Twenty year old piano prodigy Carly Beth Hand has matured considerably in her musical evolution since her first LP Taking Flight was released at the tender age of 15 in 2014. Beth, who is a native of the sleepy little town Grand Island, NY which is located northwest of Buffalo near the Canadian Border, showcased her considerable musical talents on Taking Flight as a classical pianist and vocalist. This inaugural work gained considerable interest in the States as well as in China, mostly due to her active promotion on social media platforms. Her online live-stream performances on Facebook were received positively by an eager audience in China which she adeptly leveraged by learning to sing, speak, and read in Chinese.
The newest Carly Beth single is “Sleepless Lullaby,” which was released in March and co-produced with Jimmy Bralower, has embraced her evolution from classic pianist/vocalist to pop princess. On this tune the piano takes a back seat to heavy synth and a creative dance/vocal backing track. This newly minted musical style may be the result of Beth’s recent relocation to London, England where she is now pursuing her music career and finishing studying at University. The overall effect of this production is a slick radio friendly number that is contemporary and relevant.
Carly Beth has not forgotten her musical roots and what has propelled her musical career up to this point. Along with the release of this club friendly tune, she co-released a stripped down acoustic rendition of “Sleepless Lullaby.” This distinctly different version of the song focuses on Beth’s piano playing and removes the dance beats, while leaving some of her stark overdubbed vocals. The listener will have to be the judge as to which of Beth’s styles they prefer.
Carly Beth Hand will be performing along with Christina Custode at The Mug and Musken in Youngstown NY on July 19th during their Songwriter Concert Series.
Hold on to your ticket money, folks. You won’t be able to buy passes for Woodstock this Monday. The sale date was scheduled to coincide with Earth Day, April 22. But for undisclosed reasons, that date is being delayed.
Everyone is waiting on an official public announcement, but Billboard reports that an email went out to agents on Friday, April 19 alerting them of the postponement.
Earlier today, talent manager Amanda Phelan with Woodstock 50 talent-buyer Danny Wimmer Presents sent an email to agents representing acts at the concert in Watkins Glen, New York, explaining, “There is currently a hold on the Woodstock 50 on-sale date. We are waiting on an official press statement from Woodstock 50 regarding updated announce, ticket pricing, and overall festival information. We will get this information to you as soon as we receive it.”
– from Billboard
The event is scheduled for August 16-18 at Watkins Glen. Top-name acts are slated to play. The Killers, Imagine Dragons, Jay-Z, Robert Plant, Dead and Company, John Fogerty and Santana are among an impressive array of headliners.
Information about Woodstock 50 is available on their website, or you can follow on Facebook and Twitter for updates. NYS Music will continue to provide ongoing coverage of Woodstock 50 as events unfold.
New pop rock outfit Losers Club have released their first song “Emerald Eyes” this week. The song is a rallying call for those for whom everything seems to be going wrong, but who never lose sight of hope.
“At the time I wrote this song, I had no idea Losers Club would even exist. It was just another personal demo I wrote to get my feelings out of my head for a while,” says frontman Nate Blasdell. “I’m currently working full time as a middle school teacher, so my schedule had been super busy. There was an unexpected snow day in late February, so I took advantage of it with the intention of writing a song about things I had been feeling recently. I can’t remember the last time I wrote a song in full and recorded it in a single day, but once I got started on this song, it just took off on it’s own. The lyrics came so easy because it was all stuff I had been felt for so long the previous year. I had just gotten off a Europe tour in December that was the most emotionally tolling tour I had ever done and my mental health just hit rock bottom. That particular tour had numerous obstacles on top of so many things going on back home that I wasn’t there to deal with at the same time. This song was really just putting that whole thing into perspective. “
The Rochester-based band includes Andy Champion on bass, Aidan Snyder on guitar and vocals, Cody Wagner on drums, and Blasdell on lead vocals and guitar. Active in the music industry since the age of 16, Blasdell has been a member of several bands, including The Bunny The Bear and I Set My Friends on Fire. He’s also got songwriting credits for bands like MKTO, The Vamps, and Big Time Rush.
“Losers Club is kind of a collective of every idea I’ve ever wanted to do but wasn’t confident enough to pull the trigger,” Blasdell says about the project. “Even though most of my platform and social media branding had been built in the metal scene, my heart has always been in Pop-Rock. I’ll openly admit, I was afraid to sacrifice giving up what I had, what I had worked for, and the opportunities in front of me, to ‘start over’ in a different scene that I had been out of for so long and there was a lot of self-doubt.”
Blasdell continues, “To be honest, I’ve lived a pretty great life and it took me a while to realize that I had my mental health was not nearly as strong as I thought it was. I needed an outlet, so I started writing basement demos for myself with the intention of never showing anyone. It was a new perspective and the first time I was ever really able to be fully honest with the state my mental health was in. Soon after writing the songs, I realized it wasn’t about being ‘good enough’ or what other people thought, and I didn’t have to give anything up. Everything was so ‘all or nothing’ in my head. I could still play metal. I could still tour. I could still be a teacher, but I could do everything I was afraid to do as well. Somehow, I managed to find three best friends that I could relate to on a personal basis but were all incredible musicians as well. None of us cared about ‘being good enough’ or ‘fitting in’ to the industry’s stand point. We’re all goofy guys. We’re all weird. And we’re all fucking losers, but we’re embracing it head on and learning to let go of the things that aren’t Important in the process. These are songs that have helped us and we can only hope they help you too.”
Follow Losers Club on Facebook and Instagram to keep up to date on this exciting new venture.
Music transcends all. The staff (more like family) at Modern Day Music School, snugly located in an unassuming plaza on Route 9, understand this. All family members use this knowledge to make a difference in the lives of those they touch. The school, known for its powerhouse students Moriah Formica and Madison VanDenburg, has more behind the door, and in its heart, than the voices it trains and musicians it tunes.
“I once had a student who had a friend pass away and for whatever reason, she couldn’t go to the wake,” said vocal coach and musical instructor, Laura Beth Johnson. “The student came in here and said, ‘I want to write a song about this.’ So, we put pen to paper and she was able to write through the grief and use her music as a way to channel that grief into something positive and productive.
“I was so grateful and honored to be a part of that process and help her find her voice,” said Johnson.
Johnson (one of fourJohnson family members who work at the studio) was amazed at how her student has grown since that day.
“She’s writing all the time,” said Johnson. “It has given her the confidence she needs and she has blossomed since that day into even more of an artist.”
This is just one example of the way that Modern Day Music School is able to be there for its students. In music, you’re vulnerable. You’re open. You’re bearing your soul. For some, it’s incredibly intimidating at first. For others, it’s a relief right away. For all, the studio is a sanctuary; a place where they can be free, vulnerable and most importantly, themselves.
“The students develop these incredible bonds with their coaches and teachers that makes them want to work even harder,” owner Paul Benedetti said. “They come in for this 30-minute session. Sometimes, they only sing for about five minutes of that. They’re working through something tough in their personal life and they feel safe enough to come in here and talk to us. We want them to feel safe.”
These bonds were evident as our staff visited the studio on a rainy Friday afternoon. As pictures were being taken, Formica and VanDenburg were belting into a mic. Their vocal coach, Lesley O’Donnell, was standing outside the sound-proof booth. The doors were open, the vibe was good. As the girls tried to find their pitch, O’Donnell was offering encouraging words even though the girls were just goofing around.
“There it is!,” O’Donnell exclaimed as the teen stars belted out an impressive harmony. “There we go! Awesome!” A smile spread across her face. “It’s amazing,” she said.
Benedetti started Modern Day Music School in 2011 with a partner, who he bought out in 2013. The need for the school was a response to his own son’s musical talent. When his oldest son was a teenager, he was playing drums and decided he wanted to start a band. The problem was, there was nowhere in the area that made it easy to coordinate young musicians who wanted to get together with peers. Benedetti said it was a “nightmare” because there was always curve balls thrown; some kids really wanted to play, while others weren’t ready for the commitment it held. On top of that, where the bands would eventually play weren’t kid-friendly. The teens would play at house parties, where Benedetti didn’t feel was a good place for these young musicians.
“I come from the studio business and I’ve been playing, teaching and singing forever,” he said. “My partner and I had a thought during this time period; wouldn’t it be awesome to create a space where these kids could find like-minded students, and even better, have a safe space to play?”
The school opened with its well-known band program. Essentially, students signed up and are paired into a band with three to four other students with the same essential goal. Benedetti said these kids usually don’t know one another at first, and even more, they don’t always want to play the same thing or even like the same music.
“It’s not only a music session, it’s team-building,” he said. “These kids learn that you sometimes have to work with people you wouldn’t pick at first for whatever reason. That’s something you’ll run into regardless of where you end up in life.”
It sometimes takes a bit for the band to adapt. The band program is offered in three-month sessions. Despite the initial uncertainty, the kids not only learn to work well together, but they become friends and will often ask to play together again at the beginning of the new session.
“They’ll want to do more, work harder and see where they could potentially go as a cohesive unit,” said Benedetti. “If we feel it works as a whole, we will happily try to accommodate those requests.”
The band program eventually was joined by music lessons when Benedetti realized how needed it was. Now, the studio employs at least a dozen coaches with all different abilities and talents. While those like Formica and VanDenburg are jumping into the mainstream, 7-year-old Ella Dane Morgan is a student with a different passion — performing on stage. At 5 years old, she was starring with pop sensation Sara Bareilles in the singer’s smash hit “Waitress.”
“I have reverse stage fright,” Morgan explained. “I don’t really like performing in front of friends and family, but I love performing on stage.”
Morgan’s mother Laura agreed, explaining she’s had to physically carry a crying Morgan as she pleaded to get back on stage, long after the curtains closed.
“We were bitten by the Broadway bug at a young age,”said Laura Morgan. “Once she got the taste for it, she wanted in. We sometimes commute between here and the city three to four days a week for whatever she has going on.”
The young Broadway star has learned so much from her three years of instruction. Laura Morgan said they picked Modern Day Music School because of the school’s command of music — they know what they’re doing. There are not a lot of roles for children on Broadway, but the Morgans have made it work and the young star has been consistently in her element, doing what she loves most.
“I’ve learned to belt by opening up my mouth like a cave,” Ella said. “I pretend I’m stuffing all of these marshmallows in my mouth. It’s helped.”
Another belter, 11-year-old Ashlynn Boyce, has been working on the same techniques. The two-time winner of Clifton Park American Idol has always known she could sing, surprising even her parents.
“I was shocked when I first heard her,” Boyce’s father, Jesse, said. “None of our family has this skill and she can command it so well.”
Boyce has been attending Modern Day Music School for two years. Having just relocated from Pittstown, Boyce and her dad were passing through one day and she saw the sign for the school.
“I just knew I wanted to go here,” she said. As shy as she is, she knows what she wants. “I had a feeling about it.”
Jesse Boyce put all his trust in Benedetti. Soon Boyce, who was sent home early from Clifton Park American Idol the first year she tried out, was in command of her talent like never before.
“She can be so successful at this,” he said. “You just want the best for your kid. No place is perfect, but this is pretty close.”
Boyce said her warmups have completely changed her. They help her get ready for the big notes she loves to hit, ones she hopes to sing with Demi Lovato someday. Two years later, she still wants to go here. It’s become as much of a sanctuary for her as anyone.
Students like Boyce are how the teachers summarized what they feel the school does for students. The initial intimidation of coming in and bearing a part of your soul that many are self-conscious about — even those who know they have talent — is overridden when they step into that studio and feel validation about something they’ve worked on for so long.
“It’s music. That’s what we know,” said O’Donnell. “It makes sense for us to teach it. We are simply the vehicles for these kids to hone in on the thing they love so much.”
Tony Garza, the jack of all trades of the school, agrees. Garza teaches guitar, bass and ukelele. He is the head of the school’s Little Rockers program and is the rock school director. For him, it comes down to helping the students learn important life lessons, like they have to be ok with not being perfect.
“I always tell my students they are good, they are special and they are worthy,” Garza explained. “I want to help them find their voice.”
Katie Johnson, another vocal coach and the song writing teacher, agreed. “Music has changed the lives of these kids, and they’ve changed all of us,” she said. “They come in not believing in themselves and they find who they are through the music.”
The teachers are assisted by the helpful Benedetti and Cailin Burke, the studio manager. Burke explained students are not just randomly assigned — rather, the studio takes the talents of each individual into consideration and pairs them with the coach that can address those specific needs.
“No curriculum here,” was echoed by every single employee of the studio. Benedetti added, “We use music that the students want to learn about to construct our lessons. If they love Taylor Swift, we will visit her music and learn notes, harmonies and how the song is constructed. We want to make learning fun for these students. Curriculum is great, but we want to take an individualized approach to each student. This is not one size fits all.”
Eighteen-year-old Formica, 17-year-old VanDenburg and 15-year-old Cassie Cenzano are on their way to superstardom. All three said they owe so much to their coaches; while it’s taught them how to sing, it’s also taught them how not to.
“I hate it when people come up to me and tell me how they’ve never taken lessons,” said Formica. “We take pride in our lessons because they’ve taught us how to maintain our voices. Not taking lessons is great, but when you accidentally blow out your voice because you didn’t maintain it, that’s definitely not fun.”
Formica and Cenzano landed at Modern Day Music School around the same time, right after the school opened. Formica is a rock powerhouse, effortlessly having both the voice and stage presence to make audiences question why rock went away. Cenzano is influenced by the sultry vocals of Adele and Stevie Nicks, a stark contrast to Formica. VanDenburg finds her influence in singers like Celine Dion and once said she prides herself in the ability to sing ballads “decently well.” As her recent appearance on “American Idol” has shown, she was maintaining the level-headed kindness and humility all three girls embody.
“Moriah was actually the one who encouraged me to come here,” said VanDenburg. “I think that’s what sets this place apart from everywhere else. It’s welcoming, it’s chill and our coaches genuinely want to get involved in our lives and provide the support we need outside of this.”
Cenzano agreed. Her low, soothing voice articulates her gratefulness to the studio for its ability to reach out to her. She’s in the studio too, working as hard as her peers.
“The key to these lessons is listening and taking it all in,” she said. “We all practice a lot. We’re open to what we’re being told. We want to learn.
“Being a musician is always in you,” Formica concluded. “True artists, like the three of us and those who are here with us, love music in all of its forms, and we love that we can make our own music.”
Benedetti chalks up his impressive staff and students to the “vibe” he puts out. While they frequently get applications for new employees, Benedetti said it’s so much more than having the ability to sing or play.
“If you can come in here and you have the talent, great,” he said. “But the vibe is so important. We want to create a modern, safe, welcoming space. We want to give our students an experience, not just a lesson.”
Modern Day Music School is actually looking to expand its team, with Benedetti promising new staff members will have the qualifications, vibe and personality its customers have come to know and love.
“When we are told by parents that their child is excited about that 30-minute lesson, I know we are doing something right,” he said. “It’s 30 minutes, once a week. Yet, the students long for the time here. They have siblings come and hang out while they practice, and we provide a space for them to grow too with whatever they need.
“I know we are doing something right when we see these kids so happy,” he concluded. “We want things to make sense for each individual student, and we think we’re achieving that.”
This article was originally published by The Spot 518, is property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYSMusic. TheSpot518 and NYSMusic work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com
A collaboration no one expected will tour this summer as ‘The New Beetles.’ Paul McCartney and Ringo Starr will be joined by Boy George and Elton John, which, according to Starr, will allow “A new generation to be able to say they saw John, Paul, George and me, Ringo.”
The New Beetles will perform classic songs from The original Beatles catalog and Boy George songs, as well as new classics such as “Instant Karma Chameleon,” “Can You Feel the Love Me Do,” “A Day in the Wind,” “Cry Baby Crying Game,” “I’m Still Seeing her Standing There,” “Do You Really Want To Hold My Hand,” and many more.
“I’m most excited to play “Goodbye Yellow Brick Submarine” and “Get Back, Honky Cat,” said Elton John. “I always felt like my songs could use a little influence from the Fab 4, and here we are, rehearsing “The Bitch Is Back In The USSR.” It’s really quite fascinating.”
Among the songs that celebrate New York City, “New York State of Mind” by Billy Joel, from his 1976 album Turnstiles, has become a fan favorite in regular rotation at his concerts, in particular at Madison Square Garden. While the song was never released as a single or a hit for that matter – Turnstiles only made it as high as 122 in the Billboard 200 – its place in Joel’s catalog and hearts of fans is firmly in place.
Rather than head down south or out west, Joel sings about preferring to take a Greyhound down the Hudson River Line. Joel discussed “New York State of Mind” in an interview with Howard Stern in 2010, saying that he wrote the song in 15 minutes on a bus headed Upstate to his then-home of Highland Falls. While there is no Hudson Line for Greyhound Buses, the route along I-87 follows the Hudson River, and along the other side of the river would be the Metro North Hudson Line, connecting Poughkeepsie to Grand Central Station. Perhaps Joel combined these two in order to preserve a oneness of New York’s mass transit and treat that journey like he was staying local, and for the 20-25 million who live within an hour of the Big Apple.
Joel longs for New York in “New York State of Mind,” having lived in California for the past three years. With a return home, Joel felt pride that can be felt in the emotion behind the lyrics.
Billy was born in the Bronx in 1969, grew up in Hicksville, and is one of the most famous products of Long Island. His father and mother emigrated to New York from Germany via Switzerland and Cuba during World War Two and settled in Brooklyn before moving to Long Island after Billy was born. Billy’s father returned to Europe, settling in Vienna, Austria where Billy has a famous half brother Alexander who is a classical conductor and most recently conducted the Staatstheater and Staatsorchester in Braunschweig, Germany from 2007-2014.
Billy got his start playing piano in high school, eventually dropping out despite being a good student due to a lack of credits his senior year. He was quoted in Hank Bordowitz’s biography Billy Joel: The Life and Times of an Angry Young Man (2006) that rather than finish his credits in summer school, he would begin a career in music. “I told them, ‘To hell with it. If I’m not going to Columbia University, I’m going to Columbia Records, and you don’t need a high school diploma over there.’ (He later graduated in 1992 after submitting papers to the school board). From there, Joel joined the Echoes, the Hassles and finally the duo Atilla with Hassles drummer Jon Small. After an affair with Small’s wife, whom Joel later married, he signed with Family Records for his 1971 debut Cold Spring Harbor.
Billy Joel most memorably performed “New York State of Mind” at The Concert for New York City, the October 2001 benefit for New York City Fire and Police Departments and first responders following the terrorist attacks on New York City on September 11. In 2012, Joel hit an emotional nerve once again, performing the song at 12-12-12: The Concert for Sandy Relief, held at Madison Square Garden on December 12. During the song he changed the lyrics to include Breezy Point (Queens) and Oceanside (Nassau) to great cheers from the crowd.
The influence of New York is present throughout the lyrics of “New York State of Mind,” as the trip back to his home state moved Billy so much to pen the song in 15 minutes. His state of mind is New York-centric, as is the beginning of his career, and arguably his best years are found while living in the Empire State. Billy is a New York staple, a musician infinitely tied to New York City, Madison Square Garden, Long Island and Nassau Coliseum through many songs and albums, but none is more connected than “New York State of Mind.”
“New York State of Mind” lyrics
Some folks like to get away, Take a holiday from the neighborhood Hop a flight to Miami Beach or to Hollywood But I’m takin’ a Greyhound on the Hudson River line I’m in a New York state of mind I’ve seen all the movie stars in their fancy cars and their limousines Been high in the Rockies under the evergreens I know what I’m needin’, and I don’t want to waste more time I’m in a New York state of mind It was so easy livin’ day by day Out of touch with the rhythm and blues But now I need a little give and take The New York Times, the Daily News It comes down to reality, and it’s fine with me cause I’ve let it slide I don’t care if it’s Chinatown or on Riverside I don’t have any reasons I left them all behind I’m in a New York state of mind Oh yeah
NYC alt pop duo, BHuman, have shared their stunning video for “Goodbye,” which premiered exclusively on Billboard this week, who highly noted the “whimsical, avant-garde” nature of the video.
“Goodbye” is a playground loaded with giant puppets, massive wigs, a bunch of costume changes and a whole lot more. While the duo looks stunning in their own right, the addition of dance group Visceral Abstraction and the bold puppet outfits from Chromatico, takes the glamor to a whole new level.
“Goodbye” is a breakup song turned 180. Billie Lloyd, a musician, composer and producer, and one half of the power duo, said she channeled her feelings of frustration with the emotionally charged lyrics, while Harrison Scott helped turn the song on its head and create an anthemic, confident statement.
Bhuman’s work is an emotional journey through absorbing melodic hooks, intimately hushed vocals, chill-step beats and chiming synth tones. Not straying far from their interwoven message of sexuality, gender and self-acceptance, “Goodbye” is universally relatable to fans no matter what their specific situation might be. BHuman emphasize the human experience and remind fans that, no matter what they are going through, it is this human quality that keeps them interconnected and never alone.
“Even if you’ve never transitioned or questioned your gender before, you can still understand the themes of what I’m going through or what Harrison is going through,” Lloyd explained.
BHuman kicked off 2019 with NewNowNext including them in their list of “6 Transgender and Non-Binary Acts to Add to Your Playlists.” As the lead single off their self-titled first EP, “Goodbye” is the follow up to “Safe” and continues the process of carefully unveiling BHuman’s musical vision.
Vignettes of heartache, redemption, hometown joy and drama fuel Anything, Everything, the sophomore album from the Connecticut-based pop-punk band Say What You Will. Hailing from New Haven, the band is Christine Sabol on bass guitar, Shane Emery on vocals and lead guitar, Chuck DeFilippo on drums and Ethan Griffeth on lead vocals. Amongst changes in personnel and other identity shifts since 2017’s Seconds to Home, the new album is a work of passion and exploration, sure to excite longtime fans and attract new ones. The band supported the album release by debuting their music video for the feature track, “Southbound,” in late February.
Drawing from the likes of State Champs, Grayscale, Sleep On It and others, Say What You Will found a way to create a distinctive, unique sound while paying homage to their influences. Recorded with Chris Piquette at No Boundaries Studios in Rhode Island, the record marks a new age of growth and maturation for the band. Anything, Everything is set to release on all platforms next Friday, March 15.
“We’ve always tried to incorporate so many influences into our music, and I think that this time around we were more focused on making something that sounded like us.”
Shane Emery
From the start, “Break Away” pulls listeners in, skipping casual orbit and launching them directly into the fiery atmosphere of Anything, Everything. The restrained, energy-building intro showcases the band’s chemistry by allowing Griffeth’s expressive voice to sit on top of the rhythm, culminating in a quick stop and explosion of layered melody sure to get peoples’ bodies moving.
Moving on, it’s clear that a key strength of the album is how it dynamically shifts between the blasting, yell-along, triumphant choruses and the sensitive, yearning reprieves. “Carolina” stands apart as a pop-punk ballad, an ode to a specific place and time, displaying Emery’s journeying, skilled guitar and the interplay between drums and Sabol’s bass. The record picks up the pace again in “Lake Zoar,” filled with jump-along moments.
Distinct from the instrumentation of each song, there are the stories Griffeth shares through emotive vocals and heart-wrenchingly piercing lyrics. “Summer Haze” ends the album with a story of a woman who’s struggled with helping her significant other with drug addiction. Inspired by heroin epidemics in Griffeth’s hometown, the song is the band’s plea to shine a light on dark moments.
Anything, Everything has all the elements of what makes a great pop-punk record, though it doesn’t stop there. The album represents a refined and redefined sound identity for the group. Listeners will always find their way to the catchy hooks, the grooves and breakdowns in the songs that feature boundary-pushing infusions from other genres. Say What You Will has put all their cards on the table, successfully creating something unique and inspiring. Pop-punk fans will find plenty of value and perspective from picking up this album.
*Anything, Everything Release Show*
[/accordion]
[accordion title=”April 6: Pauly’s – Albany, NY” load=”hide”]April 15: Encore Live Room – Dayton, OH
April 16: Evolution Music – Downers Grove, IL
April 17: Laundry Room – Nashville, TN
April 18: The Depot – Baltimore, MD
April 26: Ralph’s Diner – Worcester, MA
May 3: Cianfano’s – Elizabeth, NJ
May 4: The Barbary – Philadelphia, PA[/accordion]
[/accordions]
Photo: Megan Greer
Listen to Anything, Everything and learn more here.
Elton John’s Farewell Yellow Brick Road tour ushered fans into his retirement at the Times Union Center in Albany on March 1, 2019. On a stage framed with bricks featuring images recalling Soul Train, Billie Elliot, The Lion King, and various album covers, the scene was set to remind us: Elton John is not only a legend, but quite possibly the legend of our time.
But in case that wasn’t enough reminder, Elton John took the stage by humbly walking upon it in the dark, sitting at his piano, and playing “Bennie and the Jets” for the first performance of the night. While Elton was adorned in rhinestones and his signature square glasses with glitter, it was his voice, immediately on pitch and demonstrating the familiar clarity from his earlier years that immediately grounded everyone in the Times Union Center with the reality of his legendary status.
Over 15,000 fans screamed, danced, and sang along as Elton John moved through his hits with grand visuals on the screen behind him. During the third song, “I Guess That’s Why They Call It The Blues,” the juxtaposition of the love songs’ words with images of multigenerational partners at different stages of engagement with one another was striking. Couples sun bathing, grocery shopping, eating meals flashed on the screen behind Elton John as he crooned about “time on my hands / could be time spent with you.” The reality of love in all its mundane daily living was visually represented alongside the romantic lyricism of his songs.
Similarly, “Border Song,” originally recorded by Aretha Franklin, was marked by visually striking loops of pictures urging acceptance of diversity. Elton John mentioned composing songs with Bernie Taulpin, and the confidence Franklin gave them by choosing to record their song. He also casually mentioned sharing a birthday with the great jazz artist.
The visuals, while moderately interesting and created by some rather well known artists (David LaChappelle made the video accompanying “Daniel”), offered a bit of distraction from the general lack of movement on stage. And while the videos added value as the night progressed, they really weren’t necessary. Elton John himself was the show, sitting at a piano singing.
“Tiny Dancer” followed a similar theme, using video loops of people at different normative life experiences throughout LA. Elton John’s words, again in a sense at opposition to the songs lyricism, seemed to urge listeners to see more to the story than a romanticized vision of being human.
Elton John spoke to the audience quite amicably, engaging fans by sharing his process of writing songs that story tell. From “Indian Sunset” to “Rocket Man” and “Take Me to the Pilot,” the artist became increasingly energized, sharing what the stories of the songs meant to him, and also the boundaries of music writing. The length of certain stories, such as “Daniel,” presented obstacles to the songwriter, who admitted he cut off the last part of the story when composing the song as “it was too long.” But in doing so, he lost part of the meaning for his audience.
Elton John didn’t shy away, however, from explaining the stories using the visuals on the screen behind him. “Someone Saved My Life Tonight” featured Captain Fantastic in a cartoon shot into a pinball machine and bouncing around pills and drugs. He openly shared that this song was “the most personal on that record, and my favorite.” He humbly shared his experiences with addiction, and urged fans to get help rather than live in shame.
The band made full use of the three percussion sets for “Levon,” pushing the fast paced song with guitar licks fresh and stone hard as rock can possibly get. One percussionist on the bongos dramatically interacted with the crowd, pulling fans into a dancing frenzy as the high-energy song peaked.
And just as quickly as the band would bring the energy up, Elton John would offer rests, in quieter songs like “Candle in the Wind.”
The musician will be 72 later this month, but didn’t seem to need a break during his almost three hour set. The only break offered was a brief interlude of darkness marked by the sound of wind, blue and purple lighting and sound effects creating the atmosphere of a storm. When Elton John reappeared minutes later, his costume had changed into black coat jacket embroidered with peonies, pink sunglasses sparkling with jewels, and salmon trousers striped with glittering rhinestones down the side. Ruffles peaked out of the sleeves and neck.
The band came out and offered an intense version of “Funeral for a Friend,” which felt more like a rock orchestra than a piano man accompanied by a band. The full sound included cymbals, piano and sparkling guitar accompanied by heavy drumming.
From that point on the concert ripped through hit after hit, bringing fans to a high-pitched excitement. Elton John’s nimble hands still played the piano at the same pace as when they were young, and his clear voice found its pitch with seeming ease. It was amazing to think of this as a farewell tour, as the band members, while also in their later years, demonstrated a youthful exuberance and passion for the songs.
Elton John explained, though, that he had enough applause to last a lifetime. “I won’t forget you guys,” he promised fans, and thanked folks for purchasing his CDs, tapes, and even eight tracks. He noted it was fans’ willingness to attend his shows and buy tickets that had fueled his energy for sustaining his career. But his family, including his two young children, was at home and missing him as well.
Elton John’s humility is remarkable. He used his platform to further his Elton John AIDS foundation, started after his recovery from alcohol addiction in the early 1990s. He thanked the musicians, past and present, for contributing to his on going success. Seasoned musicians Davey Johnstone (guitar, vocals), Nigel Olsson (drums, vocals), Matt Bissonette (bass, vocals), John Mahon (percussion, vocals,), Kim Bullard (keyboard), and Ray Cooper (percussion) were all personally praised by the artist, who sang out each name and shared the spotlight with his band members.
Elton John stood up after almost each song and faced the audience, arms wide open, and hands shaking, almost hugging the audience as cheers and clapping filled the air. The crowd sang along to “Crocodile Rock,” dedicated to his fans, and “Saturday Nights Alright for Fighting” before encores of “Your Song” and “Goodbye Yellow Brick Road.” Covered in yellow confetti, the crowd moved almost in reverie by the end of the night, closely connected to the past memories of these iconic tunes by the present performance.
That might be one factor that adds to the legend of Elton John: he somehow seems to agelessly span the years, connecting us to “when rock was young,” as he sang. And we were young, too.
Let’s hope it is just a “see you later” tour, and not quite a farewell for now, Sir Elton John.
Setlist: Bennie and the Jets, All the Girls Love Alice, I Guess That’s Why They Call it the Blues, Border Song, Tiny Dancer, Philadelphia Freedom, Indian Sunset, Rocket Main, Take Me to the Pilot, Someone Saved My Life Tonight, Levon, Candle in the Wind – Funeral for a Friend / Love Lies Bleeding, Burn Down the Mission, Daniel, Believe, Sad Songs (Say So Much), Don’t Let the Sun Go Down On Me, The Bitch Is Back, I’m Still Standing, Crocodile Rock, Saturday Nights Alright for Fighting. Encore: Your Song, Goodbye Yellow Brick Road
Karolina Rose and her synth pop EP, Invicta, hold many certifiably commendable moments. The singer has racked up a few thousand plays and some rotation on radio. The January 31 release features present, sugary alto melodies combined with synth waves and booming, faithful drumlines delivered by producer Andros Rodriguez (Shakira, Florence and the Machine). For those involved, the talent is clear. Rose’s voice is built for power along the lines of singers such as Amy Lee or Lynn Gunn, while the instrumental composition will attract fans of Daft Punk and John Carpenter (Dir., Halloween).
Invicta is a set of songs you wish you could enjoy more. While it is obvious everyone involved is passionate about the project and that the talent is there, the elements therein (instrumentals, lyrics, melodies, and other aspects) are a mismatch. Many things may be causing this: one is the synth instruments chosen just simply don’t match the singer’s vocal tone especially on songs such as “Going to Berlin” and “Crystal Gem.”
Another issue could be that the melodies she uses don’t always connect with the lyrics, or they need more of a dress-up. Speaking of lyrics, the singer’s narrative/analysis style distracts from the flow of the EP, and a few dashes of overused song concepts are a bit too sprinkled throughout (“just go with the flow,” “Love, it makes you do crazy things,” and “What will be, will be”). “Crystal Gem” throws a volley of statements at its listener but lacks direction. “Check my pulse to see if I’m alive,” is a statement made on “Move With Me,” which prompted this thought: “If you have the ability to check your pulse, wouldn’t it be obvious that you are, in fact, alive?”
A quick Google search lands live audio and video of Ms. Rose on acoustic guitar in Hollywood. She’s clearly a multidimensional artist with much potential. Invicta could have had a lot of unique flavor by adding acoustic elements, but the quiet guitar strums at the opening of “Love Crazy” is all we get. What Invicta misses is less production. Sometimes, it is best to strip things down; this is one of those times.
This music is adaptable, though. On the highlight tracks like “Downhill,” Rose’s voice weaves around a quiet synth beat and stays followable, while on “Goodnight, Mr. Moon,” the music quiets down and allows Rose to expose the subtler qualities of her voice. As a first effort, Invicta leaves room for growth and also shows many aspects of Rose’s artistry, but misses the mark as far as connection.
Invicta is available for listening and downloads on all major platforms.
Key tracks: Downhill, Goodnight, Mr. Moon, Love Crazy
“Goodbye” is a breakup song turned 180. 