Holly Bowling is taking her talents to the great outdoors. Ahead of her upcoming Grateful Dead album Seeking All That’s Still Unsung, the San Francisco pianist will stream weekly performances from Yosemite, the Badlands, and more. “The Wilderness Sessions” will run for six Thursday shows from September 3 to October 8.
Bowling’s “Wilderness Sessions” arrives after her last series of livestream concerts, “Alone Together: The Living Room Sessions.” In the eight-volume series, she performed Nine Inch Nails’ “Hurt,” famously covered by Johnny Cash, as well as Radiohead’s “Idioteque.” While piano covers of songs with full bands have potential to sound bare, Bowling’s arrangements are rich and fully realized. On changing the scenery from her living room to some of America’s most iconic landscapes, Bowling says:
As grateful as I was (and still am) for that opportunity, after a few months it was starting to feel like too much staring at the same walls in the same empty room. I decided if the only option right now is to play to empty spaces, then I wanted to do that in a giant canyon or on a mountaintop in the middle of nowhere. It’s one of those things that would never have worked in normal times. But I realized there’s two ways to look at this time – you can look at all of the things we can’t do, everything we’re missing out on, everything we’ve lost… or you can find the things that you can only do now that you wouldn’t be able to do otherwise, and seek those things out and make them happen.
Leg One dates for “The Wilderness Sessions” include:
September 3, Lake Tahoe, California
September 10, Yosemite, California
September 17, Salt Flats, Utah
September 24, Bruneau Canyon, Idaho
October 1, Beartooth Mountains, Wyoming
October 8, Badlands, South Dakota
Bowling first came to prominence in 2013, when she began performing solo piano arrangements of jam band music. One performance, “The Tahoe Tweezer,” based on Phish’s lengthy “Tweezer” led to two albums: 2014’s Distillation of a Dream: The Music of Phish Reimagined For Solo Piano, and 2016’s Better Left Unsung, a collection of Grateful Dead piano covers. Bowling soon attracted the attention of several Grateful Dead members including Bob Weir, Phil Lesh, and Warren Haynes, and was invited to perform at Terrapin Crossroads and Haynes’ Christmas Jam.
While “The Wilderness Sessions” will be free to view on Facebook and YouTube, Bowling has created a virtual tip jar. Visit Holly Bowling’s website for more information.
“Groove Therapy,” a new podcast combining live music with health and wellness, launched in late August. Produced by Osiris Media and available through Apple Podcasts and Spotify, “Groove Therapy” explores the effects music can have on our minds and bodies.
Founded by Dr. Leah Taylor and Taraleigh Weathers, “Groove Therapy” has two episodes out with a third coming on Friday, September 4. So far, the podcast has explored the idea of “conscious partying” and interviewed Joel Cummins of jam band Umphrey’s McGee. Each episode will have a different guest, either a musician or mental health professional. Listen to the trailer below:
“Groove Therapy” seeks to explore the collective joy of live music with an educational twist. While there’s a time and place for sex and drugs in rock and roll, “Groove Therapy” is about replicating that ectastic feeling when the lights go down at a concert in healthy and responsible ways throughout daily life. “The world needs this now more than ever. What we’re doing is really different: we’re talking about health, hugs, and rock and roll,” said Dr. Leah Taylor in the podcast’s first episode.
Together, Leah and her co-host Taraleigh have over 35 years of experience in health and wellness. Leah has an MA in Counseling Psychology and a PhD in Mind-Body Medicine, while Taraleigh is the author of a book, How to Rock Your Life: Maintain the Magic of Live Music in Your Everyday Experience.
“Groove Therapy”’s September 4th episode is set to feature Zach Gill, of Animal Liberation Orchestra and Jack Johnson’s band. Leah and Taraleigh promise a “long list of fun people” in future episodes. For more information about the podcast, check out the Facebook community group.
Lady Gaga, who was born and raised in Manhattan, NY, took home a total of four Video Music Awards (VMAs) last night at Brooklyn’s Barclays Center.
Lady Gaga and Ariana Grande’s “Rain on Me” won a VMA for “Best Collab” and “Song of the Year.” Lady Gaga also won a VMA for “Artist of the Year” and made history by becoming the first-ever recipient of the Tricon Award for her accomplishments in music, acting, fashion, and philanthropy.
“I know a renaissance is coming, and the wrath of pop culture will inspire you and the rage of art will empower you as it responds to hardship with its generosity and love,” Lady Gaga said during her acceptance speech for the Tricon Award.
https://youtu.be/5D4vjndnB0w
Not only did the VMAs focus on celebration, but also paid tribute to those who died during 2020. A poignant tribute took place at the beginning of the show for Chadwick Boseman. Halfway through the show, a montage of pictures appeared to remember others who passed, including Pop Smoke and Juice Wrld.
The world needs more superheroes, and we all deserve to see ourselves in them. Chadwick Boseman helped make that happen. Rest in power. pic.twitter.com/d05kkkQR6b
Even with eliminating in-person attendance, fans could still appear virtually on surrounding buildings to experience the live performances on the outdoor stage from The Weeknd, Miley Cyrus, Lady Gaga, and Doja Cat. BTS, the South Korean band, made their VMA debut performing their hit single “Dynamite.”
The VMAs took time to address the fight against racial injustice. Host Keke Palmer’s opening speech addressed the need to end police brutality and systemic racism while The Weeknd used his acceptance speech to bring continued awareness to the deaths of Jacob Blake and Breonna Taylor. After H.E.R won the VMA for “Video for Good,” Pepsi announced it would donate $100,000 to the NAACP.
https://youtu.be/zJCdkOpU90g
Other notable VMA wins for the night included Megan Thee Stallion’s VMA for “Best Hip Hop” with “Savage,” Doja Cat winning “PUSH Best New Artist,” and Machine Gun Kelly’s “Best Alternative” win for “Bloody Valentine.”
Reggae legend Toots Hibbert has been placed into a medically induced coma. The Jamaica Star reports the 77 year old is being cared for at University Hospital of the West Indies (UHWI).
“Toots is fighting for his life and his family is asking for prayers,” publicist Claude Mills said.
On Monday news broke that the singer was awaiting results of a COVID-19 test after having shown symptoms. While awaiting test results, Mills noted that Hibbert was showing signs of the virus, and the musician’s inner circle have self-quarantined while awaiting their test results. Hibbert had recently released his latest album Got To Be Tough.
Original story follows below:
Toots and the Maytals singer Toots Hibbert has been hospitalized in Kingston, Jamaica. He is currently in the intensive care unit at the private facility. According to a statement released by his family Hibbert has been tested for COVID-19 and is awaiting his test results.
Toots Hibbert. Photo by Robert Tellerman.
According to his family, Hibbert is in good spirits and is getting better day by day and receiving the best treatment possible. The family thanks everyone for their prayers and in particular the minister of culture Olivia ‘Babsy’ Grange and the minister of health Christopher Tufton for their assistants in getting Hibbert tested. They also thank the medical professionals taking care of Hibbert around the clock.
Statement made by Hibbert’s family.
Toots and the Maytals are a Jamaican musical group that were formed in the early 1960’s under their original name The Maytals. They are widely known for their ska and reggae sound. Some of their most widely known songs “Pressure Drop,” “Funky Kingston,” and “Bam Bam.” They recently released their first album in over ten years titled, Got to be Tough. The album features many originals as well as a Bob Marley cover of “Three Little Birds” featuring Ziggy Marley. It also features a track with Ringo Starr on percussion and Ringo’s son and longtime Who drummer Zak Starkey on guitar. Hibbert is notably famous for coining the genre name “reggae.”
The Lake George Music Festival has partnered with Dave Ehmann’s “Improv Records” to announce a two-part 2020 music festival. This comes after a decision by festival organizers to post-pone the “10-year Anniversary Celebration” season until 2021 as a result of COVID-19 pandemic restrictions still in place.
Along with a week long virtual series, the Lake George Music Festival also offers a weekend drive-in concert series. From September 13-18 music lovers can enjoy free online performances and digital events. The drive-in portion occurs September 19-20, at the newly developed Lake George Festival Commons.
Original Festival Announcement
Dave and his crew have been instrumental in the development of Lake George’s new Festival Space. We will have a tremendous advantage in producing what very well might be the ONLY event in Lake George this summer when working with Dave…We’re both committed to the Lake George community; especially the music scene. Two like minded peers working together, along with some fantastic musicians and beautiful September weather in Lake George will surely be a winning event.
Alexander Lombard, Founder and CEO of the Lake George Music Festival
Voted in 2015 as “Best Annual Event” by LG.com, the festival usually spans two weeks at various venues around the village. Drawing over 300 artists since its inception in 2011, past festivals performers include members of the Philadelphia Orchestra, the Czech Philharmonic, the Juilliard School and the Curtis Institute of Music and other distinguished musicians from 27 countries. All coming together to bring classical music into the 21st-century.
Festival co-contributor Dave Ehmann is known for bringing big names suck as Twiddle and Marshall Tucker Band to the Lake George region. Ehmann also produces the sold out Adirondack Independence Music Festival.
Music venues across the United States plan to light up in red on the evening of September 1, 2020 demanding the passage of The Restart Act. The red lights illuminating the venues across the country will symbolize being in a ‘Red Alert’ as part of the the #RedAlertRESTART as a call to action to help venues during the coronavirus pandemic.
The purpose of this demonstration is to try to convince Congress to pass the Restart Act. The act, if passed, would provide much-needed assistance for millions of Americans who have lost income due to the coronavirus pandemic sweeping across the world. The call to action is being spearheaded by the #WeMakeEvents coalition. The #RedAlertRESTART campaign’s purpose is to try to bring awareness to the fact that live music and venues are being disproportionately affected by the COVID-19 pandemic and need support desperately.
In the recent Billboard article it explains why this act is so important. This relief bill, if passed, will offer, “up to 90% forgiveness for loans to companies that have high revenue loss and doesn’t penalize industries that rely on part-time employees. In addition, rather than basing loan amounts on payroll, the Restart Act includes grants that are made to eligible recipients in an amount equal to 45% of gross revenue from 2019, with a cap of $12 million” according to the article.
On Tuesday night from 9PM – 12AM PST music venues across the nation plan to light up in red to highlight that the live events industry, particularly music venues, are on red alert for their survival. This lighting up will involve venues physically lighting up their facilities in red light in any and every way possible.
Brad Nelms, director of WeMakeEvents North America, explained in a release reasoning behind the campaign saying, “The entire live events industry is on the brink of collapse. Without financial relief, many businesses stand to permanently close, and families risk bankruptcy and homelessness. We want to take this opportunity to show the world the scale of what it takes to make live entertainment events happen and demonstrate how much this crisis has affected our community. This is a human issue, not a political issue, and it requires immediate action. While we realize there are a lot of issues going on right now, and other organizations will be staging events on other dates, we feel very strongly we must act now to save our industry.”
People looking to participate and support the movement can follow these simple steps posted on the WeMakeEvents’ website. There is three steps to follow. First, contact your representatives below using the Action network widget. Second, post a red-tinted photo of your favorite live event to your social media with the following caption: “#RedAlertRESTART: the live events we love may never recover from the pandemic, we need to take action! Take two minutes to contact your representatives here, and post a red photo of you at your favorite event, too. You can turn your photo red here. And lastly, check out the hashtag #RedAlertRESTART and share/RT images of venues and live events workers you love.
For more information on this call to action visit WeMakeEvents’ website.
American pianist, song-writer, multi-instrumentalist, record producer Marco Benevento.
Benevento has been a well known pianist in the New York experimental jazz scene since 1999. His career lead him to collaborate with other musicians such as, Matt Chamberlain and John McEntire. He was nominated for the Jazz Album of the Year at the Independent Music Awards in 2008. His most recent en devour was creating his own record label called, “The Royal Potato Family,” along with manager Kevin Calabro. His latest studio album was created using his label, Let it Slide.
MASS MoCa is museum & performing arts center that highlights the work of contemporary artists in particular and has been open since 1999. It resides in an old factory in North Adams, MA and is considered one of the leading contemporary art museums. They host visual arts, performances, and educational programs year round.
Although he normally plays with band mates, Karina Rykman and Dave Butler, this performance is a solo act. The show goes on at 7:30 p.m. until 9:30 p.m. Tickets are on sale now.
For more information on Marco Benevento and his upcoming performance at MASS MoCa visit their website.
High Holidays live-stream was announced by the Because Jewish organization. The High Holidays celebration series for 2020 will stream for two weekends starting on Rosh Hashanah on September 18 at 7PM and the 19 at 10AM and on Yom Kippur on September 27 at 8PM and the 28 at 10AM. The celebration will include performances from people like Jeremiah Lockwood, Armo, Eric Slick (Dr. Dog), and Reid Genauer (Strangefolk). All four events will be broadcast for free live from New York’s Brooklyn Bowl.
The event will be led by Rabbi Daniel Brenner with Antibalas Jordan McLean acting as it’s musical director. The festivities won’t have a live audience at the Brooklyn Bowl unfortunately due to COVID-19 but people can attend the via Fans.com where it will be live- streaming. This will be the ninth annual High Holidays, Because Jewish is hosting. The aim is to host a suite of musically and spiritually driven High Holiday services.
Eric Krasno, Disco Biscuits’ Aron Magner, Guster’s Brian Rosenworcel, Dap-Kings saxophonist Cheme and guitarist Bryan Grone are the latest additions to the lineup, part of the array of musical guests appearing throughout the services. Some will be live while others will be pre-recorded performances.
Some of the anticipated artists include Jeremiah Lockwood, Armo, Eric Slick (Dr. Dog), Reid Genauer (Strangefolk), Alex Bleeker (Real Estate), Stuart Bogie (Antibalas/Arcade Fire), Dan Lebowitz (ALO), Lenny Kaye (Patti Smith Group), Dave Harrington (Darkside), Adam Roberts, Aaron Diskin (Golem) Anthony Russell, Brian Chase (Yeah Yeah Yeahs) and a number of others. Each service will also include traditional prayers, a guided meditation, and instrumental offerings from a number of notable New York jazz musicians.
Because Jewish is an organization that promotes, “Emotional, intellectual, mind-firing-on-all-cylinders exploration of God and faith and Judaism in this crazy modern world we live in. We explore through ritual, we explore through Bible study, we explore through delta blues, we explore through art, we explore through meditation. We explore through offering ourselves to something greater than ourselves. We aim to unsettle you. We aim to challenge you. We accept no easy answers.” According to their website.
The event will be free to the public this year but donations are greatly appreciated from those in a position to donate during these difficult times. For information on how to make a donation you can Because Jewish’s website.To stream the service visit the Fans.com event page and input your email for access for streaming.
For more information on the event visit Because Jewish’s website.
I jumped on an opportunity last year: I worked around New York City on stage crew as a stagehand and production assistant. On show nights, I wore all black. I set up electronics, speakers, lights, and stages for artists big and small. I hustled as one of thousands of production assistants who make live shows possible as part of stage crews.
An empty stage waits in Midtown, Manhattan. Photo by Zach Hitt.
In March of 2020, a confirmed COVID-19 case infected Westchester. That changed everything. Now in August, many more cases and many businesses remain closed. Those that have reopened endure significant operating restrictions. Most industries have a lot less money in their cash register. Some businesses have gone belly up.
No live music for a while, either. Fans know this. Eliot Byron knows this. Byron began rigging live shows 25 years ago. serving on the stage crews of the IATSC Local One in NYC and as the Crew Chief of Capitol Theatre in Port Chester.
The Capital Theatre. Photo by Chad Anderson.
Just a few train stops north of Westchester, Port Chester shows came to a halt in March — as well as the rest of New York, under the orders of Governor Andrew Cuomo.
“We had a live event [in March]…but they started getting calls and decided not to do it. That was the first indication that we weren’t gonna see live shows for a while” says Byron.
A Stagehand assembles and tests lights. Photo by Zach Hitt
Lights, Camera, Action…
The quarantine disappointed fans and live stage crews alike. But a stagehand’s job is comparable to a goalie. A majority of the time, it’s thankless, difficult work that goes unnoticed if executed correctly. But stagehands are the first to take the blame when things go wrong. “The artist [needs a crew]…that safely unloads trucks in a timely manner. You can’t just grab random guys off the street to do this, either. We are the manpower that gets these shows in and out in a safe, efficient process,” Byron explains.
Byron tells me that stage hands often take part in setting up the stage, lights, and sound, connecting the artist’s equipment with the venue’s electronic set up. It’s neither simple nor easy. And if the government or the industry doesn’t provide financial help soon, crew chiefs like Byron will be tasked with hiring and training all new crews who have less familiarity with the equipment, and less experience. “If this goes on for a long time without some kind of incentive to keep people in the industry, then we’ll be tasked with training a whole new set of people to perform a very, very specialized task,” says Byron. The lasting effect could have extreme ramifications for not only the live music industry, but surrounding businesses like bars, nightclubs, restaurants, and attractions, all of whose sales increase during live shows.
Give the people what they want?
Fans of The Neighbourhood gather at Terminal 5 in Manhattan for a concert. Photo by Zach Hitt.
Frequent attendees of live music have voiced their concern on social media and in public. Some people want economies to reopen immediately, while others have shared concerns of spreading the COVID-19 virus. But while these fans have the safety of their homes and many have other jobs to return to, stage crews will likely be the last group of people to restart their employment. “We were the first to be shut down and we’ll be the last to go back to work,” says Byron.
Who are those guys backstage?
While many people understand that putting on a live show is a team effort, many do not understand the role of a stage crew. And to add confusion, major touring bands have their own road crew, or “roadies,” that differ from stage crew. A road crew is a team of technicians that travels with the performer to assist the artist with the equipment they bring, such as guitars or drums. Stage crews function as a bridge between the artist’s equipment, and the venue’s, such as the speaker system, lights, and sound mixers. In order for a show’s success, the two teams have to work together.
In most venues, especially larger ones, an event employs a team of specialists to lay tracks for a performance. This includes building a heavy stage, lifting bulky speakers, and hoisting enormous light shows to extreme heights. Falls, injuries, and series harm all sit and wait for the first sight of a shaky team or wavering leadership.
Different Vans, Different Plans
Some stage hands moonlight as roadies for touring artists. I met Luis “Lou” Rodriguez working on stage and A/V gigs around NYC. Rodriguez’ professionalism cannot be overstated. Along with local A/V gigs, he started working as the monitor engineer for Big Sean in 2015. Rodriguez takes responsibility for the sound heard by the artists in the stage monitors. He’s carved several big name notches on his stage belt, including The Bronx’s Cardi B, Chicago’s Common, and Yo Gotti from Memphis.
A roadie fixes the sustain pedal on a grand piano prior to a Jojo and Jordan XL show in Queens, NY.
Photo by Zach Hitt
Help Wanted
Nowadays, stage techs and roadies struggle in the same predicament: finding work. Since it is not easy to switch careers, many of those who used to lift heavy speakers and lights now depend on the kindness of tax dollars and crowdfunding to make ends meet. “There are crew members who have not gotten ahead of this. There are no shows, so that means no income for us. But we still have lives to lead,” says Rodriguez. “Everything around the house has gotten tighter.”
While the American government sent out a $1,200 check to adult citizens two months ago, a statistically low number of people live in areas where this covers more than one month of rent. An additional $600 sporadically made its way to certain qualifying individuals, but this has not alleviated the struggle, especially considering that most stage hands live in major cities where rent and medical bills can swiftly pile, Rodriguez tells me.
Will we see live shows again soon?
Different experts have shared opinions on when major US industries such as shows and sports will reopen to the public. While Dr. Anthony Fauci, a reputable infectious disease specialist, has repeatedly warned that the US should stay seated until we have a vaccine. Others propose middle ground: a plan to reopen. Either way, the day that hundreds of people can stand close together in the same room is undetermined.
“There’s no set day,” Rodriguez says. “In Europe, they’re trying a few things out. They’re holding some festivals while social distancing, so the audio set up [and my job] pretty much stays the same.”
Ending one song and starting another
Even if the US reopens, many people and venues fell behind on bills long ago. For this reason, several groups have proposed petitions for government intervention and assistance. A UK protest, themed “Red Alert,” saw many venues shine red lights outside as stage techs walked through the streets with equipment cases, according to a report by The BBC. The uproar has walked hand in hand with organizations like NIVA, or National Independent Venue Association to lobby for bills like The Save Our Stages Act, a bill which proposes $10 Billion Dollars in funding venues and stage crews during the financial burden of the COVID-19 outbreak. New York Senator Charles Schumer co-sponsored the bill.
Either way, the stage hand and roadie are both important parts of the live music industry, and the economy at large. Without them, we don’t have live shows. And without live shows, our economy sees less stimulation as live shows directly impact their surrounding environments negatively. This means a noticeable decline in sales for bars, nightclubs, and more. “I don’t know if it’s financially viable to put on the shows without an audience. They still have the paperwork, the utility, the taxes. There’s all the employees, stage crew, bartenders, security. How long can they last?” Byron considers.
People selling merchandise outside The Capital Theatre. Photo by Chad Anderson.
For The Capital Theatre, owned by Peter Shapiro, efforts to keep the venue open included an outdoor merchandise sale featuring hats, masks, and posters. Additionally, the sign outside the building directs those who love live music to call Congress and support SaveOurStages.
The sign outside The Capital Theatre. Photo by Chad Anderson.
What Can We Do for the Stage Crew?
The public must call upon political leaders to pass new legislation in order to help stage hands, roadies, and concert venues. You can read more about Save Our Stages by visiting their website, SaveOurStages.com.
But even with some solutions proposed, unanswered questions about live shows still linger pending a major change, like a vaccine, Byron notes. “Planning a tour is tenuous. Who is gonna ensure the tour? Who is responsible if the artist gets sick and misses a couple days?”
The same could be said about a stage crew: what will they do when they still aren’t allowed to work and the government’s assistance dries up?
Bandcamp announced their plans to waive their revenue on September 4, 2020 from midnight to midnight Pacific Time to support musicians facing hardships during COVID-19. The music company plans to keep waiving their revenue for these first Friday of the month days for the rest of the year.
According to the Crack Magazine when Bandcamp withdrew its fees for a day back in March as a promotional act people ended up buying $3 million worth of music in 24 hours. Since then BandCamp has continued these waved revenue days periodically including a 3 month stretch back in May, June, July of this year as a move intended to help independent artists and labels, who are being affected by the coronavirus pandemic.
According to Bandcamp’s website since the pandemic hit in March, people have bought more than $75 million worth of music and merchandise directly from artists and labels, and to date, fans have paid artists over half a billion dollars on Bandcamp.
Bandcamp started waving it’s revenue on the first of the month back in May saying, “To keep supporting musicians during the Covid-19 pandemic, we are waiving our revenue share on all sales this Friday, May 1, from midnight to midnight PDT. Let’s come together as a community to put money directly into artists’ pockets” via their Twitter page.
To keep supporting musicians during the Covid-19 pandemic, we are waiving our revenue share on all sales this Friday, May 1, from midnight to midnight PDT. Let’s come together as a community to put money directly into artists' pockets: https://t.co/hPhgm7WBR4pic.twitter.com/DG6KYI2IN5
Bandcamp announced plans to continue the first Friday revenue waiving until the end of the year considering the pandemic is far from over. The following dates will continue this first Friday tradition: September 4, 2020, October 2, 2020, November 6, 2020 and December 4, 2020.
New York favorites to check out and support on September 4
Giant Panda Guerilla Dub Squad are a Western New York favorite by reggae fans. They formed in 2011 and are based out of Rochester. Giant Panda Guerilla Dub Squad’s sixth studio album MAKE IT BETTER was released September 16, 2016 on Rootfire Cooperative and debuted at #1 on the Billboard Reggae Chart. Their newest single “Good Love” released on February 7, 2020 is available for $0.99 on Bandcamp along with more of their content.
Aqueous is another Western New York favorite hailing from Buffalo New York. They have a devoted following for their indie-jam rock sound. They have recently made it into the national music scene due to their unique way of performing where no two shows are ever the same. They enjoy blurring the lines between a multitude of styles and genres. Their latest live performance for the Live From Out There streaming performances are available on BandCamp for each song for around $5 along with more of their content.
Consider the Source is another favorite from New York City. Consider the Source is an instrumental trio formed in 2004. They are self acclaimed SiFi/ MiddleEaster/ Fusion sound that breaks normal genre concepts. The group has released five studio albums, two live albums, and one compilation album. They have become widely known especially by Radiohead fans for their Radiohead inspired performances. Their latest album You Are Literally A Metaphor was dropped in 2019 and is available on Bandcamp for $10 along with more of their content.
For more information on Bandcamp and their first Friday revenue waiving visit their website.
