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 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.
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.
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.
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.”
Miserable Chillers’ new album Audience of Summer has been released today, Friday, August 7. Chillers’ songs primarily deal with growth and exploration, especially as climate change irreversibly alters our natural landscape.
Miserable Chillers is a baroque pop project created by Miguel Gallego. While Gallego previously released three EPs, Audience of Summer is his full-length debut album. Its release was preceded by three singles: “La nave del olvido,” “The Glass,” and the album opener, “Saga’s Sword.” Made up of nine short tracks, Audience of Summer is a deeply pleasant listening experience that floats right by.
Despite Gallego’s gloomy pseudonym, many of the songs are cool and upbeat, especially early on in the album. “Saga’s Sword” in particular has a beachy quality (further accentuated by the album cover), whereas vaporwave influences reign supreme on “La nove del olvido.” This is most likely intentional: vaporwave tends to satirize consumerism, and the track is about finding wrappers, plastic bags, and other eco-unfriendly debris on the ocean floor. The album track “Card Captor” is also a standout, in which Gallego’s vocals channel Imogen Heap over mesmerizing synths.
Although a Brooklynite, Miguel Gallego grew up in suburban New Jersey. His fascination with nature began with a “bizarrely bucolic” creek in the woods beside his house, which he later discovered was man-made. “[Audience of Summer] is a document of where I was before things changed permanently and abruptly,” Gallego said in a press release. “I feel a personal affection for myself growing as a person and as an artist as I made this.”
Audience of Summer is now available for streaming, as well as on digital album and cassette. 50% of proceeds for the latter formats on Bandcamp are going to Bed-Stuy Strong through August 7. Bed-Stuy Strong is an organization that provides food assistance in Brooklyn’s Bedford-Stuyvesant neighborhood.
For more information, see Miserable Chiller’s Bandcamp page.
Keytracks: Saga’s Sword, La Nave del Olvido, Card Captor
On August 14, Brooklyn-based band Gawn will release their debut album, Thee Essence Ov Everything. The band’s newest single, “Pushed Aside,” is available to stream now.
Photo from @g_a_w_n on Instagram
Thee Essence Ov Everything is the perfect mix of soft, indie, and electric rock. Each song is individually interesting but maintains in harmony with the rest of the record. I had the opportunity to talk to Zach Koeing about Gawn, the band’s soul, about the new track and album.
Marilyn Feerick: How did you first get into music?
Zach Koeing: I started playing music probably when I was 10 years old. I grew up in a house with musicians. My dad was a guitar player and songwriter and he taught me to play guitar.
MF: What does “Pushed Aside” mean to you?
ZK: The meaning of the song and the lyrics is kinda just moving on from old friendships that have faded away, maybe because they’re toxic or people change.
MF: I read that it was hard to get one solid group to consistently do shows, so you play with different people almost every night.
ZK: When the project first started, it was more of just a recording project. It was different friends coming to the studio, handing out, laying down some tracks, writing some songs together, and when it kinda came down to shows, it seemed like a lot of people’s schedules were clashing with each other and stuff like that. So, it just seemed to be a lot less stress ad a lot easier to get a group of guys together on the flay than try to rely on just one group of people.
MF: Is having a rotating band more confusing, or does it help you keep everything more fresh?
ZK: I think it sounds like it would be more confusing, but it does feel like it is fresh because every single time that I sit down with a new group of people, it feels like I’m able to come up with something new and something original. With the same group of guys, it would seem like it would be harder to come up with new stuff. There’s definitely different feels. People play differently, and ideas some of the guys will bring to the table will just be kind of on a whim and it’s just like ‘that was it, let’s keep it,’ and if that guy wasn’t there that night, it wouldn’t have happened.
MF: How has COVID-19 and the quarantine affected you creatively? Are you writing anything new?
ZK: Before COVID, we were talking to our publicist about doing PR and all the promotions and everything for [the album], and out of nowhere, the country was shut down and we were kinda just like ‘oh no what are we gonna do? Are we gonna tour, should the record come out, should we go with it?’ And especially during the black lives matter protests, we didn’t want to be shining any light on us when there’s something more important going on. So we decided to basically just put it on the back burner until we started to find out what was going on in the world. During that time I had a little four track recorder at my house that I sat next to, like, every morning and every night just writing new ideas, because we weren’t working or anything so we were just kinda adjusting…to being home all the time. And I had my own little recording setup. So, I recorded about 30 new ideas on a four track during quarantine.
MF: And lastly, do you have any plans for projects once quarantine is over?
ZK: Me and the guys recorded two new songs probably like a month ago, so we plan on releasing probably a seven inch after we do the record and then hopefully next year we’ll be able to tour.
Stream “Pushed Aside” and other singles by Gawn in the meantime before Thee Essence Ov Everything comes out on August 14.
An Albany passion project amongst friends has evolved into a molecular musical composition, otherwise known as Bendt. The four-piece rock group strands undoubted rock heritage with a meticulous nuance of modern yet technical tangents. In their most recent, and debut full length, Bendt tells a story that clearly roots deeper than their sonic surface.
Bendt’s nine track album, Brightness in the Barrens, is sequenced in such a way that provokes the ear. With each track comes a new tone, walking you up a spiral staircase. It’s that moment where you inch closer, adjust your ear and grow more curious with each step. “Encumbered,” marks that sonic threshold where you’ve now entered Bent’s world – The Rock n’ Roll egg has been cracked and mutates before your own eyes.
A Lonely shadow wearing down
The flooding ends but the flames abound
With knowledge worth its weight in gold
Encumbered minds best left unsold
“Encumbered” – Bendt
Notably, Bendt has made an effort with the albums opening track “Symptoms.” It debuted as a single in January and paired with a play-along music video. You can’t knock a band that leads with their musical foot forward. The opening hook is gritty with drum licks that make the listener jump more than once. Lead guitarist, Carl Blackwood, is impressive as he takes the bridge to atmospherical heights. Each instrument colors the piece in their own right, but Bendt is just getting warmed up.
Bendt has that iconic rock sound, but thrives in their subtle textures. Tracks like “Dire Elevation,” “13th” and “Don’t” start at utter ends of the spectrum and contrast each other brilliantly. It’s a physical fitness test of the musical minds. Nothing yields way. Everything is continually changing.
Bendt @ Sonelab Recording Studio 12/16/18 – Bryan Lasky
Without ample background, Bendt punningly plays on the notes between the notes. Highlighting on a personal favorite, “Knife” cuts right through the bullshit. Downright gritty rock that highlights the strength of each player. Continually throughout the album Blackwood and bassist, John Longo push and pull against Matt Plummer’s lead vocals. Drummer Cody Bingham doesn’t play like an outright rock drummer. His nuance captures the intricate textures that non-chromatic instruments often miss – taking what’s his and bolstering the energy in the room. Then roaring on the floor tom, sharpening the band back into the hook.
Album outliers “Open Spaces” and “Something” round out this debut and make way for a suspenseful setlist if weaved carefully as interludes, or stacked as dreamy encore.
Bendt is a hip rock band that plays outiside the box. My guess: their live performances will keep the eyes and ears on edge, trying to absorb what’s actually going on. Gridlocked by the pandemic “Brightness in the Barrens” has not had its chance to bloom.
Be sure to check out Bendt’s 2017 self titled EP that holds its own against Brightness in the Barrens eye for eye – or mixed on shuffle. “Odyssey” is a mysterious harmonic that lurks in the musical mastermind of Bendt – giving way with long-winding strums – so you can take it all in once again. It grows.
BOMBZR, one of New York City’s many exciting up and coming musical acts, is here to share some groovy tunes. Born out of the City’s underground funk and jazz scene, BOMBZR are the perfect accompaniment to any Friday night club scene.
“Butterscotch Baby” is one of the groups highlights featuring a slick, infectious hook and a indisputable groove. This track showcases the wide range of talent BOMBZR bring together as a group.
Rich Bomzer, leader of the group says “For me, Butterscotch Baby is a soul driven love song with a little bit of everything that makes up a good R&B song- with horns, strong vocals, talkbox and a great hook.”
“Butterscotch Baby” features Ramon Jackson on vocals, a friend of Bomzer. The two met working with Valerie Simpson at the Sugar Bar in NYC.
Comprised of musicians with working alongside artists such as Elton John, Kanye West, Valerie Simpson and Roy Ayers, BOMBZR have their own original music that mixes retro throwback soul with the new music of today.
To find out more about the band and keep up with what they have going on, follow them on ReverbNation.
Ryan Guay of Street Pharmacy and Giant Panda Guerilla Dub Squad‘s James Searl have unveiled a passion project collaborative track titled “They Don’t Give A $$$$.” Released July 2, both artists spoke to NYS Music about the inspiration and writing process of “They Don’t Give A $$$$” as well as the experience of working together on the track.
Thomas Lent: What would you say was the inspiration behind “They Don’t Give a Fuck”?
Ryan Guay: I had written that chorus in the months before the pandemic and James and I had been in discussion on getting together and collaborating on a song that talked about how the corporate elite sort of use manipulation and tactics to make more money and fill their pockets, and it doesn’t really help anybody but themselves. I thought it would be a really unique chorus to say “they don’t give a fuck” but say it in a way that reflects more what they are actually doing. They don’t want to give up anything to anyone and they will do anything in order to make that happen. So that’s where the initial inspiration for that chorus came from and I sent it in an iPhone memo to James and James and I started writing back and forth with ideas over the phone and I think that’s where James,
James Searl: Yeah, that’s totally right and one of the cool things about collaborating with another artist on a song is that I think to start with, ya know if you go into the office at like 8:30 a.m. and like we put up a vision board or something and we’re gonna put out a perfect song but in my way. It’s conversational which is how music is, and Ryan and I, we met each other fairly recently. In the past couple of years. We’ve had some nice conversations just about all the things we relate to together and all the things we have in common especially growing up so close to each other but also divided by a national boundary. I feel like this chorus kept making its way into the conversation and what we were talking about things that like, Ryan, forgive me I think you studied history in school?
RG: Yes, I studied history
JS: I studied international relations and we have just like the same interests but different knowledge. We would be telling people different things and be like, “Ya they really don’t give a fuck”. Not only was it the chorus that Ryan had sent to me but it would always keep coming up in our conversations and I feel like that’s a really fun loop to get into creatively was like, it’s a natural, how they bring it all together, especially as musicians in this time, I think it can get a little bit cliché to say, “Oh we’re writing a song that’s relevant to this time”. I think as an artist, it’s our responsibility to kind of talk about what’s always been happening, and until that goes out of style its always going to be in style. It’s not that it’s like for this time or for that time but for all time and talking about the indigenous situation in both the United States and in Canada or Black Lives Matter, it’s just, the common denominator is always that theirs this very rich, mostly white, mostly male, very small population that’s kind of…I wouldn’t say pulling the strings necessarily, but taking advantage of the divisiveness especially. I think another thing that one particular circumstance Ryan had called me and said “hey they’re coming down the street and there’s all of these white supremacy signs being held and all of these alt-right people looking respectable; they don’t look like neo-Nazis like we’re used to seeing, they’re wearing nice shirts and kakis”
TL: Yeah, they changed their image after Charlottesville
JS: They did and Ryan was like “I’ve never seen this in Canada before” and it was just funny (it wasn’t funny) but he was earnestly, very concerned. He went and talked to the leader of the right-wing group that was talking about getting rid of immigrants and everything and it was just so wild to be seeing this happening in the States and in Canada. When we were growing up, the first song I wrote in a band was called “A Groove To Kick a Nazis Ass Too” and it was all about not being racist and it was cool to be against that when we were younger so it’s hard to believe that this is a trending thing with young men who would be in our similar positions now. It’s just, “How did this catch on?” I would say that it has a lot to do with how the song came together.
RG: That happened in January of 2019 in the dead of winter. These guys were putting up signs on the corner of the street in my hometown of 50,000 people, signs that were encouraging people to kick the immigrants out of Canada. “Not my Canada,” stuff like that. I’ve never seen anything like that before, ever, and the first person I messaged and sent a picture too of this occurrence was James. Because we talked about this boiling point in the United States and I never saw it, I never expected that. They had their polo shirts and they’re eating their double-doubles, just “smiling and waving” The next minute they were putting signs up near my rental property. I live in the basement of one. I rent housing to international students and they were putting signs up on these lawns marking where international students lived saying, “Kick them out”. I had never seen anything like it.
TL: With the ending of the visa program, they have basically done that at this point
RG: That’s exactly what they did.
JS: My wife is a professor and every professor is up in arms because it’s cruel to the students involved and it’s dumb, it just doesn’t make any sense. It’s clearly racist and it’s part of the xenophobic atmosphere that’s in politics right now. Another thing is that when you come across it now, these young men now are reading…oh, why can’t I think of anybody’s name?
TL: Evola? Marcus Aurelius is often interpreted as one of their heroes.
JS: Ben Shapiro! When they read Ben Shapiro or even just Jordan Peterson. Whatever powers that be that are trying to pit you against these immigrants, they don’t give a fuck about you. Like these young MAGA guys in their hats. I remember a couple of years ago these young white boys with their MAGA hats came to the front of the stage and know every word to every song so it’s kinda like they’re fans but they know that they’re trolling us and it’s just like, I don’t know why you guys are bringing this attention to yourself. The people that you are supporting, they don’t give a fuck about you. They’re not going to share when it comes time for that. All of the things that we heard before when it comes time for you to reach out to help, there is not gonna be anybody there. Ya know, you can’t eat money and the indigenous people have told us this my whole life. Be wary of these people that are trying to ruin the environment and turn a blind eye to it. In the end they’re trying to kill all of us and they’ll kill all of you too. They don’t care.
RG: Yeah, I’m metis and I’ve got family members that grew up on a reserve and, you know, colonial imperialism is….
TL: I’m sorry, can I interrupt? You said you were metis – can you explain what that is?
RG: Metis means I’m mixed blood, I have some indigenous background.
LT: Thank you for the clarification.
RG: Yeah, yeah no problem. So yeah, as you know, colonial imperialism is somewhat of a dirty word. The Christianization of indigenous people, you know, is really a disguise for the economic motive of imperialism of exploited resources. You know, that’s Canada’s terrible, dirty secret, really. This attempt to, quote-unquote, assimilate indigenous people openly has left a gaping wound in the culture and indigenous people are, you know, marginalized most in our country. The last residential school closed in 1996, it’s not that long ago. I think a lot of people have this perception that Canada is all hunky-dory, but it’s not, especially when it comes to the treatment of indigenous people and I know that from firsthand experience. We have the pipeline/railroad controversy clip in the first part of the music video, the Wet’suwet’en controversy. It’s a four hundred and sixteen-mile pipeline they protested going through their land for reasons and I’m not sure if you’re familiar with this, but in Canada, almost all the indigenous problems, almost all of the First Nations in Canada and its allies formed a massive national railroad blockade in protest. To stop the trade and they stopped, the C. N. for a month. Around when the coronavirus actually started to take shape. The RCMP, which is equivalent to U.S. federal police were created for the purpose of controlling the indigenous population in the eighteen hundreds. So they were sent in to do what they were apparently meant to do in stopping the blockade and if the coronavirus didn’t happen they would probably have gotten a lot more got international attention, but that’s what the significance of the whole clip is.
TL: After finding your inspiration, how would you describe the writing process for “They don’t give a $$$$?”
RG: Okay, I’ll start with that one James. I pounded out the chorus on an acoustic guitar and just repeated it over and over and over again so I could remember it. I wasn’t near anywhere to recording and it became something. It has been an ongoing theme in our conversations. It always comes back to that. So. I think when music, sometimes theirs just something divine about it. You know, you are the vessel that music is coming through, and that lyric, melody, just came out and it didn’t change at all. I just sent it to James and said. “Hey, James what do you think of this?” And then James right away was sending me lyrics. He was inspired by it and I was inspired by what he was sending me. So then I got into a computer and started to produce it and send him some ideas with an electric guitar just some drum tracks on-we did it for the most part electronically. This was in 2019 in the winter/fall when we started to send these ideas back and forth. I remember standing in line somewhere in the mall and James sent me a great idea for what became the second half of that verse. The second half of the second verse. And I just felt that we had something of serious significance because he was able to take my hook and make it mean something. You can say they don’t give a fuck about you and you know it could be like. Who is it? What does that mean? But James is able to channel that marriage of lyrics and melody to put it together to support the thesis statement. To be fair James drove a very far distance to make this happen.
JS: Ya I drove up to Welland Ontario which is ya know a beautiful place. I wanted to go see where Ryan is from and where Street Pharmacy does their work because since we’ve gotten to know each other it’s like finding old friends that you knew were there but you didn’t know where. So Welland was like a very familiar feeling place. It is only 20-30 minutes over the border from Buffalo. So it’s almost exactly where I’m from. And ya I just went there and I brought my base with me and Ryan had the drums and some guitars went down. I sat down and I played the bass line. The drummer Ivan was also there so it was cool to feel the vibe of the drummer in the room with me while I was playing. It felt very electric to finally sit down. When I figured out what the baseline was going to be I was very excited. That’s not always the situation when you’re with your band. Maybe when you’re alone or just with the producer. This was like with we’re making something fresh, and it was the first time we’ve done that. Ryan, as we were getting on the phone- and it was like the middle of the conference call that I realized he was extremely talented and capable and was engineering everything. He has a special touch and I love the way he mixes these things and makes them sound good.
That was also very inspiring sonically alone. And then just working on the sonics of the tune. I actually wrote like a book with different verses for the song over time and then on that trip I think I was a little bit exhausted, traveling, just like living my life, which is like trying to balance a lot of things that one time and I didn’t end up getting to lay down the vocals on that trip. I really liked the verses that I had but we kinda delayed the track and then it came time to be like “Hey I think we should really put this together this is a message that people would really like us to sing” ya know were just artists putting music out there but WE want to say it. That’s another part of being an artist. It was the first time that I ever sat in my basement at night and wrote some lyrics, recorded it, and send it to Ryan and Adam to use that track, as a point of pride for myself, to say that “I’m good, we can do this” and I don’t have to leave my house during the quarantine. I can lay down my vocals for Ryan who is in Welland and we can make a song and we can put it out. Like this is using the tools that we have to our advantage. That’s like kind of how it all came together.
RG: Ya there was a lot of exchanging of material over the internet because the coronavirus made it almost impossible to meet and then the borders closed. So we just used it to the best of our ability. There were a lot of other people involved. My friend Mike who plays in a band called Silverstein was very helpful in getting some of the sounds. He was located here and I was sending the files to him in the latter stages. Our friend Adam was on the track and was really happy with the vocals. I think this is one of the first time James engineered his vocals.
JS: Ya it was my first time engineering something that normally someone else would do all the time. The thing that keeps me going is working with people who really know how to engineer their sound and be able to engineer my sound as well. For Adam to think that it was useable-
RG: He (Adam Tune) was really impressed. He’s got a good ear for being able to tell when things are right. And that’s really hard, a lot of people who attempt to engineer, they don’t use their ears. They more or less watch the meters as opposed to listening to the track. A lot of times that’s what people are just starting out do but James’s ear is fantastic. His ability in the studio to capture the moment and put it into a file and record it, especially with his bass tone and his vocal tonality, it was really inspiring for me as an engineer and a producer to be able to pull those takes out fo someone and it was like “WOW let’s try to do some other cool things”. I think at the end we tried some other, Tom Morello Esq, octave, whammy pedal type things with the base where James is going up and down a full octave. It’s almost like a bass solo at the end. That was the most fun part of the process for me, ya know this is something I forgot to mention too. The person who introduced us, who I think wants to remain nameless, came down from Buffalo to meet us and he hand introduced us. I think James has a story about that. It was really cool for him to see the idea that he something that he had sort of an idea, being a fan of Street Pharmacy and then approach me at a show and say “You really need to work with this band their great”. I said “Ok” and the same thing happened to James and it ended up working out.
TL: It sounds like you guys really enjoy collaborating together. Can listeners expect more collaborations?
JS: That’s the hope, ya we certainty want to do that.
RG: Definitely. When you get together in a room with somebody and – I write commercial songs for a living under another name and another company- so I’ve done a lot of co-writing sessions and sessions for corporations and it can be difficult. But James and I have this instant, I think it comes from friendship so, we’re interested in the same things. I don’t think Rochester is too dissimilar from Welland. Because I’m so close to the border I grew up on a lot of American 90’s Alt-Rock, early 90’s late 80’s stuff, and American Punk. James had that background as well, with both of us playing in reggae-oriented bands now and ya know we listen to the same music. 90’s golden age hip-hop, Reggae, Dance hall, and also listening to 90’s alt-rock got us to this place where we can speak the same language. We can play something and be like, “Ya I know what that is it’s giving me a Helmet vibe” and James going “Wow you know Helmet I don’t know anybody who knows Helmet!”. We can talk like that without even really needing to speak. I’m really happy about that, that’s the best thing for me that’s come out of this experience other than having a song that’s very meaningful and I hope that it can help people open their eyes to the seriousness of the situation.
The Greyboy Allstars have re-released their 1994 debut album, West Coast Boogaloo and their surprise new album Como De AllStars. West Coast Boogaloo features Fred Wesley will be reissued on vinyl Friday, Aug. 7. The recording will also appear for the first time digitally on all streaming and download platforms.
The band was quickly embraced by the Grateful Dead and Phish audiences before there even was an actual “jam scene.” The Greyboy Allstars have paved the way for a new generation of bands to play jazz-based improvisation as dance music in rock venues. The Greyboy Allstars consists of saxophonist Karl Denson, guitarist Elgin Park, keyboardist Robert Walter, bassist Chris Stillwell and drummer Aaron Redfield. They are known as some of the most revered players on the modern funk and soul jazz scenes.
When The Greyboy Allstars self-released West Coast Boogaloo in 1994, its eight tunes felt both anachronistic and urgent. But their song, “Fried Grease” centered on an irrepressible new horn riff, bejeweled by wild organ runs and strutting guitar. Built with commanding drum breaks, an itchy bassline, and pensive keys, the song “Gravee” felt like a state of mind that could last forever.
The quintet’s latest album, Como De AllStars is their first in seven years and was released on July 3. It’s 25 years later, and the band is still at it—all while individual members have their own successful careers. Karl Denson plays in The Rolling Stones and his own Tiny Universe, Mike Andrews scores films, most recently The King Of Staten Island, Robert Walter leads his own 20th Congress and plays keys in Phish bassist Mike Gordon’s solo band and Chris Stillwell and Aaron Redfield are an in demand rhythm section with credits stretching from Elton John to Charli XCX. Como De Allstars is a stirring and timely testament to the revolutionary origins and powers of jazz, funk, and their boogaloo blend—and the Greyboy Allstars’ continual ability to deliver them.
Frank Palangi, the homegrown Queensbury, NY indie rock singer, guitarist and musician who has shown he can do anything and everything he sets his mind to, has released his latest video for “Gone Mad.”
Filmed at Sweet Basil’s, as well as his home studio, Palangi coordinated for the video in recent months with Director Cameron Gallagher and Producer Frank Palangi.
The video is composed as an otherworldly talent competition at a mysterious location, which leaves Palangi walking into a rigged scenario and leaving him with no control. “Gone Mad” serves as the third chapter of of recent videos, including “Break These Chains” and “Set Me Free.”
Frank’s music is an evolution of the rock and metal sounds of the 80’s and 90’s with a dose of post-grunge mixed in. Despite the title, “Gone Mad” offers a refreshing and positive outlook that serves up a feeding frenzy of heavy guitar work and deep, gritty vocals.
Follow The Light virtual music festival was announced by We Banjo 3 in celebration of Irish traditions. The festival will take place on August 29, 2020 at 5PM EST. Festival Tickets, Artist Meet & Greets and Exclusive Festival Merchandise are on Sale Now at We Banjo 3’s website.
Follow The Light virtual music festival will work as an ode to the We Banjo 3’s Irish heritage. The festival will feature an evening of musical performances by Gaelic Storm, Sharon Shannon, Nathan Carter and The East Pointers, on top of We Banjo 3. The festival will also host non-music features throughout the evening.
We Banjo 3 debuted in the U.S. in 2012 and are Billboard Bluegrass chart-toppers. We Banjo 3 create a fusion of shared and varied traditions of Americana, Bluegrass, and Celtic music with pop-sensible songcraft to create a unique signature sound. The quartet is made up of Ireland and Nashville sounds and is composed of two sets of brothers Enda & Fergal Scahill and Martin & David Howley.
We Banjo 3 has deep-dived into exploring alternatives to physically taking the stage due to the COVID-19 pandemic. They find connecting with fans through various online performances, fan Q&A’s, live interviews, poetry and book excerpt readings, general banter about topics of interest, and more, gives them a personalized approach to creating fan experiences. Their hope with Follow The Light is to create this immersive experience to a wider audience while shedding the light to the rich Irish culture that they were founded upon.
https://youtu.be/qc9GvnGR3wc
General Admission Tickets, Artist Meet & Greets Upgrades, and Festival Ticket/Exclusive Merchandise bundles are available now on We Banjo 3’s website. The ticket purchase will give the buyer access to the stream for the festival. The stream will be supported on Chromecast, Apple TV, Amazon Fire Stick.
https://youtu.be/YzdNABunUvk
For more information on the Follow The Light Virtual Music Festival visit We Banjo 3’s website.
