Category: Buffalo

  • New York Hip Hop: A Year in Review

    As the proprietor of hip hop, New York, carries certain expectations from the genres’ emcees. Take for instance that within the last half-decade alone we’ve seen top 10 records like “Hot N****,” “OOOUUU,” “All The Way Up” and “Dior” become staples of each respective summer. The inhabitants themselves walk around with a certain hubris, knowing that their fashion, demeanor and dialect is a valuable commodity within pop culture. With rap artists being a reflection of New York’s current state, there was bound to be an equal amount of historic moments and tragedy. As such, we take a look at the major events from 2020.

    Hip Hop Review
    Young Artists Stake Their Claim

    As cities like Atlanta and Memphis continue their surge within the genre, it is of importance that established young artists from New York continue their ascension, to keep pace with their counterparts. A Boogie Wit Da Hoodie kept himself relevant with the release of his much-anticipated Artist 2.0 album. Pop Smoke (before his tragic death) continued his meteoric 2019 with a strong sequel to his breakout mixtape, Meet the Woo 2. Dave East dropped a tertiary edition to his Karma mixtape series and Brooklyn continued to make waves with projects from J.I the Prince of N.Y., Fivio Foreign, Sheff G, 22Gz, Curly Savv, Rah Swish and the surging Bizzy Banks

    Veteran Emcees Still Have Something to Say

    Hip Hop is the culture of the youth. It always has been and always will be. Yet, many prominent veterans reminded fans that they still have stories worth listening to. Juelz Santana battled through turbulent times to release his #FREESANTANAmixtape, Jadakiss released a solid effort with, Ignatiius, M.O.P’s own Billy Danze dropped The Listening Session, KRS-One and Public Enemy dropped protest anthems. Twenty-twenty also saw the return of Nas, whose King’s Disease album showed an exceptional ability to blend his old school style with newer melodies. 

    Pop Smoke’s Death

    In a year that saw one celebrity after the other pass away tragically, New York felt their fair share of grief. On February 19, 2020 New York’s latest rising superstar, Pop Smoke, was fatally shot at a Los Angeles home in a botched robbery attempt. His death came a week after the release of his Meet the Woo 2 mixtape. His death was followed by outpouring support from fans and industry peers, including his music rising atop the charts. 

    The Kids from Buffalo 

    Building upon their established buzz, the trio known as Griselda — Westside Gunn, Conway The Machine and Benny the Butcher – continued their takeover as the faces of New York hip hop. The Buffalo natives brought some much-needed attention to upstate New York. 

    I know people in Buffalo that have never been to New York City in they life and they 30 years old. So, we come from one of them type of cities, that kind of mentality.

    Westside Gunn – The Ringer.

    Known for their gritty-hard hitting tales of the street life, the group kept themselves ablaze with multiple releases from each member throughout 2020. Westside Gunn kicked things off with his April release of, Pray for Paris, followed by Flygod Is an Awesome God 2 and his self-proclaimed retirement album, WHO MADE THE SUNSHINE. Benny The Butcher released his much-anticipated Burden of Proof record, while Conway the Machine’s From a King to A God rounded up a strong year for the upstate rappers. Their influence not only stems from their music, but also in the way they market themselves. That mentality perhaps comes from their head honcho, Westside Gunn.

    I never considered myself really a rapper, I just curate. I love putting different people together and just painting a certain picture..

    Westside Gunn
    Hip Hop Review
    Shoot For the Stars Aim For The Moon

    Despite his life coming to a tragic end, Pop Smoke’s musical momentum didn’t waiver, with his popularity in fact rising. His debut studio album was announced with 50 Cent as executive producer. The star-studded album became the record of the summer, with all 19 tracks simultaneously charting on the Billboard 100, eventually reaching platinum status.

    Listening to Pop come into his own as an artist was a bittersweet feeling. Despite the commercial success of the album, many songs consisted of either duplicated or unfinished verses. Yet, his ability to melodize on records like “Something Special” and “Backseat” combined with his already strong delivery on his grittier records made him a rarity in the drill rap genre. In fact, he had long surpassed the label of “drill rapper” and was blossoming into a superstar whose charisma would have made hip hop just the tip of his monetary exploits.

    Alas, that future was not meant to be. Instead, Pop Smoke’s music, exploits and legacy will be passed down from generation-to-generation where he’ll eventually become a fabled and mythical figure. In due time, the sorrow from his passing will turn into nostalgia, where we’ll remember 2020 as the year Pop Smoke ruled the airwaves. 

  • David Jonathan and Inner City Bedlam debut with “No Collusion” Remix

    “No Collusion,” a remix from Buffalo’s David Jonathan & The Inner City Bedlam, featuring Chuckie Campbell, is the first single off 400, a project commemorating the 400 year anniversary of the TransAtlantic Slave Trade. The accompanying music video is directed by Alex Roje Felix of Earthbound Films. 

    Inner City Bedlam have a stated mission to break the boundaries holding back the inner cities of every city in the nation, to destroy racist ideology while providing the soundtrack to the inner city, and seek to change the face of American culture by providing outlets to educate the world about black culture through music.

    David Jonathan and the Inner City Bedlam create an expansive and kaleidoscopic sound, formulated around their love of jazz-inspired melodies and warmly sophisticated rhythms. In teaming up with Chuckie Campbell, they release a stunning remix version of “No Collusion,” which stands out for its modern, organic sound that is polished but not overproduced.

    inner city bedlam

    In addition to the edgy performance value, quality production and a balanced mix makes for a lively and stark sonic approach. Many subtle nuances are found in “No Collusion,” which adds to the richness of the track when taken together.

    Collaborating on “No Collusion” is Chuckie Campbell, an American recording artist, poet, fiction writer, editor, publisher, and educator who has been named Best Hip Hop Artist by All WNY Music Awards and ArtVoice Awards. Campbell performs with The Black Den, a six-piece live approach to hip hop filled with fluid instrumentation, lush musical arrangements, and heartfelt poetic lyrics.

  • Orange Corner Debut “Hippie Baby” Gets Out the Cradle

    Image a bastard-child bred from a strange co-mingling of iTunes libraries. A mash of genres and unforeseen turns have fused a free flowing debut single from Orange Corner, named “Hippie Baby.”

    Buffalo New Yorks’ five-piece multi-genre performance band, Orange Corner, has no filter. The band leans heavily on funk, obvious trips of psychedelic rock, metal, reggae, hip-hop and electronic genes are all dispersed. It is no suprise they get lost in improvised jams, which keeps their live sets in motion, fresh and new. If you like Red Hot Chili Peppers, Incubus, Pink Floyd, Jamiroquai or Talking Heads, Orange Corner and “Hippie Baby” will quickly gain your attention.

    orange corner
    Orange Corner “Hippie Baby” album art.

    “Hippie Baby” is not for the faint of ear. It’s the epitome of a toddler running rapid, musically challenging the norms of song structure. Orange Corner’s take it or leave it approach sucks you right in as Drummer Tj “Thor” Carson creates a dynamic ploy across the toms. Seemingly out of time, “Hippie Baby” lures with swaying bass and lots of texture.

    By the time the band kicks off, in the eight-plus minute track you get it, and sink into the groove. Yet, the band does play with you heart-rate as they sink back into a musical somber, filled with guitar overtones, cymbal textures, and electronic ‘spaceship’ synth.

    Orange Corner takes you for ride with “Hippie Baby.” filled with an unexpected pit-stops, like Randy Pawlak’s ‘out-your-mind’ bass lick as he and Thor quest the band onward.

    Upon attending an Orange Corner performance, be prepared to
    endure musical movements of vast magnitude. Once it’s showtime, a fresh sonic pallet is tastily presented, and the crowd quickly becomes enthralled in an upbeat mix of soaring solos, rhythmical nuances, and downright infectious vocals.Whether it’s through dancy improvised medium or tethering originality with appropriate covers, this band has a knack for cleverly stimulating the amygdala….

    Orange Corner Bio

    Orange Corner’s circle has been growing through WNY grass-roots festival, Tedfest. Last year the band had 700 people pass thru the day/night, across three stages, 20+ bands, and a load of vendors.

    Check out more WNY YOU NEED TO SEE BANDS Here

    Meet Orange Corner:
    Nathan Addenbrooke: Funk-n-soul driven vocals, rhythm guitar, percussion
    Randy Pawlak: In-the-pocket, out-your-mind bass & bubbly backseat banter
    Thomas Leaming: Lavish lead guitar love generator
    Tj “Thor” Carson: The groove-hacking, head-banging drummer
    Tommy McDonald: White keys, black keys, spaceships and synth leads

  • Buffalo Welcomes New Event Company Twenty6 Productions

    Owners and operators of the annual Cobblestone Live Music Festival and Buffalo Iron Works, Josh Holtzman and Grace Vesneske, announced the launch of their “full-scope’ production company, Twenty6 Productions.

    Twenty6 Productions
    Cobblestone Live pre-pandemic.

    Holtzman and Vesneske developed the company after two decades of working in the music and hospitality idustry all over Western New York. Their experience has lead them to create Twenty6 and operate any venue, however big or small.

    According to a press release, Twenty6 Production’s resume possesses a myriad of events, from pandemic- inspired, drive-in concerts at two locations to private parties and small weddings. Before the pandemic, they held many music events, nonprofit gatherings and more.

    There’s no event we can’t take on. From private parties to nonprofit gatherings to large-scale music festivals, we’ve done it all and know how to navigate any situation. Surrounded by some of the industry’s best, both Vesneske and I feel incredibly optimistic about what the future holds for Twenty6 Productions

    Co-founder Josh Holtzman

    Twenty6 Productions will run numerous services for clients, including event management and logistics, event budget development, food and beverage management, venue event management, event staffing, marketing, branding , and talent buying.

    Twenty6 Productions
    Twenty6 Productions Founders Josh Holtzman and Grace Vesneske

    The company will work with anyone, including purveyors ranging from festivals, restaurants, concerts, non-profits, corporations, and the privately-owned sector.

    In a Facebook post, the company states that they will provide “every event with the highest standard of professionalism.”

    About a year ago, we started throwing around the idea of starting our very own event production company. If you know us, you know our passion lies in creating memorable experiences for those around us. Global pandemic? No problem, we’ll bring our community drive-in concerts! And just like that, Twenty6 Productions was born, right before our eyes.

    Twenty6 Production’s Facebook page

    For more information, follow Twenty6 Production’s social media pages.

  • Buffalo Musician Drea D’Nur Uses Her Voice to Spread Awareness About Police Brutality

    While the issue of police brutality prevails in the U.S., artists are speaking out through their music to raise awareness. For Drea D’Nur, her whole life revolves around it.

    I am not an entertainer. I am a master healer through music and sound. To be a vessel of healing sound is a great honor and responsibility. Moment by Moment, I seek and work to become a better vessel. Every show is an offering of my entire self. In a world, where many are living numb, my intention is that you would feel, heal, and be inspired at each Live Experience.

    Drea D’Nur
    Drea D'Nur
    Drea D’Nur

    Buffalo based activist and musician, Drea D’Nur, teamed up with American Muslim figure Rami Nashashibi to release her newest single, “Mama Please,” a tribute to Cariol’s Law.

    Cariol’s Law passed in early October on behalf of Cariol Horne. Horne gained national attention in 2008 when she was fired from the Buffalo Police Department because she stopped a fellow officer from choking out a black man, Neil Mack. Since then, she has continued to protest for the Black Lives Matter Movement and is still working towards getting her full pension. The law now requires officers in Buffalo to intervene if a coworker looks like they are using excessive force.

    Cariol’s Law is a  proposal  for legislation to have a mandatory stature on police bystander intervention, provide  protection   from retaliation, require external investigation with mandated reprimanding for abuse or misconduct, create a required reportable registry.

    According to the Cariol’s Law website

    Along with being a riveting performer, D’Nur is an activist who founded Feed Buffalo, the first Organic, Safe, and Halal Food Access Resource Center in western New York, but it doesn’t stop there. She’s also a volunteer for Project Mona’s House that provides resources and housing for human trafficking survivors.

    D’Nur’s purpose for “Mama Please,” is to push for Cariol’s Law to be passed nationwide. Her new single is one of the tunes from her upcoming album, ‘This LOVE Thing,’ expected to drop on Oct. 23. Meanwhile, watch and listen to this beautiful work activism to support the destruction of police brutality.

  • Benny The Butcher officially Announces Latest Project: Burden of Proof

    Griselda emcees refuse to rest on their laurels. A week after the label’s visionary/founder Westside Gunn released what he announced would be his final album, his cousin — and arguably the label’s best rapper — announced his latest project and it is more star-studded than ever. Burden of Proof, the upcoming studio album from rapper Benny The Butcher will bookend what has been an increasingly productive year for the Buffalo-bred rap crew. 

    While the album’s existence was no surprise (Benny the Butcher had been teasing a project for weeks on his various social media outlets), the Shady records signee revealed a list of features as well as a release date. October 16th will see the release of the much-anticipated project, which is two weeks after Westside Gunn’s WHO MADE THE SUNSHINE and a month after Conway the Machine’s From King To A GOD

    Benny the Butcher

    With Griselda’s ever-growing popularity, we are starting to see more diverse features and song choices in each respective album. Known for their grungy street-tales, chorus and catchy melodies aren’t a part of the Griselda package, yet this list of features gives a hint that this latest project will see BTB try his hand at different song arrangements. Produced entirely by famed producer Hit-Boy (who also handled the entirety of the production on Nas’ latest album), Burden Of Proof will feature the likes of Lil Wayne, Big Sean, Rick Ross, Freddie Gibbs, West Coat emcee Dom Kennedy, popular up-and-coming R&B songstress Queen Najia, as well as his cousins and frequent collaborators, Conway the Machine and Westside Gunn. This is an important album in what seems to be a concentrated effort to solidify the Buffalo trio as the prominent emcees in not just their city, but the whole state of New York as a whole, a tittle that has never been held by anyone not from the five boroughs. 

  • The Grateful Dead’s Last Buffalo Arena Show: 9/26/81

    During an incredibly busy year for the band, the Grateful Dead did carve out a little time for Buffalo and Upstate New York in the fall of 1981. After a thorough summer run at mainly Midwest and West Coast Venues, there were a handful of East Coast shows scheduled in the end of September. Immediately afterwards, they would be off to Europe again, their second jaunt over there this year.

    These few shows would serve as more than adequate tune-ups. On September 26, the Dead would play Buffalo Auditorium for the fifth and final time, serving as an end to an era of sorts. For the remainder of their shows in the Queen City, cavernous Rich Stadium and its 80,000 seats would serve as host.

    grateful dead buffalo

    A somewhat sluggish “Shakedown Street” starts the show and seems to rely on the certainly palpable crowd energy for momentum. If anything, this recording paints a vivid picture of the effusive Upstate fervor that’s present early. The crowd almost seems to get even louder each time they’re told to “Tell me this town ain’t got no heart.” Before you know it, they easily stretch it past the ten-minute mark with a typically funky groove in tow.

    After a brief lull, the first set energy seems to pick back up with a thunderous version of “Cassidy” that’s spearheaded by the harmonies of Bob Weir and Brent Mydland. This carries right over to a raucous “Jack-a-Roe” with some splendid fills from Mydland on electric keys.

    The “Ramble On Rose” that later follows gets furious at points with a clearly vibrant Garcia manning the lead vocals effortlessly. Mydland again makes his presence very much felt with some more intimate keyboard fills. There’s a fairly quick transition to “Looks Like Rain” that has now firmly established the first set pattern of Garcia and Weir going back and forth on lead vocals. Seems to be Jerry – Bob switching back and forth throughout the first set with lead vocals. The crowd once again audibly gets back into it with some rhythmic clapping prior to the apex of “Rain.”

    The vibrant first set vibe fueled by the rather “percussive” audience this evening continues right on into and through the “Brown Eyed Women” that follows. Garcia, once again, rises through the crowd of sound and delivers an ebullient guitar solo early on that fuels the remainder of the tune.

    Weir once again takes the vocal baton from Garcia as the band continues to burst full steam ahead with a somewhat aggressive “Let It Grow” that fits in perfectly in this late early set position. The rhythms equally supplied by the dual guitars and vocals on this one are a true first set highlight.

    Weir holds onto and keeps running with the baton as the second set begins with an exuberant “Playing In The Band” that seems to literally piggyback on the end of the first set’s emotions. An early excitable jam leads into some blissful Garcia-supplied guitar licks before it explodes into a full group effort. Some pure, joyous tones lead right up to the beginnings of “Bertha,” somehow marking the last one of only four East Coast performances n 1981 for this live Dead staple.

    Upon its finish, the band wastes no time in launching into an epic “Estimated Prophet” with all the Bob Weir-led vocal bells and whistles. The Buffalo audience sounds enraptured as the band eases through one of their classic second set standards.

    However, instead of easing into an ambient or “Space”-type section immediately afterwards, the familiar rhythmic guitar into of “Goin’ Down The Road Feeling Bad” picks up and the room is off and running again. Normally placed later in a second set, this slots in perfectly earlier in this set as the Dead’s version of an American folk classic maintains the high standards of this show.

    After typical “Drums” and “Space ” segments, the slow, rhythmic start of “Not Fade Away” starts up, signaling the beginning of the final hurrah for this final indoor Buffalo show. This one doesn’t get a chance to stretch too far as it quickly peters out and dissolves into the beginning of a poignant “Morning Dew” that gets the crowd back on its collective feet.

    Afterwards, the band collectively toys around with the “Playin’ In The Band” theme before settling into a brief reprise. Normally, this would be more than enough to end the set but “One More Saturday Night” takes care of that as Weir leads the group through one last rockin’ number to end the set.

    grateful dead buffalo
    stubs via Bob Migden

    This being Chuck Berry’s birthday, a quick dedication from Weir precedes the fitting “Johnny B. Goode” encore. And with that, the Dead’s last indoor show in Buffalo comes to a close. The next time they would come through town, five years later in 1986, Rich Stadium would take over hosting duties.

    For a full listen to all Buffalo and The Grateful Dead had to offer this evening: click here.

    Grateful Dead Buffalo Auditorium – Buffalo, NY 9/26/81

    Set 1: Shakedown Street, CC Rider, They Love Each Other, Cassidy, Jack-A-Roe, On The Road Again, Ramble On Rose-> Looks Like Rain, Brown Eyed Women-> Let It Grow-> Don’t Ease Me In

    Set 2: Playin’ In The Band->Bertha->Estimated Prophet->Goin’ Down The Road Feeling Bad->Drums->Space->Not Fade Away->Morning Dew->Playin’ In The Band (reprise)->One More Saturday Night

    Encore: Johnny B. Goode

  • Westside Gunn releases major-label debut “Who Made the Sunshine”

    Westside Gunn isn’t new to the music industry, with his first EP dating back to 2005. In that time, he has individually and collaboratively released over 20 projects. Yet, his latest LP — Who Made the Sunshine — (his first under Shady Records, a subsidiary of Interscope records) and what he claims will be his last ever, feels different and Westside Gunn is treating it differently.

    Who Made the Sunshine

    From celebrating his Entertainment Weekly feature, to posting nostalgic pictures and videos of his journey, Westside Gunn displays a mixture of hubris and humility that comes with a certain level of ascendency.

    https://www.instagram.com/p/CFzs63wFpa3/

    Over the past few years, we’ve seen the extravagant emcee and his Griselda cohorts slowly rise to mainstream stardom and it feels like the one they call “Fly God” is finally taking time out to revel in the fruits of his labor.

    In the streaming era, lengthy waits between projects are no more, as this is his third project of the year. The first was the critically-acclaimed, Pray for Paris, which gained album of the year considerations. The second, was the more unassuming — but solid — Flygod Is an Awesome God 2. The last, an 11-track, 40-minute album that contains elements that are unique only to Westside Gunn.

    The wrestling-themed song titles, unique and eye-catching covers, as well as the customary features. There are the usual suspects on Who Made the Sunshine, including Benny the Butcher and Conway the Machine (who have a long-standing family history of appearing on each other’s projects), Detroit emcee and Griselda signee Boldy James and the self-titled “first lady” of Griselda, Armani Caesar.  

    https://www.instagram.com/p/CF2MejdFLF0/

    Aside from his Griselda associates, Westside Gunn features hip hop legends the likes of: Black Thought, Jadakiss, Busta Rhymes and most surprising of all, Slick Rick. Recognized for his unique presentation, nothing is off the table for the Griselda head honcho and it’ll be interesting to see if he sticks to his retirement as a rapper once this much-anticipated album has been digested. 

  • Ban on Advertising Live Music Ruled Unconstitutional in State Supreme Court

    New York State Supreme Court Justice Frank Sedita has ruled unconstitutional the State Liquor Authority to ban on advertising live music at venues and bars, and from promoting live ticketed events, after a Buffalo business challenged the new guidelines.

    Ban on Advertising live music
    Sportsmens Tavern live music venue, pre-COVID.

    Sportsmens Tavern, a music venue and bar in Buffalo’s Black Rock neighborhood, filed the lawsuit after Gov. Andrew Cuomo, along with the SLA, announced that advertising any live show is to be prohibited.

    “I was surprised when the judge announced the ban as unconstitutional because we filed the lawsuit five weeks ago,” said Jason Hall, the owners of Sportsmens’ son.

    According to Hall, the SLA informed them it was okay to continue advertising and promoting even though the new guidelines said the exact opposite.

    In this case, they filed an ’emergency hearing,’ because the ban immediately affected their business. Attorney Paul Cambria, a well-known western New York attorney, advised them to stay off of social media and continue their business as usual while they awaited the ruling.

    This does not mean every venue in New York State should be relieved. While it was a NYS Supreme Court judge that decided to throw away the rules, his district in in Erie County, meaning the SLA can make an appeal at any time. They indicated that they are considering it.

    “Only incidental music is permissible at this time. This means that advertised and/or ticketed shows are not permissible. Music should be incidental to the dining experience and not the draw itself. All other forms of live entertainment, such as exotic dancing, comedy shows, karaoke etc., are not permissible currently regardless of phase.”

    SLA website previously stated.

    In the meantime, live music at Sportsmens Tavern is thriving with a whole lineup featuring local artists this month.

    https://www.facebook.com/sportsmens.t.avern/posts/3524892137569052

    The Buffalo News reports that the lawyer for Sportsmens Tavern asked the court, “What’s the difference on how you fill your place, whether a blue plate special or that the Nerds Gone Wild are going to play there? You still have to follow the safety regulations.

    Justice Frank Sedita III agreed, saying the regulations seemed “not only excessive but also irrational” given the Covid-19 safety precautions that Sportsmen’s Tavern and other establishments must follow.

    “Whether a Sportsmen’s patron is principally motivated by listening to ‘Cheeseburger in Paradise’ or eating a cheeseburger in Black Rock is a distinction without a difference if the (establishment) is enforcing occupancy limits, cleaning, disinfecting, mask wearing and social distancing,” Sedita said at Wednesday’s court hearing.

    Joel Terragnoli, counsel for the State Liquor Authority, contended Sportsmen’s Tavern could advertise that it remains open to serve its customers food and beverages, and even that it generally offers live or recorded music as entertainment for its patrons.

    But since Sportsmen’s Tavern “is not free to hold special musical events, it should not be free to advertise and sell tickets to do the same, and operate a live show/entertainment venue under the guise of running a bar and restaurant, particularly when all other such show and entertainment venues across the state remain closed for public health reasons,” Terragnoli said.

    And even if able to offer live music at its establishment while enforcing social distancing measures, he said, Sportsmen’s Tavern “cannot make an end run around the current prohibition on the operation of show and other entertainment venues by operating its bar and restaurant as a concert hall.”

    “This case is not so much about ensuring public safety as it is about the permissible limits of state power to regulate the speech and the conduct of its citizens,” Sedita said.

  • Long Live Rock the Casbah: The Who, The Clash Rock Rich Stadium

    London punks, both young and old, invaded Orchard Park, NY on September 26, 1982. The Who and The Clash, as well as New York Dolls frontman David Johansen, performed before a sold out crowd at Rich Stadium, home of the Buffalo Bills.

    the who the clash
    photo by Michael Mack

    This concert is seen as an historical moment, where one older punk band, The Who, passed the torch to a new, younger one, The Clash.

    the who the clash

    An expectadly rowdy crowd of more than 80,000 packed The Rich. David Johansen warmed up the crowd with a half-hour set, including “Stranded in the Jungle” and a medley of the Animals “We Gotta Get Out of This Place”, “Don’t Bring Me Down” and “It’s My Life.”

    The Clash were just coming off the release of Combat Rock, recorded at Electric Lady Studios on West 8th Street in New York City. Hits including “Rock The Casbah,” which reached the Top 10 in America, and “Should I Stay Or Should I Go” gave The Clash a worldwide smash hit in 1982. Less than a year after this performance in Buffalo, guitarist Mick Jones would leave the band. Watch a slideshow of photos by Michael Mack of The Clash from the performance below.

    For The Who, this was the first of many farewell tours, having lost drummer Keith Moon just 4 years prior. Kenney Jones (Small Faces, Faces) took over behind the kit, with Tim Gorman on keys, Roger Daltrey on harmonica, guitar, and vocals, John Entwistle on bass and Pete Townshend on guitar and vocals.

    Given the packed stadium – with entrances only on the floor at the time – the temperature inside the stadium was warm to say the least, with fans drenched in sweat, and some passing even out. As if Keith were looking down from heaven, the skies that were overcast all day opened up during the emotionally charged “Love Reign O’er Me,” the only time of the evening it would rain. As the song ended, Daltrey remarked “How’d you like that one?,” with Townshend saying “Even the Rolling Bones couldn’t have done that one.”

    via Matthew Heimberg

    While no video or audio exists from this show of The Who, you can view a slideshow of photos by Michael Mack here, and watch below for The Who from December 17, 1982, closing our their North American tour in Toronto, Ontario, Canada.

    The Clash setlist: London Calling, Career Opportunities, The Guns of Brixton, Police On My Back, Rock the Casbah, Magnificent 7, Train in Vain, Brand New Cadillac, Armagideon Time, Should I Stay or Should I Go?

    Encore: Clampdown, I Fought the Law

    The Who setlist: Substitute, I Can’t Explain, Dangerous, Sister Disco, The Quiet One, It’s Hard, Eminence Front, Behind Blue Eyes, Baba O’Riley, I’m One, The Punk And The Godfather, Drowned, A Man Is A Man, Cry If You Want, Who Are You, Pinball Wizard, See Me Feel Me, 5.15, Love Reign O’er Me, Long Live Rock, Won’t Get Fooled Again

    Encore: Naked Eye, Summertime Blues, Twist And Shout

    photos by Marc Starcke