The BRIC Celebrate Brooklyn! summer festival continued on Friday, August 27th with a hometown show headlined by Brooklyn native and deep house producer & rapper Yaeji. Support for the night was curated by Yaeji herself, and featured sets by writer, rapper, and producer Nappy Nina followed by singer-songwriter KeiyaA. Celebrate Brooklyn! came back strong in 2021 with a stacked lineup of free concerts. Friday night was another celebration of the return to live music by many in attendance as well as Yaeji.
Yaeji at BRIC Celebrate Brooklyn! Photo by Buscar Photo
Thunderstorms threatened the show, even delaying the opening of doors by about 30 minutes while a quick shower passed by. After that, we lucked out the rest of the night without any rain but the delay unfortunately shortened the opening sets a bit. Nappy Nina was on first, delivering a high energy rap performance to an already large crowd at the bandshell. KeiyaA followed; backed by a full band she performed a set of soulful R&B. Walking around the crowd you can hear KeiyaA’s powerful voice echoing through the park.
KeiyaA at BRIC Celebrate Brooklyn! Photo by Buscar Photo
When Yaeji took the stage, she was visibly humbled by the enormous reception she received from the crowd. She was born in Flushing, Queens to a Korean family and spent much of her young life living in Korea. She moved back to the United States to attend Carnegie Mellon University where she learned to DJ as a hobby at after-hours parties. This culminating in Yaeji combining her love for music and collaboration with electronica to forge her distinct deep house (hip-house?) sound. Now a Brooklyn resident, her debut came in 2017 with a self-titled EP, but notoriety came flowing in 2020 after the release of the mixtape What We Drew. This mixtape includes the track “Waking Up Down” which features Yaeji’s subtle rap style over light and airy house beats.
Yaeji at BRIC Celebrate Brooklyn! Photo by Buscar Photo
Yaeji packed in the bandshell, even without having any ‘full length’ albums to her name. In the true nature of being an artist in today’s internet age, Yaeji has been steadily releasing music since her debut in 2020. This has been in the form of singles and collaborations, two EPs titled Yaeij and EP2, remixes, and most recently a single featuring DiAN called “PAC-TIVE.” You can see the music video for this single below, featuring an immersion into a modern day PAC-MAN universe. Other songs included in the set at Celebrate Brooklyn! were “Raingurl” from EP2 as well as “Guap” from the self-titled EP.
Yaeji has been prolific over the last few years, and this will most likely continue. After breaking the ice with a hometown show on Friday night, there is no doubt that more creative energy and live shows will be in the near future. A last minute, early Sunday morning DJ set has just been added at Nowadays in Ridgewood – more info for that show is HERE. There is no official tour on the books as of now, but you can see Yaeji on the festival stages in September with appearances at Bonnaroo, Pitchfork, and Life is Beautiful.
Yaeji at BRIC Celebrate Brooklyn! Photo by Buscar Photo
The BRIC Celebrate Brooklyn! festival continues on Saturday with San Fermin and Son Little, followed by Glass Animals on Tuesday. Find the full schedule HERE.
Dead and Company continued their Empire State run on Wednesday, August 25 at Darien Lake Performing Arts Center, with the amusement park behind the venue giving the performance an county fair vibe. John Mayer sported a pair of headphones after noticing a slight ringing in his ears post show in Bethel Woods and wanted to protect his hearing. The headphones also allowed him to hear the band better and in turn, play in the band better.
photo by Josh Davis
Mayer immediately lit up the show with opener “Viola Lee Blues.” In a Tales from the Golden Road conversation with NYS Music, Mayer said he loved bringing his approach to the Grateful Dead’s mixolydian blues catalog. “A song like ‘Viola Lee Blues’ I can really pull the Hendrix thing to it. It’s not that different.” Thus, “Viola Lee Blues” jammed and was weaved into both sets. Mayer stayed out front vocally on “Cold Rain and Snow” that hit inland from Lake Ontario to cool off the summer crowd. Bob Weir got on the mic for “Feel Like A Stranger” to remind the crowd that it’s “gonna be a long long crazy silky night” with Oteil Burbridge really fueling the funk level. He told NYS Music earlier this year “Well I mean there is so much funk in the Grateful Dead’s music. The Jerry Bands’ music. It’s just like there for the picking. So I just lean into it” Oteil and John really bring a new energy to this celebrated catalog and traded lead vocals on a swaying “Ship of Fools.”
The New York western plain vibe continued with “Friend of the Devil” that had Jeff Chimenti leading with saloon style piano – Chimenti has been playing with Bobby in “Ratdog” for a reason for over 20 years. Bob Weir started howling vocally on “Loose Lucy,” with a tone that night very in the moment and full of raw emotion. Mayer got another stab at the mixolydian blues to close the set with “New Speedway Boogie”. Mayer said of the musical concept in Dead and Co., “It’s very ascending and descending that’s what’s allows people to ride it”
photo by Josh Davis
The second set started with a nod to the western terrain of Darien, with “Truckin’” (up to Buffalo), followed by the first song Dead and Company ever played as a group, naturally, “Playing in the Band.” A beyond welcoming composition for Mayer, Burbridge, and Chimenti who joined the 3 core members on this musical journey six years ago. Burbridge said in an interview with NYS Music in Miami about the band’s first gig: “That was a harrowing night. That was a trip. That beginning time. But when Bill Walton says you’re good, you stop worrying.”
The ensemble then unfolded a “China Cat Sunflower” into a “I Know You Rider” that shone the light back on Weir’s vocals, taking on the spirit animal of an old wolf howling under the night tent at Darien. This sole survivor momentum lead into the band’s tribute to Rolling Stones drummer Charlie Watts who passed earlier this week with a cover of “The Last Time”. Again Bob Weir lead the pack in the moment, “This could be the last time, I don’t know.” Billy and Mickey’s “Drums” segment opened up some chakras with their vibrations, and the band returned for “Space.” After orbiting it was time to bring the children home with “Uncle John’s Band” The final song of the evening brought great imagery to a late August night with “Wharf Rats” and the band came full circle by closing the show with a reprise of “Playing in the Band.”
The encore was truly chilling as they covered Bob Dylan’s “Knocking on Heavens Door.” Although Bobby and John both sported cut off tees like Guns & Roses, this was truly their take on this song, a very heavy way to end a show. A night of music like this brings all your feelings to the surface. Jerry Garcia once said of music’s effects “I don’t know why. It’s the same reason why you like some kind of music and not others. There’s something about it YOU like. Ultimately I don’t find it’s in my best interests to try and analyze it. Since it’s fundamentally emotional.”
Dead and Company – Darien Lake Amphitheater, Darien Center, NY – 8/25/21
Set 1: Viola Lee Blues > Cold Rain and Snow, Feel Like a Stranger, Ship of Fools, Friend of the Devil, Loose Lucy > New Speedway Boogie
Set 2: Truckin’ > Playing In The Band > Viola Lee Blues > China Cat Sunflower > I Know You Rider > The Last Time* > Drums/Space > Uncle John’s Band > Wharf Rat > Playing In The Band (Reprise)
It was a calm, quiet Wednesday night in Greenwich Village, Manhattan. With the streets hardly packed, some headed home to end their evenings early, others made their way to the Subway for their night shifts, while scattered groups searched for a potential brouhaha to jumpstart their night. New York City has a suis generis aura because not only is it one of the world’s marquee Metropolitis, but it is also the cultural hub of the world. And on any given night something amazing could be happening around the corner.
Such was the atmosphere inside the intimate setting of Blue Note Jazz Club. Founded in 1981, Blue Note’s motto is centered around preserving the history of jazz, according to their website. “The club is a place where progression and innovation – the foundations of jazz – are encouraged and practiced on a nightly basis…while regularly showcasing up-and-coming jazz, soul, hip-hop, R&B and funk artists” and has seen the likes of Stevie Wonder, Tony Bennett, Liza Minelli, and Quincy Jones grace their stage.
But on this night, Blue Note did not play host to any developing talent, but rather two established hip hop legends. For two consecutive nights on August 24 & 25, GZA of the Wu Tang Clan headlined the culturally historic club accompanied by Talib Kweli and of course live music as the Phunky Nomads shared the stage with the two hip hop greats.
Thus, on a cozy summer night the two Brooklynite’s performed a medley of records that reminded those in attendance of a simpler time in the world. Fans lightly serenaded the club, singing along to some of GZA and Wu Tang Clan’s more recognizable records and even some album cuts.
GZA is a master of his craft, so it came as no surprise that he had memorized not only his rhymes, but those of his groupmates as well, performing several verses from the deceased Ol’ Dirty Bastard and other Clan members. In one sequence in particular, the Liquid Swords emcee began performing the Clan’s hit record, “Triumph.” You know, the one where Inspectah Deck “lyrically performs armed robbery” before transitioning into “Shame on a N***a” and performing ODB’s verse.
The live music only added to the atmosphere as the Phunky Nomads took command of each record, seamlessly sequencing between jazz, classical, funk, hip hop and rock instrumentation. They made each record their own, evident when GZA began performing “C.R.E.A.M.” backed with classical sounding music (They even did a rendition of The O’Jays’ “For The Love of Money”). Their choice of musical direction often kept the audience on edge, wondering what new possible twist they would put to classic Clan records.
Lake Street Dive performed for a sold-out crowd Sunday night at the Shelburne Museum in Shelburne, VT. The show marked their third date on a U.S. tour promoting their acclaimed new record Obviously.
Formed in 2004, Lake Street Dive first gained viral recognition after a series of sidewalk singing videos and a jazzy, lilting cover of “I Want You Back” by the Jackson 5, highlighting lead singer Rachael Pierce’s powerhouse voice.
The group has always incorporated aspects of jazz, pop, soul and R&B into their offbeat covers and originals, and on Obviously the blend has never sounded more seamless. With production from Grammy-winning hip-hop producer Mike Elizondo, each song delicately showcases each band members mind-blowing musical capability while keeping a brisk, light pace. Though the production quality is notable, the “magic in a bottle” the quartet captures live has energized their fan base for years. Sunday was far from the first time the band has drawn a crowd to Shelburne or Burlington.
Though Hurricane Henri’s clouds were especially menacing on the eve of the show, they didn’t stop attendees, lawn chairs in hand, from flocking to the outdoor venue. Canadian musician Allison Russell, who will open for LSD on a few tour dates, kicked the night off with songs from her latest album, Outside Child. Supported by Larissa Maestro on the cello and Mandy Fer, of the band Sway Wild on electric guitar, Russell’s mesmerizing voice anchored the opening set. A light rainfall at sunset got the crowd excited. Many shouldered on rain jackets and rushed to the stage to celebrate the imminent rainbow as Russell belted her soul out on “Nightflyer.”
As mentioned, Vermont is no stranger to a good LSD show. The excitement for their set was palpable as fans of all ages rushed the barrier, eagerly awaiting the group to step on stage. The bounce of Pierce’s red hair as she strutted onstage sent waves of cheers through the crowd, soon replaced by dancing as the band jumped onto the steppy, yacht-rock tempo of opener “Know That I Know.” Pierce’s unique and show stopping voice does front flips over the bands steady, physical grooves.
Leading into an older song, “Mistakes,” Pierce took the mic to speak about the band’s return to touring.
“We’re a little rusty, and we’re gonna have to make some mistakes,” she said. “But we have to play through the mistakes. You play through the mistakes because you don’t want to teach yourself to fear the mistakes.”
The statement felt deeply relatable and also ironic, as the group went on to play a harmonious, heart-pumping 19-song set. Lake Street Dive have been playing together for nearly two decades, and their musical bond and attunedeness to each other were apparent with every beat.
Though founding member Mike “McDuck” Olsen departed the band after 17 years this May, the music feels anything but lacking. Touring keyboardist Akie Bermiss, who officially joined the band in 2017, is the perfect foil to Pierce’s vocals, apparent on the soaring and playful duet “Same Old News.” As both a keyboardist and vocalist, Bermiss is as versatile as he is singular.
Performing “Alone Again,” a Bermiss release with Greg Mayo, his vivid scenes and casually bleak humor are an exciting contrast to an initially mourning piano riff. The line “I’m learning how to microbrew” struck a chord in craft-beer heavy VT. “He knows his audience,” a woman laughed to her friend as they swayed to the beat.
Bassist Bridget Kearney, a commanding force within the band from the start, inarguably showed her prowess, absolutely shredding an upright bass as nimbly as an electric guitar. On standout performance of “Neighbor Song,” a track from Lake Street Dive’s 2010 self-titled project, Kearney’s gentle performance was expressive and haunting, psychically in tune with Pierce’s lilting cabaret-style performance.
After the emotional “Nobody’s Stopping You Now,” the band came together at the center of the stage and performed three quieter numbers, “Stop Crying,” “Feels Like The Last Time,” and “Neighbor Song,” every one of them to lush harmonies. In moments like these, it’s clear how the band can combine and defy genres so smoothly; they have the skill to do so.
After closing their main set with the arena-worthy crowd favorite “Good Kisser,” the band happily came on for a 2-song encore. They performed Obviously’s stunning closer “Sarah,” the complex harmonies of which could comfortably fit over a full symphony. As the band closed with a cover of The Beatles’ classic “Don’t Let Me Down,” a full moon peeked out from behind the clouds.
Lake Street Dive’s Sunday show captured what makes them so great: their playfulness and skill, their eclectic interest in genre-bending rhythms and the pure joy they capture in so many of their songs. One could even say the band captured what’s so great about live music in general – a band and their audience, grooving together in heartbreak, happiness or healing over the same beat.
Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear new music from Senior Living, Fenton Hardy and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Senior Living
Senior Living is a punk and shoegaze band from Albany, NY. Like the best of both worlds, their music is meant to be listened to with the volume cranked all the way up (their Instagram bio makes note of this, simply stating “bring earplugs yo”). On Senior Living’s debut album, Anniversaries, they combine both genres with ease, offering a plausible answer to how Green Day might sound covering My Bloody Valentine, or vice versa. The best tracks to showcase this fusion are the album’s shortest and longest tracks: opener “Carousel,” and penultimate song “Sourir.”
Fenton Hardy
Fenton Hardy’s five-minute “Morose” is much sunnier than its title suggests. The opening track from his EP, The Ghost, it references those Mondays where we don’t feel like getting out of bed: “Friday, you taste like honey / Oh Monday, like tequila and regret.” Nevertheless, it encourages the listener to face the day ahead. The keyboard and bass have lots to do here, acting as the intro and outro respectively.
Sarah King
Vermont singer-songwriter Sarah King puts a feminist spin on folk ballads with her EP, The Hour. She describes “Poison” as “a soul-country anthem inspired by [Alexandria Ocasio-Cortez] and her strength dealing with men belittling her.” The title stems from the lyric, “I gave you a taste of your own medicine, and you say I poisoned you.” Each of The Hour’s five songs approach feminism, empowerment and trauma from a different angle, including a cover of Black Sabbath’s “War Pigs.” The EP was produced by Simone Felice (The Lumineers, Jade Bird), who was impressed after King cold-emailed him.
Under the hazy light of 2021’s August Full Moon, it became apparent that attendees of Fred The Festival at LOCKN’ Farm were, in fact, getting involved. Fred, a festival hosted by Goose, included side projects of the band itself like Vasudo, Elephantproof, and the aGOOSEtic trio, as well as Peter Anspach’s debut acoustic solo performance. The festival provided a refreshing and wholesome interpretation of what a music festival could look like without ever compromising on the quality of production and music.
Stormy weather
Is It The Wind Upon My Neck?
Turned Clouds
Despite threatening skies that seem to always make for the most beautiful sunset, security guards seemed disinterested in the potential weather and said that the storms always passed behind the farm. They did.
Is It The Glowing Of The Moon?
On the weekend of August 20-22. the full moon illuminated the rolling fields at Lockn Farms in Arrington, VA.
It is said that if a seeker perceives their environment to be safe, then the light of a full moon can illuminate new intuitive understanding about how to navigate through darkness or uncertain times. New and excellent music can be medicinal in properties. ElephantProof gave the entire crowd a dose of the rare form of stoke that only comes from that ear-tingly reserved only for future favorite artists.
Sam Bardini and Andrew Goedde making Garcia’s Forest a safer, brighter, more musical place
The real magic of this moon, this gathering, and this grand reveal was that many found out just how loved they were by their chosen family. The plot twist theme seemed to be that the haze hills and dark pathways were much easier to navigate when in the company of others.
Oasis in the depth of the night illuminated by the Lover’s hoops and serenaded by the wise minstrel himself
It proved to be especially helpful when that company happened to be carrying an illuminated hula hoop at a silent disco half way back to camp. Doey Joey and Becky provided more than just a boogie-down pit stop. They offered their love and shared their creativity without hesitation. Those wise guiding lights and silent dances helped some of those that might have been lost to find their way.
The more time I spend with this (Goose) community the more I realize⦠the people you do things with become a part of you and who you will be. In your blood, family.
Doey Joey
Seekers On The Ridge
LOCKN’ Farm hosted Fred the Festival. At about a day’s drive for most participants, the rolling hills are located in the midst of the stunning Blue Ridge Mountains. The environment allowed for all seekers on the ridge to separate themselves completely from everyday responsibilities. To truly detach allowed for the examination and reevaluation of moonlit discoveries.
Get Involved
The rolling hills and open fields provided the perfect place for games. The “Get Involved Games” were held on the lawn adjacent to the main stage and in front of the much smaller Porch Stage. Color coded teams assembled every morning to play games like tug-of-war, noodle hockey and giant Jenga. Band and crew members captained the teams and provided support from afar due to Covid restrictions.
Participants were actively partying less because they did not want to let their team down during the games. One team member recalled meeting with the captain bright and early to discuss potential strategies for the games ahead. A festival that had games scheduled during an hour that required early bed times with dedicated participants begs the question of if Fred the Festival itself have been an illusion.
In Search Of An Honest Place To Call My Home
Elmeg in Love
One dedicated couple chose Fred to be the place for wedding vow renewals in celebration of their five-year wedding anniversary. After enduring years of tumultuous societal overtones, this couple learned what it truly meant to find meaning in the grounding comfort of the earth and all it has to offer. They live and love in harmony with the land and have honed the ability find joy in the most uncommon places (hint: turn over a rotting log and watch her lose her mind at all the fungi growing). Multi-tiered snow forts and multi colored livestreams filled their time together until restrictions were lifted enough to dawn their chef and spaghetti costumes for Halloween at South Farms in Connecticut way back in November. Goose helped them stay involved with each other.
Adorable Hour
One benefit to waking up early, regardless of game status, was seeing Goose Guitarist Keyboardist, Vocalist Peter Anspach deliver his first solo set on the extremely intimate Porch Stage setup. What could easily make a fabulous segment on a TV show, some fans had their heart strings pulled at the music so much that they lovingly came up with the segment intro that goes a little something like, “On this episode of The Adorable Hour with Peter Anspach: Things that make you say, “Aww.” Peter’s set truly showcased a side of vulnerability and artistic ability in himself that created a bond between the crowd and the man in only the way accepting someone when they try something new can. To lead by example in that difficult and personal way set a precedent for others to take into consideration what can be gained with honesty and vulnerability.
Danny taking a compliment
It is said that the moon represents illusion and that what might have been seen under the moonlight could have been skewed. Fred the Festival revealed the depth of misinterpretation held about what a music festival should look like. Many traveled far and wide to attend even just a day of FRED, but it was not simply a music festival to which they were so drawn. The seekers were drawn to an evolution from participants to chosen family that has occurred over the last year as a result of what Goose likes to call “getting involved.” A little over a year ago, many seekers met in chat boards during the virtual interactive Bingo Tour. As reopening began, many of the people that met and remained in contact through message boards and streaming chat rooms got to meet in person and form more personal connections.
Many felt the undying support and safety of this familial bond. Conditions like these made it possible for some to consider seeing their own inner beauty. Fred was a safe place to consider possibilities like being more athletic, or to smile genuinely in a photo.
So Ready
Disco gaggle
Fred the Festival was special because this time, it seemed like not only were most of the usual subjects present, but it was like some sort of family reunion. Those that were meeting for the first time appeared to connect through shared love for a mutual fan friend or their favorite show. The amount of streaming music Goose has put out over the last year has been a great unifier for fans.
Fearless leader and contributor to the “El Goose Times” Marc Komito, aka “Scarf Guy”
Attendees of Fred the Festival truly appeared to begin to reveal their true nature of filling familial gaps for those lonely or in need. Goose cane-wielding uncles were able to connect with grandparents of tie dye wearing sloth mayors.
Children attended and parents were rejuvenated by remembering what it was like to see live music for the first time and connect with others that shared the same values. Walking the pathways during the day or night seemed like endless reunion after reunion. Grand reunions, quick catchups and then boogying down to a song seemed to be the pattern repeating over and over.
Take Your Troubles
Brothers at boards
The complete synergy among the crew illuminated group flow with familial bonds stretching out further than the Goeddes. At front of house, the flow between Sam Bardini and Andrew Goedde was reminiscent of a synchronized wingsuit team. Sound and light existed as one and because Sam and Goedde can pivot and finesse knowing the other will by right there without having to speak. If they did take the time to talk about what adjustment they might make next, the moment would have been long gone.
Goedde flexing
This healthy, family relationship atmosphere reflects in both the product as well as the constant inspiration and motivation for everyone on crew to push their craft to the next level. This transcends the band, the crew and the attendees. Everyone seemed to be excited for another’s new venture as if they were a proud grandma.
Having a chance to be away from “real life” created a new space for gratitude as well as a space to accept new music. Fred removed any stress that might disallow the space to give new music a try. Some attendees recalled a time where listening to one song or one set helped sooth anxiety during shutdown. The signs of curiosity indicated for many that their mental space was improving as the country began some semblance of a reopening.
Cory finding optimal position for photosynthesis
Stand out performer Cory Wong captivated the audience with attention grabbing musical know-how, a charismatic band and his charming personality. There were no still feet to be found because everyone seemed to be up and dancing for Cory’s set. To win over an audience largely filled with fans that have only been out to see one act and one act only spoke volumes for those that took notice. One die hard “Gong Gang” member recalled giving Cory’s set a few minutes because the nautical shirt was reminiscent of Jeff’s sailor hat. That person ended up staying the whole set and could not wait to listen to more of Cory’s music on the way home.
The Don
Mayor Little Baby Crepes making his rounds
To travel far and wide to be with people that mean a lot and for one common connector, like Goose, had words like “family” and “vacation” being used a lot. It was rare to hear the words “music festival” because it felt like so much more than that.
Guess the song you think this face happened for!
Fred the Festival was the result of the entire Goose community working hard over the last year to cultivate an atmosphere that is conducive to those that might not normally consider a music festival an option. The Hot Tea Party on Facebook had a showing of fans in recovery and made sure to provide support for anyone that might have been struggling.
Metamorphasis
The festival allowed for participants to come together, play games, be themselves and have a safe space for contemplation. Led by a strong production and management team, the three-day music family vacation event felt extremely wholesome and like “pure happiness.”
Aptly named “Santa Todd” on instagram, one outlier story must not be overlooked. One couple found at one of the cornhole stations admitted to never having heard Goose before and shared that they were attending to see Dawes.
New fan Santa Todd
Santa Todd and Mrs. Santa (Michelle) ended up staying for both sets of Goose and quickly understood the draw.
Goose recently announced that their annual Goosemas show will be on December 12 at Mohegan Sun. Be sure to coordinate with Goose Family to get everyone covered for tickets. The presale lottery was reported to move slowly which is usually an indicator of a quick sell out.
The Central Park “We Love NYC: The Homecoming Concert” was cut short Saturday, August 21 due to approaching Hurricane Henri. The announcement was made over the PA system in the middle of singer Barry Manilow’s set. Those in attendance were urged to move to the nearest exits and “proceed to outside of the park.”The concert was originally scheduled from 5pm to 10pm, but was abruptly shut down just after 8pm.
Despite the rain, concert organizer and music mogul Clive Davis along with Mayor De Blasio desperately tried to get the show restarted. Unfortunately it was to no avail as the rain was at its heaviest during 9pm and 10pm (a record-setting rainfall for Central Park). The concert was supposed to be the grand finale after a week of other homecoming concerts throughout the city.
Although We Love NYC concert was cut short, the 60,000 fans in attendance still got to witness some pretty amazing performances. “CBS This Morning” host Gayle King kicked off the show by introducing the New York Philharmonic. They performed a bunch of New York themed instrumentals including Billy Joel’s “New York State of Mind” featuring Billy’s former saxophone player Richie Cannata, and “Theme From New York, New York” made famous by Frank Sinatra. Then italian tenor Andrea Bocelli, who himself had a recent battle with covid, joined the Philharmonic for beautiful renditions of “You’ll Never Walk Alone” and “O Sole Mio”. Before leaving he told the crowd “After a storm comes always the sun.” It was an emotional moment.
Also joining the Philharmonic was Jennifer Hudson who stars as Aretha Franklin in the new biopic “Respect.” As a tribute to “The Queen of Sole” she performed “Nessun Dorma” which Franklin sang at the 1998 Grammy Awards as a last minute replacement for Luciano Pavarotti. Jennifer did not disappoint. It was a wonderful tribute that Aretha herself would have been proud of.
At this point the man of the hour himself, Clive Davis came out and greeted the crowd. He also introduced one of his good friends Carlos Santana who performed “Maria, Maria” with Wyclef Jean. He also performed the 1999 hit “Smooth” with Rob Thomas.
Singer Kane Brown also made a quick appearance. He performed his 2018 hit “Homesick” as well as his 2020 single “Be Like That.”
Senator Chuck Schumer was also on hand. He introduced Journey who also played Jones Beach Theater the same night at the Never Forget 9/11 concert. There performance was explosive as lead singer Arnel Pineda belted out “Any Way you Want It” and “Don’t Stop Believing.” Yet another memorable moment.
Perhaps the best performance of the night goes to grammy award winner and hip hop legend L.L. Cool J. His set tuned into a hip hop lovers trip down memory lane. He was joined by fellow legend Rev Run as they performed the Run-DMC classic “It’s Tricky.” He also brought out Grandmaster Flash and the Furious Five’s Scorpio and Melle Mel and performed one of the earliest hip hop songs ever recorded “The Message.” Other hip hop stars like Busta Ryhmes, Spliff Star, Fat Joe, Remy Ma, French Montana and A Boogie also contributed to Uncle L’s set.
Then, “The Late Show” host Stephen Colbert came out and introduced Jon Batiste. He only performed one song, “Freedom”, but it was fantastic.
Perhaps the least favorite guest of the night was New York City Mayor Bill de Blasio. The 60,000 strong crowd greeted him with a round of boo’s, but he was able to get them back and he and his wife introduced the next performers Earth, Wind and Fire. They had recently released a new version of their hit song “You Want My Love” and performed it live for the first time with R&B start Babyface. They also sang their 1978 hit “September” with Babyface and Lucky Daye.
At this point of the show, we were starting to get warnings about the incoming weather as plastic tarps were brought out and put over the cameras and other equipment. Cnn anchor Don Lemon came out at this point and introduced Barry Manilow who was cut off in the middle of “Can’t Smile Without You.” It was just a few minutes later that the heavens opened up and New York City experienced the heaviest rain it has seen in years.
Still scheduled to perform was The Killers, Patti Smith with Bruce Springsteen, and Paul Simon who was waiting in his nearby apartment for word on weather the concert was going to resume. Unfortunately it did not resume but now Mayor De Blasio and Clive Davis are in talks to discuss a possible We Love NYC 2.0 Concert in the near future. NYSMusic.com will keep you up to date as soon as any new developments are made.
As anyone who has seen the TV series Painting with John can attest, John Lurie is a storyteller of the highest order. In his new memoir, The History of Bones (Penguin Random House), Lurie weaves a gloriously gritty, informative and entertaining portrait of Downtown NYC in the 1980s. The universe below 14th Street was a creative cauldron where edgy musicians, filmmakers and fine artists – giants like Andy Warhol, Jean-Michel Basquiat, Debbie Harry, Madonna, Bowie, Eno and Jim Jarmusch to name a few – co-existed and often collaborated to create art that still casts a profound influence on today’s culture. As for Lurie, he ultimately emerged as a player in all these spheres. He was a uniquely stylish lout with the driest of wit, someone dubbed “The Coolest Man of Earth” by a host of style arbiters for a multitude of very good reasons.
John Lurie was a true “It Boy” of this mythic era when Downtown NYC was cheap, dangerous and full of creative action. He was co-founder, chief composer and the angular “face” of The Lounge Lizards – the sharp-suited, globe-trotting punk jazzbos who helped define the “No Wave” genre. As his musical light started to shine, Lurie added a high-profile acting career to his creative portfolio. This came via scene-stealing roles in Jim Jarmusch’s Stranger Than Paradise and Down by Law, Wim Wenders’ Paris, Texas, Martin Scorsese’s The Last Temptation of Christ and others. The relentlessly touring musician also somehow found time to score 20 films including 1995’s Get Shorty, which earned him an Oscar nomination. And before he devoted his creative energies almost entirely to visual art in the early 2000s, Lurie garnered more limelight via romances with boldfaced names like model Veronica Webb and Uma Thurman, by cat walking for European fashion designers and in a vast number of interviews – ones where he pulled no punches in his controversial assessments of his contemporaries and the entertainment business writ large.
Like Bob Dylan’s Chronicles Volume One, The History of Bones only tells part of this artist’s sprawling story. It concludes with a performance in Stuttgart on the New Year’s Eve 1989, as a new decade and artistic sensibility dawns in Downtown NYC. His subsequent years out of the spotlight due to chronic Lyme’s Disease, along with his development as a painter, his first TV series Fishing with John and musical ventures like his bluesman alter-ego, Marvin Pontiac, and his John Lurie National Orchestra, are only referenced in passing. But, oh what a story it is, even in part! And unlike the mumble-prone Dylan, I cannot wait to get my hands, err ears, on the audiobook version of Lurie’s memoir. It is sure to be told in a comic deadpan that brings to mind the Godfather of Alt.Comedy, Steven Wright.
Lurie’s book begins with his childhood, one spent mainly in Massachusetts. By 16, he had discovered the harmonica and jammed on stage with the likes of Canned Heat and Mississippi Fred McDowell. Lurie also graces readers with the oddball story of how he got his first sax. It came as a gift from a quasi-homeless man on a dark, empty street at 4 a.m., a man who claimed he was seeing statues turning into angels at the time. After his father’s death, teenage Lurie went a little off the rails. He became involved in petty theft and travelers’ check schemes before turning into a hardcore kundalini yogi and vegan. At this juncture, he would fast and practice sax for days on end, remain celibate (something that would quickly pass) and also ride his bike naked in the streets in the early morning. Lurie’s journey of lurid begins when he loses his virginity and gains a bout of gonorrhea from Crystal, a groupie who had reputedly slept with Jimi Hendrix the week before.
Much of Lurie’s story involves his long affair with and dozens of attempts to kick heroin. His first taste comes courtesy of another famous 1980s icon, Debbie Harry. It’s one that will lead to a seven-year long habit that puts him in the company of junky jazz greats like bassist Sirone and drummer Bobo Shaw. It also leads him to the doorstep of the legendary Dr. Gong, the Chinatown acupuncturist who reportedly helped Keith Richards kick his habit.
Even as his career as a critically-acclaimed musician takes flight, Lurie lives hand-to-mouth, due to the hunger of his habit and the petty wages paid to touring jazz musicians. His fortunes are buoyed by landing government support in the way of a monthly disability stipend and a $55 apartment on the Lower East Side, two things he wisely holds onto for years. Unfortunately, his nicely priced abode is on a block he calls “Third Street Hell.” It was right across from a notorious men’s shelter. This leads to a few robberies, muggings and many a night spent sleepless due to the screams and fights unfolding on the street below.
Lurie pulls no punches in his attempts to set a few records straight. Most notable is his beef with director Jim Jarmusch in whose debut film, Stranger Than Paradise, Lurie first gained acclaim for his acting.
According to Lurie, the original story idea for the film was his – that of a low-level gambler who has to take care of his visiting Hungarian cousin. When the movie comes out, Lurie’s expected story credit is nowhere to be seen, but he continues to work with the director anyway. After working with Italian actor Roberto Benigni in Jarmusch’s Down by Law, Lurie writes a script for the Italian to star in. It’s inspired by a true-life story Lurie is told about an Italian cowboy who challenges and beats the legendary Buffalo Bill Cody in a cowboy contest. Lurie’s script has Benigni traveling across a surreal Western landscape with a Native American. When he finishes the script, he sends it to Jarmusch for his input … and hears nothing. Later, when he is just starting to raise funds for his film, Lurie hears that Jarmusch is making a surreal Western with Johnny Depp and a Native American sidekick called Dead Man, a virtual copy of his premise. Jarmusch’s film goes ahead; Lurie’s never happens.
Lurie’s long and competitive relationship with his “best friend,” the late painter Jean-Michel Basquiat, weaves throughout the memoir. In its early days, Basquiat is homeless and crashing at Lurie’s pad for almost two years. They spend much of their time painting together, and the then-unknown Basquiat looks up to Lurie as his Lounge Lizards begin to take off. Even with notoriety, the musician Lurie is still living hand-to-mouth. Shortly thereafter, Basquiat’s career takes off like a rocket ship. With it, Basquiat flaunts his money, fame, belongings and even competes for women with Lurie. Lurie also expresses the deep hurt over Basquiat using his idea for a poster for group show of their own – of him and Basquiat facing off in boxing trunks – as the image Jean-Michel uses for his famous collaboration with Andy Warhol. In the end, he laments the loss of this close, competitive friendship that helped both excel.
Lurie has both praise and criticism for some of his musical collaborators, as well as many funny meetings with other Downtown NYC boldfaced names.
He calls quixotic guitarist Marc Ribot a genius for finding a place in his and many of the other obtuse musics he has collaborated on. His comments on later-day Lizards’ six-stringer Brandon Ross are less in-depth and kind, basically only saying that his dreadlocks smelled funny! He tells a funny story about twisting the arm of a man trying to intercept a joint being passed to him at a party by actor Willem Dafoe… only to discover it is that of David Bowie! He passes judgement on Knitting Factory impresario Michael Dorf by claiming that “dorfed” became a popular verb used by musicians of the era to express when they had felt ripped off. A truly funny story involves him going to Chinatown to buy a dead eel to photograph for the cover of the album Voice of Chunk. Strangled, bashed about, it’s an eel that refuses to die…until taking a four-floor drop off his windowsill and crawling a half-block in the gutter.
An overriding sentiment of Lurie’s is that the acting overshadowed, or at least got in the way of people fully appreciating, his music. Thought they toured extensively and most successfully in Europe and Asia, Lurie feels The Lounge Lizards never fully broke through or rose above the “fake jazz” label put on them in the early 1980s. Lurie took work scoring and acting in films to support his band and their original music. And at the end of his memoir, Lurie is using in excess of $100k of his own money to record the Lizards’ 1989 masterwork, Voice of Chunk, because no U.S. record company would sign them. In the end, it resulted in Lurie producing another memorable piece of art, a hilarious, 30-second, late-night TV spot to market the disc directly to consumers just like OxyClean, one that included four of his ex-girlfriends as models.
The above just scratches the surface on the many colorful anecdotes and salient observations in Lurie’s book. You can almost picture him spinning these yarns around a cracker barrel fire in a metal trash can or dumpster on Avenue C.
This is certainly one of the best and least scrubbed clean memoirs coming from a Downtown hipster of the era, a place-in-time that is now birthing a motherlode of such books. I, for one, can’t wait for him to get us another installment, one charting his less profiled journey from edge-cutting musician through illness and solitude to the painter-raconteur-philosopher that he is today.
A New York Welcome at Citi Field – Review/Photos by Steve Malinski
It was otherwise just a typically warm summer NYC evening to usher in this past Friday night when Dead and Company took the stage at Citi Field. After some strange times in the two-year gap since their last stop in NYC (and some Covid-19 checks before entering), however, the music restored a sense of normalcy and familiarity with experiencing a large-scale concert.
Just as if Dead & Co. hadn’t skipped a beat since their 2019 tour, they took the stage without an ounce of rust from their pandemic downtime. As they shuffled into the first set with “Good Times,” John Mayer commanded the mic, signaling the core role he has developed in this iteration of the Grateful Dead family. Bob Weir stepped up to the plate sharing the lead with Mayer on vocals throughout the night, rallying the Queens crowd for the New York City line in “Ramble on Rose.” The youngest surviving member of the original Grateful Dead lineup, Weir was nimble on his feet as he enjoyed crafting the rhythms just as much as the crowd relished the sound.
Set two took a trip to the late 1970s-era Dead setlists, featuring the classic pairing of “China Cat Sunflower/I Know You Rider” and fluidity from the start to finish of the set. The night was capped off on a high note with an energetic “U.S. Blues” and an encore covering The Band’s “The Weight,” featuring a trade of choruses between Jeff Chimenti, Mayer, Weir, and Oteil Burbridge.
Dead and Company Citi Field – Flushing, NY 8/20/21
Set 1: Let the Good Times Roll, Bertha, Good Lovin’ -> Big Railroad Blues, Ramble On Rose, They Love Each Other, Cassidy -> Casey Jones
Set 2: Eyes of the World -> Uncle John’s Band -> China Doll -> China Cat Sunflower -> I Know You Rider -> Drums/Space -> Spanish Jam -> Althea, Stella Blue, U.S. Blues
Dead and Company Recreate 1969’s Woodstock Performance at Bethel Woods – Review by Matt Romano, Photos by Steve Malinski
It’s true, The music never stopped for the Grateful Dead. It’s newest reincarnation as Dead and Company continued its trip through the Empire State at Bethel Woods Performing Arts Center on Monday, August 23. The band played on a stage set among the rolling hills of the original 1969 Woodstock festival. A sense of delight was in the air for all those on the adjacent path of the site towards the stage for this year’s festivities.
They opened with “Hell in a Bucket,” this time enjoying the ride. Jeff Chimenti immediately stepped out as he would the whole night on the keyboards. The band really seems to play off Jeff and the musical ideas he passes onstage. John Mayer especially picks up on the mixolydian blues concept Pigpen started in the ‘60s by taking lead on “Easy Wind.” This track is ideal for Mayer’s blues background and the words, “Easy wind going ‘cross the Bayou today. There’s a whole lotta women. Out on the streets in a red today.”
Mayer also stepped out in front for “Brown Eyed Women,” singing as humbly as Jerry sang about Delilah Jones. The band then drifted off into the seas to end the first set. A “Row Jimmy” out in the mist led to a “Lost Sailor,” and they came back to shore with a “Saint Of Circumstance.”
Tigers in trance deserve a second chance. That’s what the band was able to get on the other side of the hill from their Woodstock ‘69 performance. The Grateful Dead may have been one of the more famous performers at Woodstock, but their set didn’t exactly knock it out of the park. They played from 10:30 pm to midnight on the second day, but their entire performance was filled with technical difficulties. The band was even subject to electric shock on stage although that truly could have been them representing their infamous logo.
But on this night on the other side of the hill, Bob Weir said at the start of the second set, “Now 50-some years ago right here, we tried this next little sequence and it didn’t go so well. It didn’t work so we’re gonna try it again.” With that, Dead and Company, in all their glory, recreated the five song setlist from the 1969 festival that includes covers by Merle Haggard and Bobby Blue Bland: “St Stephen,” “Mama Tried,” “Dark Star,” “High Time,” “Turn on your Lovelight.”
Weir, who was 22 during the original Woodstock, sang Merle’s “Mama Tried” with the same howl in 2021 that he had in 1969. “I turn 21 in prison doing life without parole. No one could steer me right but Mama tried.” Bobby Bland’s “Lovelight” percolated throughout the set with John Mayer, who is no gravity stranger, wanting to be where the light is. The old memory set faded into a “Drums/Space” jam that featured a new “bass” segment from Oteil Burbridge – who has joined the Rhythm Devils on Halloween at Madison Square Garden – took his own featured piece. He was left on stage solo with only pure bass notes to the crowd’s ears. The band joined Oteil on his sky journey for “Space” While up there, they decide to return to the Garcia classic “Standing on the Moon,” to remind of summer tours past. Bob Weir and John Mayer then brought out the acoustics to send everyone back on the tree lined paths with “Ripple.”
You certainly could feel Jerry’s spirit in the same rolling Catskill hills that his music happily haunts. His music helped Dead and Company continue to set the bar high for likely their only recreation of this old performance. “It’s not enough to be the best at what you do. You must be perceived as the ONLY one who does what you do”
Dead and Company hit Darien lake Wednesday night, then head to Saratoga Springs on Friday.
On your way to SPAC, don’t forget that Stewart’s Shops is your ice cream shop! With over 345 shops in 31 counties across New York and southern Vermont, the convenience store chain is known for their fresh & local dairy products. With dozens of choices at the cone counter, you’re bound to find something you love! Try a shake, sundae, or cone today, What’s Your Flavor?
Dead and Company Bethel Woods Performing Arts Center – Bethel, NY 8/23/21
Set 1: Hell in a Bucket, Easy Wind, Loser, Brown-Eyed Women, Throwing Stones, Row Jimmy, Lost Sailor -> Saint of Circumstance
Set 2: St. Stephen -> Mama Tried -> Dark Star -> High Time -> Turn On Your Love Light, Drums/Space/Oteil Bass Solo -> Deal -> Standing on the Moon -> Turn On Your Love Light
Thousands of fans packed the beautiful grounds of the Saratoga Performing Arts Center (SPAC) in Saratoga Springs on a spectacular August evening to listen to the familiar and steady voices of James Taylor and Jackson Browne.
Jackson Browne got the evening started, singing a mix of his classic songs. If you closed your eyes during the performance, you’d be hard-pressed to know that it was not the Jackson of one of his early albums. Fans enthusiastically greeted each song, many singing along with the familiar lyrics. The audience erupted in cheers when Jackson brought out James Taylor to accompany him on a few songs. He mentioned that knowing this tour was on the horizon made the last year and a half more bearable. Both performers mentioned how much fun they’ve been having on this tour, so much so that they have added 18 new dates.
Jackson Browne at SPAC
After a short break, James Taylor‘s set began with images and videos playing on a gigantic fretboard above the stage. Pictures of James throughout his career, fans at different James Taylor shows, and videos of fans playing some of James’ songs warmed up the enthusiastic crowd. As the darkened stage lit up, James emerged in his trademark cap and jacket and performed songs from his massive songbook.
James Taylor at SPAC
The crowd didn’t hesitate to call out requests, and James interacted with the crowd to set up his next selection. “It’s funny you should mention North Carolina,” before segueing into “Copperline,” a song about the area he grew up in. As a James, I was happy to hear “Sweet Baby James” make the setlist. The songs served as a lullaby of sorts to me and transported me back to my youth. Jackson Browne joined Taylor for an encore of “Take it Easy,” and James ended the night with “You Can Close Your Eyes,” a duet with his son Henry
The tour continues in the northeast with one more show in New York at the Northwell Health at Jones Beach Theater, and two shows in New Jersey before heading south and west in the fall.
James Taylor Setlist: Country Road, Never Die Young, Copperline, That’s Why I’m Here, Mexico, You Make It Easy, Line ‘Em Up, Steamroller Blues, Easy as Rollin’ Off a Log (Johnnie ‘Scat’ Davis cover), Sweet Baby James, Fire and Rain, Carolina in My Mind, Shower the People, How Sweet It Is (To Be Loved By You)
Encore: Shed a Little Light, Take It Easy (with Jackson Browne), You’ve Got a Friend, You Can Close Your Eyes (with Henry Taylor)
