NYS Music 20​19

Category: NYC Metro

  • Black Crowes Tour Official – Several NY Sheds on Itinerary for 2020

    The Black Crowes announced tour dates on Monday to celebrate the 30th anniversary of the band’s debut album Shake Your Money Maker. The tour will see the Robinson brothers visiting amphitheaters across the country beginning June 17 in Austin performing their debut album in its entirety along with select hits.

    Chris and Rich Robinson appeared on Monday’s Howard Stern show to make the tour announcement. The extensive tour makes stops at Bethel Woods, Jones Beach, Saratoga and Darien Lake in New York and wraps at the Forum in Los Angeles on Sept. 19.

    The Black Crowes

    While this is being billed as a Black Crowes reunion, the brothers Robinson will not be performing with any of their former bandmates on this tour. Joining the Robinsons in the band are Isiah Mitchell (guitars), Tim LeFebvre (bass), Joel Robinow (keyboards) and Ojha (drums). The band last performed in 2013 with each of the brothers forming their own bands in the meantime.

    Tickets are on sale now. For information, visit the Black Crowes website here.

    June 17 – Austin360 Amphitheater – Austin, TX
    June 19 – Dos Equis Pavilion – Dallas, TX
    June 20 – Cynthia Woods Mitchell Pavilion – Houston, TX
    June 23 – BOK Center Tulsa, OK

    June 24 – Walmart AMP – Rogers, AR
    June 26 – Oak Mountain Amphitheater – Birmingham, AL
    June 27 – Cellairis Amphitheater at Lakewood – Atlanta, GA
    June 30 – Coral Sky Amphitheatre – West Palm Beach, FL
    July 1 – Tampa, FL – MIDFLORIDA Credit Union Amphitheatre
    July 3 – PNC Music Pavilion – Charlotte, NC
    July 4 – Coastal Credit Union Music Park at Walnut Creek – Raleigh, NC
    July 7 – Ascend Amphitheatre – Nashville, TN
    July 8 – Ascend Amphitheatre – Nashville, TN
    July 10 – Veteran United Home Loans Amphitheater – Virginia Beach, VA
    July 11 – Jiffy Lube Live – Washington, DC
    July 14 – BB&T Pavilion – Camden, NJ
    July 15 – Bethel Woods Center for the Arts – Bethel, NY
    July 17 – PNC Bank Arts Center – Holmdel, NJ
    July 18 – Northwell Health at Jones Beach Theater – Wantagh, NY
    July 21 – Bank of New Hampshire Pavilion – Gilford, NH
    July 22 – Xfinity Center – Boston, MA
    July 24 – Xfinity Theatre – Hartford, CT
    July 25 – Saratoga Performing Arts Center – Saratoga Springs, NY
    July 28 – Budweiser Stage – Toronto, ON
    July 29 – DTE Energy Music Theatre – Detroit, MI
    July 31 – Darien Lake Amphitheatre – Buffalo, NY
    Aug. 1 – KeyBank Pavilion – Pittsburgh, PA
    Aug. 13 – Xcel Energy Center – Minneapolis, MN
    Aug. 15 – Hollywood Casino Amphitheatre – Chicago, IL
    Aug. 16 – Ruoff Home Mortgage Music Center – Indianapolis, IN
    Aug. 18 – Blossom Music Center – Cleveland, OH
    Aug. 20 – Riverbend Music Center – Cincinnati, OH
    Aug. 23 – Hollywood Casino Amphitheatre – St Louis, MO
    Aug. 26 – Providence Medical Center Amphitheater – Kansas City, MO
    Aug. 28 – CHI Health Center – Omaha, NE
    Aug. 30 – Red Rocks Amphitheatre – Denver, CO
    Sept, 1 – USANA Amphitheatre Salt Lake City, UT
    Sept. 4 – White River Amphitheatre – Seattle, WA
    Sept. 5 – Sunlight Supply Amphitheater – Portland, OR
    Sept. 8 – Concord Pavilion – Concord, CA
    Sept. 9 – Shoreline Amphitheatre – Mountain View, CA
    Sept. 11 – MGM Grand Garden Arena Las Vegas, NV
    Sept. 12 – Ak-Chin Pavilion Phoenix, AZ
    Sept. 18 – North Island Credit Union Amphitheatre – San Diego, CA
    Sept. 19 – The Forum – Los Angeles, CA

  • HBO’s ‘The Apollo’ Traces the Theater’s Deep Roots Feeding Harlem Community

    Not many institutions mean as much to a community as The Apollo Theater means to Harlem. In The Apollo, academy and Emmy award-winning director—Roger Ross Williams, spends nearly two hours examining not only the musical importance of the theater but, also glimpses at the symbiotic relationship between The Apollo Theater and black community of Harlem.

    The world-famous musical hall—located on West 253rd street, between Adam Clayton Powell Jr. boulevard (formerly seventh ave.), and Frederick Douglas boulevard (eighth ave.)—is synonymous with the neighborhood.

    Williams, with the help of a number of A-list celebrities, historians and activists, chronicles the history of the theater. From its beginnings as a recognizable institution, under the ownership of Frank Schiffman and Leo Brecher, to the creation of its famous “amateur night at The Apollo.” Which has seen the likes of James Brown, Ella Fitzgerald, Dionne Warrick, Lauryn Hill, Stevie Wonder, and Marvin Gaye, among many other legendary entertainers begin their career there.

    Aside from the well-deserved homage to iconic figures that have gotten their start on Apollo’s stage, Williams explores what The Apollo really meant to the inhabitants of Harlem, post-Harlem renaissance. During the era of segregation and Jim Crow, it was one of the few theatre institutions that would allow black people to pay their hard-earned money and enjoy a show. In fact, the residents grew such a love for the theater, that during the riots that preceded the end of Jim Crow, the building was surrounded by people who refused to let any damage happen, as recalled by Schiffman.

    These are just some of the fascinating tidbits that can be learned throughout this documentary. Accompanied by great scoring of 19th century hits, The Apollo juggles traveling through time to tell the story of the hundreds of culture-shifting performers that have passed through the building, while simultaneously giving a present day viewing of its arrangements. With exclusive footage to backstage rehearsals of Ta-Nehisi Coates’ Between the World and Me, as well as present-day “amateur night” auditions. It is a recommended informative watch that does justice to the cultural landmark.

  • Grateful Shred Opens East West Tour With Three Night Run at Brooklyn Bowl

    With no shortage of bands playing homage to the Grateful Dead catalog, Los Angeles based Grateful Shred is quickly distinguishing themselves in this crowded space. The band welcomed Adam MacDougall, formerly of the Chris Robinson Brotherhood and bandmate of bassist Dan Horne with Circles Around the Sun, on B3 and keyboards to kick off their East West tour last night at the Brooklyn Bowl. This was the first of three consecutive shows at the Bowl and second such run this calendar year after an earlier run this past March. Joining MacDougall were founding members Horne and guitar trio Austin McCutchen, Sam Blasucci, and Clay Finch, along with a pair of drummers.

    Grateful Shred

    The three guitar format is largely responsible for what gives Grateful Shred their signature sound, and likely their name as well, though Horne’s bass is also a driving force. MacDougall made his presence known early and often, treating the crowd to some masterful work on the Hammond and Moog. “Let’s Spend the Night Together,” a Rolling Stones tune from the JGB catalog, got the crowd into an early groove, Sam Blasucci on lead vocals. Like one of those old what’s wrong with this picture cartoons, it might take the casual observer a minute to notice that southpaw Blasucci is shredding his lefty solos on a righty guitar played upside down, a la Jimi Hendrix. “New Minglewood Blues” was next with a fierce solo from MacDougall before a return to the JGB catalog with Jimmy Cliff’s “Harder They Come.” “Scarlet Begonias” > “Fire on the Mountain” preceded the set, closing with “Deal.”

    Grateful Shred

    The second set got underway with a frenzied “Cumberland Blues” featuring gorgeous harmonies from the three guitarists on top of a sweltering bass line from Horne. “Mexicali Blues” was next, the third song of the night with blues in the title. “Reuben and Cerise” was the first JGB cover actually written by Garcia with lyrics by Robert Hunter, though the Grateful Dead did play it four times, as well. A lovely “Mississippi Half-Step” sung by Clay with piercing solos to match was up next before a “Playing in the Band” > “Mountains of the Moon” > “Playing in the Band” combination that went deep and got a little spacey, sans drum solo.

    The set closed with a final offering from the JGB catalog, Allen Toussaint’s “Get Out of My Life Woman” before a fiery “Jack Straw” closed. After a brief respite, “US Blues” took the encore slot and wrapped up the 90-minute set.

    Grateful Shred

    Grateful Shred returns to Brooklyn Bowl to finish their run Friday and Saturday before heading back to California to finish the East West tour. All three Brooklyn Bowl shows have free webcasts on the Relix channel. Check out last night’s stream below.

    Set One: Let’s Spend the Night Together, New Minglewood Blues, Harder They Come, Scarlet Begonias > Fire on the Mountain, Deal.

    Set Two: Cumberland Blues, Mexicali Blues, Reuben and Cerise, Mississippi Half-Step, Playin’ in the Band > Mountains of the Moon > Playing in the Band, Get Out of My Life Woman, Jack Straw.

    Encore: U.S. Blues.

  • 2nd Generation Wu Release Debut Single

    The Wu Tang Clan legacy is alive and well, and is being carried on through the children of some of the iconic group’s more charismatic members. 2nd Generation Wu is comprised of iNTeLL (son of U-God), PXWER (son of Method Man), SUN GOD (son of Ghostface Killah), and Young Dirty Bastard (son of the late Old Dirty Bastard).

    While they each have their own respective solo careers and records, the second generation rappers have decided to come together to continue the legacy left by their fathers, and have taken the first step in doing so, with the release of “7.O.D.”

    The Jojo Pellegrino and J. Glaze produced record sees the younger Wu’s put their own spin on the Wu-Tang Clan’s most recognizable song, C.R.E.A.M.  The record, while an ode to the legends that preceded them, does not stop the young emcees from distinguishing themselves and making it their own.

    Aside from delivering their own personal lyrical warfare throughout the song, the famous line that Method Man employs on the original record, “Cash rules everything around me C.R.E.A.M., get the money, dollar, dollar bill y’all,” has been changed to, “God made everything around me, forget about the money, none of it is real y’all.” Showing that the new Wu is quite aware of their different upbringing, proving the content won’t always be the same. One thing that seems to be everlasting though, is the grittiness of the beats and the rhymes.

  • Hearing Aide: Citris ‘Delusions of Glamour’

    Brooklyn’s Citris has an animated energy synonymous with an experienced on the L-Train, when some bare chested entrepreneurs decided to bust into a dance routine. It’s a flash of joy when the rest of the day remains unsurprising; it’s that sort of spontaneity and uncertainty that Delusions of Glamour inspires.

    Citris has grunge rock principles, but remind listeners of experimental metal. While they’ve been described as a ‘pop grunge act,’ “Hell is a Place on Earth” vibrated with metal nuances, instantly. It’s Gwar infused with System of a Down’s political and social angst.

    Cirtis’ Angelina Torreano experiments with vocal passages, vocoder layering, and finds a way to lyrically loop varying emotional moods within a single song.

    Delusions of Glamour will also appeal to fans of Fleetwood Mac’s Rumors. It has solid, intricate drumming, lyrical themes of toxic relationships and societal disagreements, and incredible instrumentation throughout. They’re never scared to have intricate harmonies, with little bass lines like in the song “Genetic Makeup” that keep your ears glued to the track. Citris is a group to stream and enjoy during the remaining bitter sweet days of autumn.

    Key Tracks: Genetic Makeup, Hell is a Place on Earth

  • Indie Argentine-American Belén Cusi releases video for “Estrella Fugaz”

    Belén Cusi, an Argentine-American singer-songwriter based in Brooklyn has unveiled the video for her second single, “Estrella Fugaz” (Shooting Star). Shot over the course of six months around Manhattan and Brooklyn, “Estrella Fugaz” was directed by Tatiana del Fuego, among a diverse core team of mostly LatinX women. Belén Cusi will perform on Saturday, November 9 at Groove in the West Village of Manhattan.

    https://www.youtube.com/watch?v=G0qfpfHtUDg

    In directing “Estrella Fugaz,” del Fuego expressed to Cusi how it important it was for her to helm the ship of a very heavy femme team, “and how important it is for femmes to dictate what we consider sexy and empowering. This is 100% the female gaze, and it’s very delicately executed.”

    Belén Cusi Estrella Fugaz

    Cusi appreciated this vision, and sought of the video to be elegant, feminine, and to show a strong female character that, despite singing about being played on by her partner, emerges as victorious and empowered at the end of the video. “I think we succeeded at that,” said Cusi.

    Born to Argentine parents, Cusi was raised in San Antonio, TX, where she began studying classical piano at age 8. She studied at Boston University where she began singing and writing songs. After working with a local producer on what would be her (unreleased) first LP, Closer, and a two-year leave of absence from college, Cusi felt restless and dissatisfied creatively upon the album’s completion, she returned to school, studying philosophy and traveling to Argentina to connect with her familial roots.

    https://www.youtube.com/watch?v=TEVFpotmNl0

    After an almost five-year hiatus from music, Cusi experienced an epiphany reading the book Mastery by Robert Greene and decided to return to her music career indefinitely. She quickly assembled a band and became a local regular at various Boston clubs, before moving to New York City in 2017.

    Upon her move, she began recording new music with DJ Afro and has since become a local staple at legendary clubs like Groove in the West Village. Lauded as a “whimsical performer who can transport you with just one song,” Cusi has proven herself to be a formidable artist. She consistently hones her craft and takes inspiration from other disciplines. In addition to driving her music project single-handedly, she also works in architecture PR to pay the bills and goes to acting school at night. Cusi is not your average triple threat.

    Listen to her previously released single “Me Has Liberado” (You’ve Released Me) below.

    https://www.youtube.com/watch?v=CLyBbD-OqtE

    Don’t miss Belén Cusi on Saturday, November 9 at Groove in the West Village of Manhattan. Click here for details.

  • Stefan Alexander covers Tweet/Missy Elliot classic “Oops (Oh My)”

    NYC-based queer pop artist Stefan Alexander, whose promising initial surge began three years ago with his debut single “Skeleton,” has released a video for his cover of Tweet’s “Oops (Oh My)” feat. Missy Elliot.

    “Back when I was a kid, the song (and the iconic music video) felt so scandalous in the best way possible,” says Alexander. “Now, from an adult perspective, I understand the lyrics to be about self-pleasure and independence, especially for women and femme-identifying folks, who are too often stigmatized for their sexual desire. The message is timeless!”

    Stefan grew up in an artistic household in Northampton, MA playing multiple instruments including cello, piano, guitar and mandolin. While attending NYU’s Clive Davis program, he formed a folk band opposite pop singer Phoebe Ryan. In the NYC folk clubs, Stefan honed his songwriting and vocals, realizing his strengths as a pop musician. Stefan soon began collaborating with producers Elliot Jacobson (Verité, Elle King) and Andrew Horowitz (John Legend, Janelle Monae) to discover his sound.

    With his smooth as silk vocals laid over a very stylized R&B bed, Stefan switches up the perspective, tackles the track, and posits it in a very modern take, while maintaining all of the flavor. Replacing the sparse Timbaland production with a more synth-driven texture, he embraces all of Tweet’s sensual delivery and turns up the heat, making the song more intimate and seductive.  

    Tackling such an iconic song is no easy feat, and Stefan told Stitched Sound, “I tried to modernize the song with some more current production, but I wanted to stay true to the original as much as possible. The most important thing was to keep the sensuality of the original, so hopefully that comes through.”

    Although his career trajectory was cut short when he succumbed to a mysterious pain disorder (Central Sensitization Syndrome) that made it impossible for him to perform music, much less most physical activity, Stefan has picked up where he left off. He is using his platform to speak honestly about his chronic illness and hopes his story can inspire others to overcome whatever challenges they may be facing in their lives.

    Back in the ring, Alexander released the much-lauded EP Thunderclap earlier this summer, signaling his return to form, of which The New Nine said, “An emotional pop masterpiece that will get stuck in your head but also make you cry if you let it sneak up on you.”

    Stefan plans to release his second EP in early 2020, with more music coming throughout the spring and summer.

  • Orchard Lounge, DrFameus and Maŕa set for debut performances at Gramercy Theatre in February

    Chicago-based DJ collective Orchard Lounge return to New York City on Friday, February 7 for their first ever performance at Gramercy Theatre, joined by DrFameus and Brooklyn electronic producer Maŕa.

    Orchard Lounge and DrFameus are no strangers to taking the stage together, most recently sharing the bill and even performing with each other at Cervantes’ Masterpiece Ballroom in Denver. While a rarity that these acts share a bill and stage with one another, they’ll surely be performing together at some point throughout the night.

    DrFameus, the solo electronic music project created by the versatile Disco Biscuits’ drummer Allen Aucoin finds him exploring many musical realms, ranging from breakbeats to drum ‘n’ bass, dubstep, techno and house. The performance is a combination of Allen’s live drumming over his original production and different mixes.

    Maŕa, a Brooklyn-based electronic producer, uses her unassuming demeanor and disarming look “to put listeners on their asses.” As the creator of Brooklyn’s Cultivated Sound, she brought a fresh, unique face to the local techno scene, blending blistering hard beats with synthetic and dulling bludgeoning bass. She exudes a raw sexuality when slamming long blended transitions from smoother minimal techno to “bastardly boosted beats”

    Doors open at 10 PM for this show, with tickets available starting at 10am on Friday, November 8.

  • Alanis Morissette to perform ‘Jagged Little Pill’ at The Apollo Theater on December 2

    Alanis Morissette will perform her seminal 1995 album Jagged Little Pill at the legendary Apollo Theater in Harlem on Monday, December 2. The fully acoustic performance will be followed by a Q&A with Alan Light, co-host of SiriusXM Pandora show Debatable. The one-night only event celebrates the opening week of Jagged Little Pill the Musical at the Broadhurst Theater, with the first performance on Friday, December 5.

    Jagged Little Pill won five Grammys including album of the year. The Broadway version of the album features an original story by Diablo Cody.

    Pre-sale tickets go on sale Thursday, November 7 at 10am – make sure to sign up for the mailing list by Wednesday, November 6 at 5pm to receive a pre-sale code. 

  • Everyone Orchestra with Robert Randolph, Vernon Reid, Turkuaz horns and more to perform at Garcia’s on November 17

    On Sunday, November 17, Everyone Orchestra, conducted by Matt Butler, will welcome a cadre of musicians for a performance at Garcia’s at The Capitol Theatre in Port Chester, NY.

    everyone orchestra garcia's

    Butler will bring with him sacred steel guitarist Robert Randolph, Vernon Reid (Living Colour), Claude Coleman Jr. (Ween), George Gekas (The Revivalists), Josh Schwartz and Chris Brouwers (Turkuaz), along with Asbury Park’s Remember Jones.

    If you’ve never caught Everyone Orchestra, let alone a Sunday show at Garcia’s, this performance couldn’t be better timed.

    https://www.youtube.com/watch?v=h0LiV_5NWig
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