at the decommissioned Griffiss Air Force Base in Rome. The festival drew upwards of 200,000 people that year and was marred by riots and sexual assaults that brought the festival to a fiery conclusion.
The harness racing track located on site has a past of hosting larger concert events, the latest being Aug. 29, 2012 when Bruce Springsteen and the E Street Band visited during the Wrecking Ball Tour. Track owners at the time suggested that they could comfortably host 30,000 people for the Boss’s show at their venue, a sharp decline from the 100,000 attendees Lang had originally anticipated for his event at Watkins Glen this year.
The track has also hosted Phish, the HORDE tour, the Other Ones (one of many Grateful Dead offshoots) and several versions of the regional radio festival, K-Rockathon.
Even with a lack of on-site camping, attendees would still have several lodging options in the area. The nearby Turning Stone Resort Casino in Verona has several hotels and an RV park. Other local options for lodging include two state parks at Verona Beach and Delta Lake, along with several private campgrounds and hotels in nearby Utica, Rome and Syracuse.
Ticketing information was unavailable at press time but would be contingent upon organizers acquiring final permits from the town. The lack of camping would preclude the need for a mass gathering permit from New York State.
NYS Music will have more information as it becomes available.
Editor’s note: This article has been edited to reflect a different number of attendees at Woodstock ’99.
Siimba Selassie, formerly known as Siimba Liives Long, recently debuted the music video for his latest single, “Bes’mam.” Directed by Nick Von Gremp, the same director behind Selassie’s critically acclaimed videos “Bad for the Soul,’ ft. Kamau, “Bes’mam” provides a stripped back window into the world of Selassie. “Bes’mam’s” simplistic aesthetic allows Selassie’s quizzical and mesmerizing bars to be the focal point of the three-minute video.
For the uninitiated, Siimba Selassie is a Brooklyn-based musician born in New York, and raised in a myriad of places from Ethiopia and Washington DC to New Jersey. “Bes’mam” follows Selassie’s recent critically acclaimed single “Patiently” with his group Splash Brothers that includes Allan Kingdom, Topaz Jones, Kamau, and brother Haile Supreme.
His debut music video, “Cocaine Biimbie,” featured the emcee return to his Ethiopian roots to play quite literally with lions and eat fire. This cut from Siimba’s 2017 project “Zemenay’s Gemiinii,”awarded Siimba critical praise from tastemakers including NPR, Noisey, FADER, Complex, DJ Booth, Hot New Hip Hop,and more. Selassie, an artist described by NPR as “sportive yet serious, playing equal parts esoteric and quizzical,” will be gearing up for the release of new sonic series VIICES coming June 2019.
Salutations friends! As June opens its’ door, festival season is officially underway. People can once again begin to embark out on the perpetual quest to satisfy their ears and eyes by indulging in one of the greatest gifts life has to offer-live music. Across the nation, fans now engage in chasing their favorite destination events, bands, songs, and comrades. Among them, next weekend’s (June 13-16, 2019) Bonnaroo Music & Arts Festival in Manchester, Tennessee.
Bonnaroo has risen to world fame from its’ beginnings as a mostly jam-centric haven to its’ current state, a wonderful melting pot of genre, visual art, and collectiveness from all over the planet. Yes, Bonnaroo is one of the largest festivals in the country, but it’s so much more. It is an explosion of diversity through art, a sponge for culture, and a tradition of expression like none other.
The lineup this year is as staggering as ever, dripping with intrigue at every avenue. Heading up the cavalry is the likes of Phish, Cardi B., Post Malone, The Childish Gambino, The Avett Brothers, Griz, John Prine, Gucci Mane, Odesza, Solange, The Lumineers, Brandi Carlisle, Joe Russo’s Almost Dead, The Grand Ole Opry, The National, and so many, many more brilliant acts waiting to unload, including tremendous representation from New York sure to stamp the South. Additionally, Bonnaroo boasts so much extra flavor it differentiates itself from any other event on the circuit. Bonnaroo has, and continues to always stand-alone in greatness and mystique. As I prepare to join the horde down on the farm, let’s look ahead to some of what this year’s installment has to offer.
Bonnaroo stretches four days; each packed to the brim with exciting names, activities, and opportunity. I look forward to rejoining the mass down in Manchester for the first time in many years, and it’s a pleasure to act as the correspondent for NYS Music for the first time! I’ll be rolling along from start to finish as the biggest party of the year pops its’ top, and I’d like to point to a few things which excite me about this event.
The Grand Ole Opry (Thursday evening): This conglomerate of folk and bluegrass takes the headlining slot on Thursday evening. The wagon features Old Crow Medicine Show, Steve Earle & The Dukes, Ricky Skaggs and a collection of other friends that is sure to bring the downhome sounds of the do-si-dos right into the heart of Graceland. The energy at Bonnaroo on Thursday night is something fierce; of course arriving at a festival is always special. Anticipation breathes, evening comes quickly, and for the first time the site really becomes alive. Bonnaroo Thursday is the above but just a little more special simply because of the size and tradition of this place. The sounds of Appalachia is the perfect way to send the first shockwave through the crowds, and I can’t wait to see what this group of bluegrass all stars has to throw down.
Access to new discovery: I can’t stress to our readers and fellow attendees how special this aspect of the festival is. Naturally a few names will jump off the lineup every year, and every individual has their favorites, but Bonnaroo is at its’ roots a mecca of discovery. Stumbling upon a band I’ve never heard of, from a distant region, or perhaps one whose genre is so outside my wheel well is just serene, and Bonnaroo is the place for that. I encourage those on the grounds to get lost at least once, and bask in the sheer size and undertaking of this gathering. Follow your feet to sound, and discover something new.
Sheryl Crow – photo by Nick Karp, Bonnaroo 2018
Phish: The boys from Vermont make their third appearance on the hollowed grounds of the What Stage for what promises to be an epic soul shakedown. Their last appearance at the ‘Roo was in 2012, and the band is in quite a different place today then they were in 2012, when they really had just begun to step back into their stride following their hiatus during the early and mid 2000s. Today, the band has been firing on all cylinders for quite a while, and while Bonnaroo is only at the tip of their summer tour, these shows will be absolutely special. Especially of note is Friday’s performance, which finds the foursome busting loose at 11pm, a start time much later than their usual shows. Always well aware of the stage and moment, expect a high energy, barnburner style punch right out of the gate.
Photo by Brian Ferguson – Magnaball 2015
New York in the house: Good news everyone! Fine company represents New York this year down in Manchester. A group that includes headliner Cardi B, the space funk party sounds of Rubblebucket, the indie quartet Parquet Courts, the dynamic electro dance king Space Jesus, the multi-instrumentalist rockers The Lemon Twigs, the young singer-songwriter and producer whiz King Princess, modern pioneers of the “now” sound AJR, and of course Joe Russo’s Almost Dead. I want to touch explicitly on Russo’s band for a second, or, JRAD, as many known them by their acronym. JRAD, a band born at the New York’s own Brooklyn Bowl in 2013 is a group which reprises the music of The Grateful Dead in a way that is so fresh, so their own that a listener can get completely lost within their compositions. Bonnaroo would not be the same without some iteration of The Dead’s catalogue in its’ midst and JRAD is the perfect selection. Late night? In a tent (That Tent)? Yes please. The group pioneered by kit virtuoso Joe Russo is always good for a surprise as well. Listen carefully for off the wall covers and licks to keep the crowd guessing. This collection of homegrown artists is as diverse as the great state and city from which they hail, and it will be a treat to see how they weave into the mix.
Photo by Nick Karp, Bonnaroo 2018
The site/sights/people: Bonnaroo is absolutely a national treasure of sound, but it’s also delightfully visual. The installations and works of vast creative genius teams stretch far beyond the actual venue (dubbed Center Roo), and engulf in color, light, and wonder that sweeps through the surrounding campgrounds and commonplaces that make up the bulk of the festival’s map. Feast your eyes on tapestry of color created by attendees and visual artists alike. There is not a more diverse group of patrons to be found than at Bonnaroo, and there is something very powerful to be said in that. The beauty in a distinct diversity of ages, races, sexes, nationalities and beyond all transcend themselves on the farm. I have always found it to be a fluid place in so many different ways, I encourage everyone to notice how special this feature is as they traverse through the weekend.
Bonnaroo has a lane, a speed, and a taste for everyone. It continues to reinvent itself. It’s a testament to the industry and people for which it serves. Stages arise out of the woods; themed areas such as The Christmas Club Barn wait to be stumbled upon, roving DJ pop up sets in the plazas of the camps are just the beginning. To invoke the great Paul Simon, these are the days of miracle and wonder, of lasers in the jungle my friends, this is the long distance call. A wave of positive kinetic madness is about break under the hot Tennessee sun. Bonnaroo 2019 is finally here!
For more information on the Bonnaroo Music & Arts
Festival, including tickets, the complete lineup, map, schedule, and much more,
visit www.Bonnaroo.com. Keep your
browsers dialed in right here at NYS Music for all of our coverage as I roam
around the fields with my trusty photographer Rob Roane. Check our coverage out
throughout the festival as we document our happenings via the NYS Music
Instagram page, and after the festival wraps we will be dropping our reviews to
keep you informed, up to date, and enthralled. Until then my friends, I will
see you on the other side.
This past weekend, Randall’s Island played host to the 2019 Governors Ball Music Festival. The festival, in its ninth year, featured many of the hottest musical acts of today with performances by Tyler the Creator, Florence and The Machine, Nas, Lily Allen, Lil Wayne, The 1975 and many more of today’s most popular musical acts. An amazing first two days set the stage for a full final day of music, with the home town favorites The Strokes closing out the 2019 edition of the New York City music festival. But Mother Nature had other plans as impending inclement weather forced a delayed gate opening and, eventually, thunderstorms forced the cancelation of the rest of the day including The Strokes’ headlining set.
A full statement from festival organizers can be found here.
