NYS Music 202​0

Category: Genres

  • Aqueous Delivers a Summer Blockbuster Double Feature at Silver Lake Drive-In

    A strange summer in a strange year has seen a dearth of entertainment options. No movies. No music. A small band of heroes, named Aqueous, sought to fill the void for at least two beautiful August nights at the Silver Lake Drive-In Theater, amongst the beautiful rolling hills of Western New York. In classic Drive-In fashion, it was a double-feature, rife with of edge-of-your-seat thrills, suspenseful popcorn-tossing excitement, and of course heart-touching drama.

    aqueous silver lake
    photo by Paul Citone

    Night one opened with the slinky grooves of “Phase III” and didn’t really let up from there, for what turned into a non-stop funk-out dance party, appeasing the live-music-starved audience. It wouldn’t be long before the band sunk it’s sharpening teeth into an epic 30-minute “Origami.” It explored multiple plot points before exploding in straight fire guitar shredding. Like donning 3-D glasses, fuzzy dissonance came into sharp jump-off-the-stage focus, throwing the crowd’s heads back in awe.

    The fans weren’t the only one’s missing live music. The band was clearly feeling the emptiness of the summer concert schedule, in particular the jam-scene mainstay Phish. They sprinkled multiple teases throughout the weekend. “Origami” featured some “Bathtub Gin” riffing, and then “Reba” and “Down With Disease” were jokingly teased before kicking into a full-fledged cover of “Horn” complete with real live horn honking from the crowd. Later on it came as a “Tweezer Reprise” hint here or a “Maze” segment there, like a famous actor playing a winking cameo in a smaller film.

    Having gotten the gang back and firing on all cylinders in night one, the story arc advanced in night two. The heroes intent on ousting the evil villain who had robbed the world of its live music energy source, called upon the Aquengers. And they wouldn’t disappoint. At least for a short time, the air would fill with sweet sounds, the audience would laugh, dance and smile, the world seemed to be right side up once again.

    The night’s opener, “On the Edge” dispensed with the booty-shaking funk of part one, and dropped quickly into a dark groove. Guitarist Mike Gantzer added in some twisted slide work while bassist Evan McPhaden pushed out monster-crushing bass blasts. It was some of the finest playing of the weekend, the band was locked in from the get-go. The ensuing “Random Company” rose and fell again and again, producing bigger and bigger swells of energy, in what would set the tone for an evening full of brilliant slow-building jams.

    photo by Paul Citone

    Knowing it was as big an enemy they would ever be called upon to defeat, the team added the friendly neighborhood Spider Man to their roster, with a fun instrumental run through the classic cartoon theme. Would it be enough? Even when the sound system went down during “Be the Same,” the band persisted, blasting through the minor hiccup with a set-closing rock out.

    The 3-song hour-plus final set featured even more suspense. The band was hyper-focused and patient, developing in-the-moment beauty time and again, with ever more revelatory peaks. David Loss’s multi-weapon attacks would reach a climax in the show-closing “Triangle” with rapid-fire guitar and an extended classic rock-out ending.

    Ultimately though, after the dust cleared the future of music is no clearer. No one knows when normal live music gigging will resume. Though drummer Rob Houk cut that tension with some much appreciated comic relief. He provided some fantastic banter throughout the two-night run, and also hammed it up on quality covers in the encore slots. Night one saw him singing from the roof on Pearl Jam’s “Dissident” while night two had him crushing Van Halen’s “Jump” after having hilariously threatened some Bon Jovi earlier in the evening.

    Aqueous Silver Lake
    photo by Paul Citone

    While a Drive-In concert is certainly not ideal, under the current circumstances, the promoters at Buffalo Iron Works and the venue Silver Lake Drive-In provided the band and fans a very safe environment to briefly enjoy some level of normalcy to what would usually be a summer full of long nights of live music in sheds, fields and anywhere you can fit a stage.

    Setlists

    Friday, August 7
    Set 1:     Phase III, How High You Fly, Origami, Horn (Phish cover, debut) Eon Don
    Set 2: Skyway > Calling Out, Marty, Come and Go > Don’t Do It
    Encore: Dissident (Pearl Jam cover, debut) w/ Ryan Nogle on drums

    Saturday, August 8
    Set 1    : On the Edge > Random Company > Spider-Man > Random Company, Weight of the Word, Be the Same
    Set 2: Dave’s Song, Color Wheel, Triangle
    Encore: 6’s and 7’s (debut), Jump (Van Halen cover, debut) w/ Ryan Nogle on drums

  • Practice Share New Video for Snappy Single “Sleep in My Clothes”

    NYC-based dance-pop artist Michael Tapper has released the video for his debut single “Sleep In My Clothes” from his new project Practice. The song and video were both made pre-2020 madness, and yet the themes of isolation and self-quarantine root it (maybe too much) into current reality. 

    Practice Michael Tapper

    As an accomplished drummer and indie rock lifer (Tapper was previously the drummer of We Are Scientists, BishopAllen, Fool’s Gold and Yellow Ostrich), Tapper’s point of self-discovery that led to the creation of his album Not a Game took place in 2013, when he headed out on a 28-day sailing trip from Mexico to Hawaii with his brother-in-law. The album Not a Game represents an exciting new chapter in his career as well as the beginning of something else entirely — a fresh start, sonically and perspective-wise.

    The moniker of Practice itself was borne out of this constant, self-exploratory toil, along with a connection to the practice of meditation itself. NBA legend Allen Iverson’s infamous “practice” speech was another inspiration for the project’s name, and the speech itself is showcased over the rippling synths and hissing snares of album centerpiece “Practice.”

    Speaking about “Sleep In My Clothes” Tapper explains the song’s message on the struggles he’s encountered during this global pandemic:

    Like everyone, coronavirus has upended my life and consumed probably the majority of my waking energy for the past month or so. My wife is a doctor in Manhattan, so we started quarantining before most people (when she’s not at work), concerned that she might bring it home from the hospital and not wanting to spread it to our friends or neighborhood. Our fears were founded because we did get it early, but thankfully our symptoms were mild. During this quarantine time, I was able to finish up preparing this music video for release. As I showed it to a few people, one friend mentioned that it embodies things we’re feeling during this isolation period. As one friend put it: “the vibe of the “Sleep In My Clothes” video is how I feel on a bad day during this quarantine — crying my mascara off (if I even had the will to put any on).”

    The video starts very literally with me waking up in all of my clothes and walking out the door, which is the first verse of the song, but then takes it a step further by diving into a pool fully clothed. Later, the character experiences a sort of baptismal rebirth transformation, ending up completely naked, which is a literal reference to the lyrics but also a metaphor for honesty and vulnerability, which is what’s happening lyrically at the same time.

  • Cardi B’s “WAP” Misses the Mark

    Cardi B broke the internet on Friday, August 7 with her new song and video “WAP.” Featuring Megan Thee Stallion, the song serves as a comeback for both of them.

    “WAP” has ignited controversy for many reasons, but its lyrical content is the most conspicuous of the bunch. While sexual subject matter is nothing new for either rapper, they abandon past metaphors and double entendres in favor of a literal approach. There’s nothing wrong with this in theory, but the song coasts solely on shock value. It worked, though: a Republican congressional candidate’s Twitter rant gave them free publicity, and the video is trending on YouTube:

    Although Cardi and Megan’s prior hits were full of catchy hooks and Instagram caption-ready lyrics, both are largely absent here. The straightforward verses are a missed opportunity for them to show off their wordplay, which they’ve weaved with their sexuality in the past. The Frank Ski sample gets old quickly, and Megan outshines Cardi on her own song.

    However, while Cardi often faces accusations of ghostwriting, it’s completely believable that she wrote her own verses here. One line goes, “I want you to touch that li’l dangly thing that swings in the back of my throat,” which is the trademark brazenness that only Cardi B could pull off. Also, as we’ve come to expect from the Bronx rapper, the video’s visuals are stunning. It’s rare that a music video feels like an event anymore, but her surrealist Dr. Seuss take on the Playboy Mansion is truly something to behold. Carole Baskin of Tiger King infamy decried Cardi’s use of big cats in the video, despite their addition in post-production with a green screen. This seemingly random feud most likely began when Cardi defended Baskin’s archenemy Joe Exotic earlier this year.

    Mostly featuring up-and-coming artists such as Normani, Rosalía, and Mulatto, the “WAP” video’s main attraction is Kylie Jenner. Her cameo spawned memes as well as backlash, including a petition to remove her from the video. Besides looking out of place, signees cited her cultural appropriation and alleged mocking of Megan Thee Stallion’s shooting injuries as reasons.

    Contrary to many “WAP” critics’ complaints, the problem doesn’t necessarily lie in the song’s raunchiness, Kylie Jenner inclusion, or use of exotic animals, but how one-dimensional it is. Cardi and Megan have always been outspoken about their sexuality in their music, but they supplemented it with other aspects of their personality and artistry. Compared to “I Like It”’s trap-salsa genius and “Savage”’s boasts of complexity, “WAP” feels lifeless, uninspired, and derivative of their peers.

    Cardi B’s second studio album is set for release later this year.

  • Sunday Jazz: The EarRegulars “Sessions at The Ear Inn”

    Manhattan’s historic The Ear Inn has played a pivotal role in the music scene and beyond. In fact it is the oldest bar in New York City that has continuously served alcohol since 1817.

    The Ear Inn has a very unique history after being open for two centuries. It dates back to a time where there was African aide to George Washington and The Ear served as residence for John Adams and Aaron Burr, among others. The Ear Inn was nicknamed by patrons as an untitled bar (“The Green Door”) for obvious reasons. As a result, the bar is listed on the National Registrar of Historic Buildings.

    ear inn

    Recently unearthed recordings courtest of Jazz Lives feature performances from a bevy of jazz musicians in NYC. Every Sunday night at The Ear Inn was typical – those who knew, knew what to expect – but “typical” was also remarkable. 

    Ear Inn
    The Ear Inn c. 1940 – photo by kathy barbieri

    We start back in October 2008, with a video featuring Howard Alden, alongside Jon-Erik Kellso, Danny Tobias, Harvey Tibbs, Evan Christopher, Dan Block, Sebastien Giradot, and Chuck Redd.

    “Moonglow,” featuring Tamar Korn (vocals), Dan Block (clarinet), and Harvey Tibbs (trombone).

    On June 7, 2009, the EarRegulars included Jon-Erik Kellso and Duke Heitger (trumpet), Matt Munisteri (guitar) and Neal Miner (string bass).

    June 7, 2009 features Duke Heitger (trumpet), Harvey Tibbs (trombone), Dan Block (clarinet), Matt Munisteri (guitar) and Neal Miner (string bass), who summon Louis Armonstrong with “Some of These Days.”

    Two weeks later, on June 21, 2009, featured Jon-Erik Kellso (trumpet) Harvey Tibbs (trombone), Matt Munisteri (guitar), Danny Tobias (cornet) and Jon Burr (string bass).

    On September 6, 2009, enjoy the sounds of Danny Tobias (cornet), Michael Hashim (alto saxophone), James Chirillo (guitar), and Frank Tate (string bass).

    The lineup of EarRegulars on November 8, 2009, featured Jon-Erik Kellso (trumpet), Matt Munisteri (guitar), Harry Allen (tenor saxophone), and Neal Miner (string bass).

    From the EarRegulars’ session on November 22, 2009, the groups includes Jon-Erik Kellso (trumpet), Scott Robinson (reeds), Matt Munisteri (guitar), and Pat O’Leary (string bass).

    From December 6, 2009, enjoy the sounds of Jon-Erik Kellso (trumpet), Harvey Tibbs (trombone), Matt Munisteri (guitar), and Nicki Parrott (string bass) performing “Blues My Naughty Sweety Gives to Me” and “Blues in My Heart.”

    From January 30, 2010, the EarRegulars were Jon-Erik Kellso (trumpet), Dan Block (reeds), Matt Munisteri (guitar), and Pat O’Leary (string bass, cello).  Here’s Billie Holiday’s “I Gotta Right to Sing the Blues.”

    From March 14, 2010, an Ear Inn session featuring Pete Martinez (clarinet), Harvey Tibbs (trombone), Matt Munisteri (guitar), Neal Miner (string bass), performing “I Cover the Waterfront,” appropriate given the rainy night and The Ear Inn’s location near the Hudson River, plus “Deed I Do” by Ruth Etting and “Jazz me Blues” by Tom Delaney.

    From March 21, 2010, the EarRegulars are Jon-Erik Kellso (trumpet), Matt Munisteri (guitar), Scott Robinson (bass sax), Pete Martinez (clarinet) and guest Julian Lage (guitar).

    On Easter Sunday, April 4, 2010, the lineup included Matt Munisteri (guitar), Pete Martinez (clarinet), Charlie Caranicas (trumpet), Pat O’Leary (string bass), and Andy Farber (tenor saxophone), who joins in for the closing number. 

    Later in April 2010, we are joined at The Ear Inn by Jon-Erik Kellso (trumpet), Matt Munisteri (guitar), Harvey Tibbs (trombone) and Jon Burr (string bass).

    Later on, a version of “Crazy Rhythm” by Roger Wolfe Kahn & his Orchestra (1928) featuring Matt Munisteri (guitar), Harry Allen (tenor saxophone), (John Allred (trombone) and Pat O’Leary (string bass).

    From April 18, 2010, enjoy Benny Goodman’s “Avalon” featuring Jon-Erik Kellso (trumpet), Matt Munisteri (electric guitar), Julian Lage (acoustic guitar), Harvey Tibbs (trombone) and Jon Burr (bass).

    Cornetist Marc Caparone joins the band for Ruby Braff’s “One Hour.”

    And finally, Caparone leads the EarRegulars on “Whispering” with Harvey Tibbs, Dan Block (clarinet), Matt Munisteri, Jon Burr, and Julian Lage.

    From April 25, 2010, the EarRegulars were Jon-Erik Kellso (trumpet), Harry Allen (tenor saxophone), Matt Munisteri (guitar) and Neal Miner (string bass). The opening song from a splendid session was a Chicago jazz classic with roots in Oliver and Bix, performed as a Basie stroll.

    You’ll also find Ben Webster’s line on “In a Mellotone,” “Did you call her Today?,” “I Got Rhythm” and “The Jeep is Jumpin’”

    From May 2, 2010, watch Jon-Erik Kellso (trumpet), Andy Farber (tenor saxophone), Matt Munisteri (guitar), and Danton Boller (string bass) played “The Man I Love” (sans Kellso), “Somebody Stole My Gal,” and “Beer Street Blues.”

    From May 9, 2010, aka “Mother’s Night,” where the core quartet is Matt Munisteri (guitar), Jon-Erik Kellso (trumpet), Pat O’Leary (string bass) and Jim Masters (trombone), enjoy “I Found a New Baby,” “It’s the Talk of the Town,” “Please Don’t Talk About me when I’m Gone,” and a closing “Lazy River.”

    Going back to May 16, 2010, the EarRegulars were Jon-Erik Kellso (trumpet), Pete Martinez (clarinet), Matt Munisteri (guitar), and Greg Cohen (string bass). Watch them perform “I Believe in Miracles,” I’m a Ding Dong Daddy from Dumas: Willie the Weeper,” “Mahogany Hall Stomp” and “I’m Confessin’”

    Skip ahead on week to May 23, 2010, and the weekly session included Jon-Erik Kellso (trumpet), Matt Munisteri (guitar), Neal Miner (bass), Scott Robinson (tenor sax and cornet), and guest Julian Lage (guitar). This collection of musician perform “Oh Sister, Ain’t That Hot?,” “On the Sunny Side of the Street,” “Wabash Blues,” and “Struttin’ With Some Barbecue.”

    From May 30, 2010, here are a few combos featuring Danny Tobias (cornet), Chuck Wilson (alto sax), James Chirillo (guitar), Murray Wall (bass) Dan Block (clarinet), Pat O’Leary (cello/bass), and Tony Steele (bass). Various incarnations of these gentlemen feature “Beale Street Blues,” “Ain’t Misbehavin’,” “Love Me or Leave Me,” and “China Boy.”

  • Jerry Garcia: A Legacy Built to Last

    On the 25th anniversary of his death, the music of Jerry Garcia continues to have an enduring presence in the extended Grateful Dead scene that has thrived for more than a generation since his passing. His iconic guitar play and signature vocals have now been consumed and enjoyed by fans of all ages thanks to modern audio technology that’s fueled by a trove of Grateful Dead and Jerry Garcia Band releases.

    Jerry Garcia truly was built to last. So it is fitting that we pay homage today to “Built to Last,” one of his last song writing credits. It appears on the Dead’s final studio album that shares the same name. With poetic lyrics supplied by longtime collaborator Robert Hunter, it’s a song of hope and resolve in trying times – items that are very relatable today.

    Its first performance in a live setting was on October 20, 1988, at The Summit in Houston, TX. “Built to Last” appeared in the second set, following “Playing in the Band” and right before the “Drums” section. It wasn’t played again until February of 1989 when it made its way into the first set at a show at The Forum in Inglewood, CA.

    In an odd twist, the song itself did not live up to its title as it was predominately played only in 1989, often appearing in the latter stages of the first set, before being shelved soon after. But it does share the distinction, along with “Blues for Allah,” “Terrapin Station,” and “Shakedown Street,” of being the title track for a Grateful Dead album.

    Were the band still playing today, there’s little doubt that this song would reemerge in the live setting as the lyrics about strength in times of adversity and self reliance more than play to the current climate. And the song truly does speak to the Grateful Dead’s legacy of establishing something firm and long lasting that will stand the test of time. Pair all of that with a passionate guitar solo from Jerry and you’ve got a winner.

    With that said, here’s the last ever live performance of “Built to Last,” played in Albany’s own Knickerbocker Arena. As today we celebrate the life and music of Jerry Garcia, whose legacy was undoubtedly built to last.

    “Built to Last” – words by Robert Hunter, music by Jerry Garcia

    There are times that you can beckon
    There are times when you must call
    You can shake a ton of reckoning
    But you can’t shake it all
    There are times when I can help you out
    And times that you must fall
    There are times when you must live in doubt
    And I can’t help at all

    Three blue stars / Rise on the hill
    Say no more, now / Just be still
    All these trials / Soon be past
    Look for something / Built to last

    One blue star / Sets on the hill
    Call it back / You never will
    One more star / Sinks in the past
    Show me something / Built to last.

    Built to last till time itself
    Falls tumbling from the wall
    Built to last till sunshine fails
    And darkness moves on all
    Built to last while years roll past
    Like cloudscapes in the sky
    Show me something built to last
    Or something built to try

    There are times when you get hit upon
    Try hard but you cannot give
    Other times you’d gladly part
    With what you need to live
    Don’t waste the breath to save your face
    When you have done your best
    And even more is asked of you
    Let fate decide the rest.

    All the stars / Are gone but one
    Morning breaks / Here comes the sun
    Cross the sky now / Sinking fast
    Show me something / Built to last

  • Zappa Documentary is Coming to Magnolia Pictures

    Zappa, the new documentary on the life of Frank Zappa is coming to Magnolia Pictures. The film will be available to the public for Thanksgiving weekend on November 27, 2020 in select theaters, as long as theater viewings are available by then, and on demand.

    Zappa will be an intimate and expansive look into the life of the iconic — and iconoclastic — musician and artist Frank Zappa.  The documentary was made with access to the Zappa family trust and all archival footage. The film will explore the private life behind Zappa’s career including his knack for being involved in political turbulence at the time. The documentary is directed by Alex Winter known best for playing Bill S. Preston in Bill & Ted’s Excellent Adventure. 

    Magnolia Pictures’ President Eamonn Bowles spoke on the film saying, “Alex Winter has created an amazing documentary. Zappa is an incredibly nuanced and compelling look at the visionary iconoclast and the environment that formed him.”

    The documentary will feature appearances from Frank Zappa’s widow Gail Zappa and several of his musical collaborators.  People on the docket include Mike Keneally, Ian Underwood, Steve Vai, Pamela Des Barres, Bunk Gardner, David Harrington, Scott Thunes, Ruth Underwood, Ray White and others.

    Alex Winter spoke on the documentary saying, “This is the most ambitious project I’ve ever worked on, with a couple years of archival preservation in addition to several years to make the film itself. This isn’t your typical music doc but rather a multi-faceted narrative that aims to bring this complex artist to life. Magnolia, with its long and distinguished history of platforming great cinema, is the perfect home for Zappa.”

    For more information on the documentary visit Alex Winter’s website.

  • Lake George Jazz Fest to Stream in September

    For years, the Lake George Jazz Festival has hosted some of the world’s most prominent jazz talent in a fun-filled weekend. Unfortunately, because of COVID-19, the weekend of in-person jazz has been cancelled. Luckily, fans can watch live streams of jazz every Thursday night in September. 

    Lake George Jazz
    Poster design by the Gruskin Group

    While the live concert will definitely be missed, the Jazz Weekend Virtual Series allows for even more to be showcased as music will be streamed every week. The Lake George Arts Project has planned a series of 4 impressive shows that will combine live performances as well as time for audience questions and discussions Each concert will be curated and hosted by LGAP’s Jazz Curator, Daniel Kelly. The renowned jazz musicians will not disappoint fans who miss the in-person festival. The shows will stream on Facebook, YouTube, and the Lake George Arts Project’s streaming page. 

    Even while the LGAP has great virtual events planned, they are still suffering financially from COVID-19. The organization is a non-profit and makes their revenue through ticket sales. While all concerts are on hold, the LGAP has lost $40,000 which might nearly double to $70,000. The Lake George Arts Project is asking for donations to help with their current struggle.

    To encourage more to donate, so-called LGAP’s “angels” Susan and Kenneth Gruskin will match each donation up to $2,500. The LGAP insists that “anything and everything makes a difference whether it is $5 or $500!” 

    The Jazz Weekend Virtual Series will stream on September 3, 10, 17, and 24 at 7pm.

  • Discover Local Music With EQXposure Featured Artists including Fab the Duo and more

    Each Sunday evening from 7-9pm on 102.7 FM, you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear music from Fab the Duo, CANVAS and many more!

    EQXposure

    WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to a ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.

    Fab The Duo – “Our Love Is Resistance“

    Boyfriends Greg Driscoll and Brendan Eprile bring a unique blend of energy and open-mindedness to pop-rock. Add some blues and elements of Broadway and you’re in for a sound that is both fun and meaningful. The duo come from New York City and are building quite the following in the surrounding areas having even played a planned parenthood benefit in my hometown of Bennington, VT. Having pumped up audiences with their powerful and well-crafted tunes, they continue to challenge the status quo of today’s cultural scene.  

    CANVAS – “Like It or Not“

    Here is a band that likes to explore new territory, drawing influences from bluegrass, folk, punk, metal, and hip-hop. That said, experimentation is their mission and they don’t associate themselves with any particular sound or genre. They go boldly into uncharted territory and take a new approach with every song. Triumphant anthems, soulful ballads, and edgy fusions of alt pop, rock, and funk… it’s all there. Just dare them not to try it. Double. Dog. Dare them. CANVAS believes nothing is certain and all you have to do is take a listen to their ever-evolving hybrid sound to see what they mean.  

  • The Who Launches Weekly Streaming Series,“Join Together @ Home”

    The Who announced their “Join Together @ Home” streaming event featuring archived footage of their 1982 Shea Stadium performances. The series starts on Saturday, Aug. 8 at 1PM EST and will run for six weeks. Donations made will benefit Teenage Cancer Trust and Teen Cancer America.

    The Who Join Together

    The series will kick off with an exclusive ‘red carpet’ premiere clip from Roger Daltrey. The seies will feature five live clips from The Who’s 1982 Shea Stadium show in New York City. The weekly series will feature some of the band’s most memorable performances, including previously unseen footage. “Join Together @ Home” is working as part of YouTube’s #StayHome campaign to encourage people to stay home to help save lives during the COVID-19 pandemic. The series will stream on The Who’s official YouTube channel and will be free to the public with donations encouraged. 

    COVID-19 has significantly impacted Teenage Cancer Trust and Teenage Cancer America’s income due to fundraising events being cancelled. Lead singer Roger Daltrey has worked with both charities in the past to bring awareness and help raise funds both in the UK and the US. Daltrey. The Who hopes people will take the time to donate to these organization while enjoying their music from the safety of their homes.

    “If you can’t donate to both charities just choose the one that’s closest to your heart. But whatever you do please make sure you donate.”

    Roger Daltrey

    To donate, people can text WHO to 70500 to donate £10 in support of Teenage Cancer Trust will receive 100% of every texted donation or they can text TCA to 56512 to donate $10 in support of Teenage Cancer America. Donations can also be made online here.

    For more information on the “Join Together @ Home” series visit The Who’s website.

  • Flashback: Garth Brooks Holds the Largest Concert in Central Park history on this day in 1997

    It’s been 23 years since Garth Brooks rocked the Big Apple with a powerful concert dubbed “Garthstock” in Central Park, and people are still talking about it.

    Garth Brooks Central Park
    An estimated 980,000 people attended the 1997 Garth Brooks concert.

    On August 7, 1997, Brooks decided to perform on the grounds that so many acclaimed musicians had as well. Among the stars to play there were Diana Ross, Elton John and Paul Simon, to name a few. Could Brooks pull off the same notoriety as the past shows?

    Brooks tweets about the 20 year anniversary of the Central Park Concert.

    The pop-country musician started making headlines in the late 1980s, so by 1997, the crowd for his show was expected to reach thousands. Brooks won Country Music Award ‘Entertainer of the Year’ seven times, a first for any artist.

    The significance of this concert came from admittance being free and was broadcast live on HBO. He also had a couple famous special guests by the name of Billy Joel and Don McLean.

    The largest concert held in Central Park.

    The New York City Fire Department said that 980,000 people attended the concert, making it the biggest concert ever. Although there’s debate to whether that number was true, the crowd’s size surpassed all of the past artists.

    https://youtu.be/_ACGXBcA2XI?list=PL4nHA4cnNtyjU2VKrHMIoNt2R4URgrQjt

    On the 20 year anniversary of the Central Park concert, Garth Brooks sat down with ET.

    “I never seen so many people in my life. Try to remember, in my hometown, when I grew up, [there were] probably 17,000 people. So, to look out and see 40 times your hometown out there, it’s like — it was crazy. It was so beautiful.”

    Garth Brooks