We have some big birthdays on the horizon and what better way to celebrate Tom Petty’s birthday, than with a documentary film on his life. Somewhere You Feel Free: The Making of Wildflowers reminds us of the true humble being this rock star really was, bringing you a closer look over his incredible career. It’s hard to believe that we lost him only four years ago. The theatrical release will, of course, be on Petty’s birthday, October 20, featuring a one-night global celebration via Trafalgar Releasing with another encore screening in select cinemas on October 21.
Be sure to be there to get the full experience on the big screen with immersive surround-sound, that is before the YouTube Originals worldwide release. But that’ll be later this year for free in full 4K resolution.
This documentary has so much potential, already winning the Audience Award at SXSW 2021 and Best Documentary Film at the Boulder Film Festival.Director Mary Wharton aimed to please after releasing the critically acclaimed Jimmy Carter: Rock and Roll President, Sam Cooke: Legend, Elvis Lives!, and The Beatles Revolution. After the gold reissue of Wildflowers & All The Rest from Warner Records, we have been waiting for the second half of Tom’s autobiographical masterpiece.
Somewhere You Feel Free: The Making of Wildflowers will almost make you feel like Tom is back and rocking right in the room with you. This documentary will focus on the period of 1993-1995, where, if you forgot, Tom was working with legendary producer Rick Rubin for the first time. You’ll see some never-before-seen footage of the boisterous life of a rock and roller and innate genius. Filled with new interviews from album co-producer and Heartbreakers guitarist Mike Campbell along with Heartbreakers keyboardist Benmont Tench, the documentary is waiting to blow you away.
Warner Music Entertainment and Warner Records with Peter Afterman, Mary Wharton, Dan Braun and Adria Petty produced a documentary that will illuminate an insider look on Tom Petty in his height of iconicity.
If you want to hear a little more. Mary Wharton and Adria Petty spoke about the film with rock author/journalist David Fricke on SiriusXM’s Tom Petty Radio. Tickets can be found here
Calling all fans of NYS Music…we have merchandise, including super cool koozies, protective masks, and pins! Get your items now so that you can rock your NYS Music spirit wherever you are, whether it be at a show with your pals, or running errands on the go.
NYS Music Quikflip Hoodies
These might be the most functional hoodies ever. Designed by Rener Gracie, this is a unique hoodie that you can flip and tuck to transform into an adjustable and durable backpack. Watch Gracie on Shark Tank and pick up a limited edition NYS Music Quikflip Hoodie! Sizes Small through XXL.
NYS Music Beanie
Whether its winter, a cold spring, the autumn or you’re out enjoying the outdoors in New York State, you’ll want one of these NYS Music Beanies, one size fits all!
NYS Music Tote
With plastic bags banned in New York State, reusable bags are needed when you’re shopping. Show your love for all things NYS Music with this tote, made of sustainable cotton and printed in New York State.
New York State Bolt pins
These pins with an iconic lightning bolt across New York State are in a limited edition of 100. The pins measure 1.5″, are made with soft enamel, stamped and numbered on the back. Cost is $15 plus shipping.
New York State Bolt Stickers
These all weather vinyl stickers are available in packs of 10 for $10.
Don Everly, the remaining half of the iconic Everly Brothers, has passed away at the age of 84. Together with his brother Phil, The Everly Brothers helped revolutionize and form the early sounds of the rock and roll movement that would engulf America. Their distinguished harmonies accompanied with elements of country music would go on to influence an entire generation of fellow musicians, enabling them to be one of the first artists to be inaugurated in the Rock & Roll Hall of Fame, alongside Elvis Presley, Chuck Berry, Little Richard, Buddy Holly and Jerry Lee Lewis in 1986. Phil Everly later passed on in 2014 at the age of 74.
Issac Donald “Don” Everly was born on February 1, 1937, about two years before his brother Phillip. They spent most of their childhood in Shenandoah, Iowa, raised by musically-inclined parents who performed country music throughout the South and Midwest before moving to Iowa. Their father Ike hosted a show on local Iowa radio, first singing with with his wife Margaret, and later “Little Donnie” and “Baby Boy Phil” joined them as the Everly Family. The family would later relocate to Knoxville, Tennessee. Here, the brothers would find work on Cas Walker’s Farm and Home Hour, a regional radio and TV variety program. They managed to catch the eye of Chet Atkins, who managed RCA Victor Studios in Nashville and was also a family friend. Atkins was somehow able to get the brothers a recording deal with Columbia Records in 1956. However, the lone single “Keep a-Lovin Me,” which Don wrote and composed ,flopped and the Everlys were quickly dropped by the label.
Again with the help of Atkins, they were later hired by Acuff-Rose music publishers in Nashville, but strictly as songwriters. However, this connection helped finally launch their career as they were soon introduced to a Cadence Records label that was looking for recording artists. At Cadence, they were presented with a song that had been rejected by dozens of other artists previously. But the Everly Brothers would record it in February of 1957, and their lives would never be the same again. “Bye, Bye Love” reached No. 2 on the pop charts, fighting with Elvis for radio airplay, and also reached No. 1 on the country and No. 5 on the R&B charts.
Their follow up to “Love” was somehow even more successful, with “Wake Up Little Susie” topping both the pop and country charts just a few months later. Both songs, and many of their other hits like “All I Have To Do Is Dream” and “Bird Dog,” were all written by the husband-and-wife Nashville writing team of Boudeleaux and Felice Bryant that Cadence Records employed. Their early hits helped them land an opening spot for Buddy Holly and the Crickets for tours in the late ’50s. Their innovative “countrified” rock style and distinct harmonies would begin to plant the seeds of influence for some of the greatest bands of the latter half of the 20th century. The Beatles once referred to themselves as the “British Everly Brothers” in their nascent days and Simon and Garfunkel have readily admitted to them being the driving influence behind their collaboration.
Phil and Don were the most beautiful sounding duo I ever heard. Both voices pristine and soulful. The Everlys were there at the crossroads of country and R&B. They witnessed and were part of the birth of rock and roll.
Paul Simon
After three years at Cadence, the Brothers would sign with Warner Bros. Records in 1960. It was here that they recorded their first successful hit that they wrote and composed themselves, “Cathy’s Clown.” It would go on to sell eight million copies and become the duo’s biggest-selling record. It’s also the first song ever that Warner Bros. released in the UK. If there’s any doubt as to the popularity of this song, it somehow even made its way into a Phish show as the opener for their show at SPAC on 7/2/19.
The Everly Brothers would continue to churn out Top 10 hits in both the US and UK throughout the early ’60s like “Walk Right Back,” “Crying In The Rain” and “The Price Of Love.” In fact, they would average one Top 10 hit on the pop charts every four months from 1957 to 1961. However, royalty disputes would later emerge with Acuff-Rose, to the point where The Everly Brothers would only record songs from other composers/publishers so as not to pay them anything. This also meant they were cut off from working with the Bryants who had written so many of their hits.
Both brothers enlisted in the United States Marine Corps Reserve in 1961. They did resume their career after being discharged from active duty, but their success in the US would begin to dwindle. The Everly Brothers’ last US top 10 hit was 1962’s “That’s Old Fashioned (That’s The Way Love Should Be)”, a song recorded but unreleased by The Chordettes. Album sales began to dwindle as well. The Everlys’ first two albums for Warner Bros. peaked at No. 9 US, but after that, of a dozen more LPs, only one made the top 200: 1965’s Beat & Soul. By the end of the 1960s, the Everly Brothers still maintained some success in Canada, the UK and Australia, but returned to their country rock roots with 1968’s Roots which was critically acclaimed. But this wasn’t enough to keep their contract with Warner Bros. from lapsing after ten years. In 1970, Don Everly released his first unsuccessful solo album. The following year, the brothers would resume touring once more, with Lindsey Buckingham joining them in 1972. But sadly, the brother’s relationship also frayed over the years. Their last performance together took place on July 14, 1973 at Knott’s Berry Farm in Buena Park, CA with Phil smashing his guitar and walking off stage leaving Don to finish the show by himself while famously remarking, “The Everly Brothers died ten years ago.”
Both brothers would then go on to pursue solo careers, with Don Everly finding some minimal success on the US country charts in the mid- to late-1970s with his band Dead Cowboys, and playing with Albert Lee. He also recorded with Emmylou Harris on her 1979 album Blue Kentucky Girl. But nothing approached the commercial success he had experienced with his brother.
The brothers would later reunite in 1983, with a concert at the Royal Albert Hall in London which was recorded for a live LP and video broadcast on cable television. This helped put them back on the map and included a new album EB ’84, produced by Dave Edmunds with its single “On The Wings Of A Nightingale” written by none other than Paul McCartney. It returned The Everly Brothers to both the US and UK pop charts for the first time in more than a decade.
Their last charting hit would be in 1986 with the title track to Born Yesterday. Afterwards, their career consisted of mainly collaborations with other artists. They would go on to provide backing vocal’s on Paul Simon’s signature solo effort, Graceland. And later, in 2003 and 2004 on Simon and Garfunkel’s “Old Friends” reunion tour, they would share the stage again. As a tribute to the Everly Brothers, Simon & Garfunkel opened their own show and had the Everlys come out in the middle of it. At almost all shows, Simon made a point to express how much of an influence the brothers had on his career.
In the music industry, it isn’t uncommon for an artist and their label to differ on the former’s contractual obligations. We’ve seen many successful artist-label partnerships go awry as a result of contractual misinterpretations and overall lack of wherewithal. To put it frankly, many artists know about music, but far less know about the business of music.
Some may want to blame them for their lack of awareness, and yes, every artist should be knowledgeable about their paperwork but first, let’s ponder this; In most professions, one must go to school or get firsthand experience learning the ins-and-outs of a career before they practice it. Artists aren’t afforded that luxury. Once lightning catches the bottle they mustn’t hesitate, or they risk losing a once-in-a-lifetime opportunity. As such, these unions usually see those making front-end decisions have years of industry experience, and in turn, the same is expected of (mostly) novice young adults.
The disparity in experience between the parties creates an unbalanced work relationship. The label has all the expertise, while the incoming creative is left to figure out the true nature of the partnership. The point of contention is also not strictly an educational one. Label executives and creatives operate on completely different wavelengths. For the former, decisions are usually made based on the bottom line, while the latter’s instincts — and for many, the key to their artistry — is synced with their emotions, which does not always make for good business.
Ironically, business was Frank Demilt’s planned major in college, before epiphanizing a different life for himself. Upon hearing a professor echo a message regarding students being passionate about their academic careers, he realized it was time for a change.
I don’t know if I can sit in these business classes for another four years and go to work every day with a suit-and-tie.
a young Demilt thought to himself
So, a life-altering decision was made. He left his school in Kentucky and transferred to Ithaca college in Upstate New York, where he could major in their audio engineering program as well as continue his football career.
In 2015, Frank Demilt graduated with a bachelor’s degree in audio production. The six years since have seen the youthful label exec make his mark within the industry.
After graduating, Demilt began his career at Soul Asylum Studios (whose clients included Justin Bieber, T.I., and Waka Flocka) in Atlanta, GA, immersing himself into the music business. He honed his engineering skills under the guidance of Grammy-winning mastering engineer Mark Christensenand becameknown for production work with Grammy-awardwinners Trackmasters, Sean Paul, and Elle Varner, which enabled him to expand his portfolio, before working other roles that increased his overall knowledge.
Now serving as head of artist development at Sloppy Vinyl, Demilt, 27, currently occupies several positions. Aside from studio engineering, he is also a personal manager for specific artists and producers, while also holding the tittle of A&R at Water Music Publishing, the publishing company under the Sloppy Vinyl umbrella.
https://youtu.be/CTHt1ujIwoo
His ascendence in the industry was relatively fast, yet the well-traveled A&R doesn’t want his youth to deter from the vast amount of knowledge he’s garnered. He’s dedicated himself to helping the artist in more ways than one. His latest contribution, an instructional guide for intending recording artists, has the potential to be monumental in the way artists approach the business side of their music.
I want this book to serve as the guide for artists. I wanted this to show the artist the insight of an insider from the industry. I want the artist, no matter where they are in their career, to learn and get the knowledge from this book to better themselves as artists and business-people. I want this book to serve them as their blueprint on how to navigate the music industry.
The Blueprint: The Bible For Becoming a Successful Performing Artist in the Digital Age, walks the artist through their potential journey in the music industry. Beginning with the proper equipment they should use to record their music (comparing his own techniques with the standardized industry versions) and venturing on to scouring for a label, contractual obligations once signed, what is expected of an artist and other forms of income one can make as a signed artist.
Explaining the thoroughness of his work, Demilt emphasizes,
Everybody only hears either the crazy success stories of Drake, Wayne, Kanye and Jay – Z, or the crazy horror stories of that artist that got that first deal and is just mad at the world because nothing worked and they got taken advantage of. I wanted to help the artist realize that there is such a discrepancy between the two that you need to know all this information that you’re not going to know until it happens.
Apart from helping the artist begin their foray in the music business, The Blueprint might also prevent friction between artists and labels. Miscommunication is a major cause of conflict between any relationship, never mind ones that at-times have millions of dollars at stake. For instance, when an artist receives his advance check from a label and begins to spend frivolously, not realizing that it is a loan that must be paid back. A simple gander into The Blueprint can prevent an artist from getting off on the wrong foot.
I’ve noticed that the younger kids really just want to do the music and [focus] on the creative aspect. The kids that are maybe in their early twenties have some background knowledge of it and then the kids that are maybe in their mid-twenties or older are the ones that really know what to get out of it.
Overall, any artist who wishes to take that leap of faith and devote themselves to becoming a successful recording artist should know what they’re getting themselves into. Labels won’t openly share their business tactics, while scouring an artist’s social media page or interviews for tidbits is most likely another dead-end, as their public personas are usually meant to portray a more glamorous image than to shed truth. The Blueprint is the first of its kind, and going into a business-relationship that is designed to be disadvantageous on an even playing field is something any artist should exploit.
If I’m an artist and I come to the table and can speak with the label and representatives in a more intelligent manner when it comes to the business, I think the labels will respect that more, because now they can have a more open conversation. And some of the things that might be an obstacle in the future get taken care of upfront and everybody’s on the same page with the same understanding.
In 1989, New Orleans had its own gold lit resilience of funk around town. Many helped add to the consonant grooves inside legendary buildings turned nighttime studios. Every great musician in town was collaborating and famous artists were there to help feed in the rhythm. Tony Hall was part of this golden era and is still a staple in the New Orleans sound.
Hall had been grooving with the renowned Neville Brothers on St. Charles Avenue. Tony played the chilling bass line on their album Yellow Moon. The track “Healing Chant” off the album won best pop instrumental performance at the 32nd Grammy Awards in 1989.
Tony has gone on to work with bayou locals like The Meters, Dr. John, Aaron Neville, Harry Connick Jr. Trombone Shorty, and Marc Broussard.
He has been part of infamous studio sessions with Bob Dylan, Emmylou Harris, Trey Anastasio, Dave Matthews, Willie Nelson, Joan Baez, Brian Eno, Daniel Lanois, Jewel, Edie Brickell, Linda Ronstadt, Pretty Lights, Herbie Hancock and Maceo Parker.
Producer and musician Daniel Lanois felt these sounds in his soul. He assisted in some of these collaborations and on his own work. Tony covers bass for Lanois’ famous original composition “The Maker.” It has been honored with covers by Willie Nelson, Jerry Garcia Band and Dave Matthews Band with Victor Wooten.
Tim Reynolds said this summer of his old band mate Tony, “You know those guys when you’re playing a gig, he’ll look right at you? That’s him. He’s a bad ass.” This past spring Tony just released a new studio record with his band Dumpstaphunk for the first time in seven years. He took some time to talk about the timeline on these projects with NYS Music.
MR: Daniel Lanois claimed Oh Mercy was a record you listen to at night because it was, “designed at night. Bob Dylan had a rule, we only recorded at night.” What did that session look like behind the scenes in a house turned studio in New Orleans?
TH: We would go in at about 4 in the evening and Dan had a lot of ideas of the songs so we went through a bunch of them. Then… when Bob came… It would all go out the window. He’d start a groove and we would follow him. Let’s just match whatever he was doing.
TH: It was all of us in a circle in a room, facing each other. Very long hours on this record. So many different versions of songs.
MR: Well how about the funkiest collaboration on the track Everything is Broken?
TH: It started with Bob playing his line and we just came in. Willie (Green) grooves and I jumped in on the spot (bass line humming).
Ivan Neville, Keith Richards, Tony Hall, Don Was
MR: Was Dylan just playing harp on that track for his solo?
TH: No, he’s on guitar for that as well. He played guitar on a lot of songs and piano too. Brian Stoltz played with all of us as well on guitar.
MR: Was that just a studio experience? Did you get to bring that on the road?
TH: Just a studio record. Never got to play it live.
TH: My experience working with Daniel Lanois came from him producing the Yellow Moon Recording, Bob Dylan’s Oh Mercy, and Emmylou Harris’ Wrecking Ball. I recorded on his solo album Arcadia. He had a completely different approach.
TH: He pulls everything you got in you…out. On “The Maker,” was me noodling and I kept adding parts. He even wanted to add a harmony part to one line. It has five different bass parts on that track
TH: I met Dave Matthews in the early 90s. The Neville Brothers and DMB did a show together. I saw him in 2001 at a Emmylou Harris show and he knew as me the guy from “The Maker” that his band went on to cover
TH: When we did the Dave Matthews solo record Some Devil in 2003 it felt so good. Brady and Trey all suggested we should be a band. “Hey let’s take this on tour.”
MR: How was it behind the scenes during that legendary studio collaboration with Brady Blade, Trey Anastasio, Ray Paczkowski, Dave and Tim Reynolds?
TH: Dave had all the songs written and we just came in and added our own parts to it. When you hire people to do a record, you have them bring what they do to the table, you know? So you can give them a lot of options. You play some stuff… like this? Sometimes the first thing is the one. “How about that?” No you did it already… (laughter)
TH: I had a lot of fun with that record. One of my favorite songs is “So Damn Lucky.” And the song “Too High.” I love the end. The groove on the end is killing. We even overdubbed The Seattle Symphony to it. The big line everyone is playing together is led by Dave on the guitar. It’s killing. Its a great record!
MR: Where does he come up with those unique sweet up and down chord progressions? Are they easy to jump on?
TH: That would be a question for him (laughter). Some of the chords are open tuning with a lot of different fingerings for it. But it’s cool as shit. It works well together.
MR: Then there was the Some Devil live tour that went to every major arena in America. Headlining sets at Bonnaroo and Vegoose Music Festivals. Even a Caribbean Cruise with Bob Weir special guesting on the boat. Who chose all those great covers ranging from Sly and the Family Stone, Chaka Kahn, Little Feat, Joe Walsh, The Band, Bob Dylan, Paul Simon, Peter Gabriel, Stevie Wonder, Hendrix, Zeppelin and Stones?
TH: That was Dave and Trey’s call any given night. Ya know during the break sometimes (laughter). Let’s go do this…
MR: After meeting Trey Anastasio and Ray Paczkowski at this project you ended up in the studio with him for his Album Bar 17.
TH: The Trey thing, musically, was very talented. I didn’t know him before Some Devil. He had me come to Atlanta to do a session and sent me the songs to learn. But it wasn’t a session. It was an audition. Which is a cool way to audition somebody. Make them think it’s a session so if it doesn’t work you pay them and they just go. You don’t have to tell them they suck (laughter). But afterwards they said hey you got the gig. I’m like cool… what gig? (laughter)
Brady Blade, Tony Hall
TH: But the composition “Goodbye Head,” that song I listened to and it was a very long jam. I thought, “Oh, I got this,” and during rehearsals Trey’s like, “You have it down?” (of course). But I didn’t check the end of the tape where there was a whole ‘nother section. It got to the jam part and I just stopped. This tune gave me a run for my money. That song kicked my ass, I got to tell you that right now.
MR: Then you went on a US tour with Trey Anastasio as part of an ever changing cast on stage in 2005 and 2006. It had special guests like Stewart Copeland, Bill Kreutzmann, Jon Fishman, Skeeto Valdez and Jeff Sipe along the way on Drums. Yet It always had you on bass and Ray Paczkoswki on keys as a constant. There was even Raymond Weber from New Orleans with you holding the bottom end down on drums at one point.
Trey Anastasio, Stewart Copeland, Tony Hall
TH: Yea Raymond ended up in the band after Trey came to sit in with us for the Dumpstaphunk show at B.B. King’s in New York City. So we call some stuff I got him to do, “46 Days” and um, “Cayman Review?” Raymond killed it on “Cayman.” He was like, “Damn you hear that on the bell? That reminds me of New Orleans.”
TH: But our official live band release came from Original Boardwalk Hall Style in Atlantic City on New Year’s Eve 2006. That was the most cast with an 11-piece band. Yea, but I had a lot of fun playing with Trey. He would kick into a groove and then I’d pick up. He’s like, “OK this is your job, when it mellows out you take the way.” I think it was good for him to have someone who’s like, “Come on. Come on.”
TH: He was always adding songs though. Like that Frank Zappa “Peaches En Regalia.” By it being new at soundcheck, I would learn it that night. So afterwards in Albany, between eating, I’m making notes before the start of the set figuring it out (laughter).
MR: Heading Back to The New Orleans studios in 2017 you were a part of Trombone Shorty’s record that has the ultimate cover of Ernie K Does “Here Come the Girls.” Shorty is also on your new record this year.
TH: Yeah that’s nice. I think George (Porter) is on the original version. I’ll have to look it up.
TH: We have known Shorty since he was young. Coming up he’s always been extremely bad ass. In the beginning he used to do some shows with us and then did his own shit. Then blew up. He’s the man and puts on a hell of a show. Phenomenal player on the trumpet and trombone. It’s like nobody can touch him. But he also plays everything else like drums, keyboards and sings.
Joseph “Ziggy” Modeliste, George Porter Jr, John Mayer, Bob Weir, Bill Kreutzmann, Tony Hall
MR: Speaking of horns you were on legendary sax player Maceo Parker’s album released last year recorded at an old New Orleans hotel turned studio.
TH: Yea at Goat’s studio down in the ward, who’s Maceo’s soundman. It was fun and great to be on a record with his original track MACEO. Then great covers by Dr. John on “Right Place Wrong Time” that Dumstaphunk started doing.
MR: The new Dumpstaphunk record you just released this year has some just straight funk instrumental tracks. Where did the “Dumpstamentals” come from?
TH : Some of those came up at soundcheck. Me and the drummer Deven Truscleir started jamming on some stuff and other people came in. Ian (Neville) always records those on his phone and so do I so we can revisit them. Ian came up with Backwash when checking his rig during warm up and things like that.
TH: We recorded a bunch of these songs and didn’t finish them lyric-wise. Vocal-wise we can always change. It goes kind of like vice versa. We’re all a band that can sing and play too, ya know? We did two of our favorite covers by Sly and the Family Stone for “In Time” and Buddy Miles’ “United Nations Stomp.”
MR: How about Buddy with Band of Gypsies? He also covered “Don’t Keep Me Wondering” into “Midnight Rider” by The Allman Brothers for his own record.
Tony Hall Beacon Theatre
TH: He also covered their song “Dreams.” I know those from Buddy and I found out later they were Allman Brothers songs. Just like “Down By the River,” I learned that from Buddy and then found out after it was a Neil Young song
TH: Yea Buddy’s the man. He’s one of my favorites. One of my mom’s favorites. She used to play it all the time. His live release is one of the best records. One of my top favorites.
MR: Last time Dumstaphunk played New York State was headlining the 2019 Blues Fest in downtown Syracuse. After hours you and Deven Trescleir on drums came for a special sit-in with the band at Funk n Waffles for a bass-leading cover of The Temptations “Standing on Shaky Ground.” Less than a month later Dumstaphunk was opening for The Rolling Stones at the Louisiana Superdome in front of 60K. Are you ready to get at it like that again in 2021?
TH:That was a great show, Most of the time when you’re an opening act people are just walking in doing your set or the place doesn’t fill up until your last song, but that show the crowd was there and it was a lot of our fans, the energy was high and we felt the love. It was our home town, it felt great!
MR: The Woodstock 99 documentary just released features your performance with Brady Blade and Jewell. Any memories of that infamous Sunday gig in Rome NY?
TH: We drove over night to the festival, I woke up on the bus at the site. I didn’t do much. I watched a few bands from the side stage. We had a good set. We stayed to watch the Red Hot Chilli Peppers show and left right before everything went down. The people from the documentary reached out about my experience there. I was only able to tell them what I’m telling you (laughter).
New York State has an abundance of talented musicians. While music is their main priority, artists also use their creativity to produce coveted merchandise lines so that fans can rep their favorite bands all day in a variety of ways. This page features band merch collections from artists across New York State – browse these items and support the next generation of hard working musicians from across the Empire State.
From Rochester, this indie band is known for their beautiful, calming melodies that are easy on the ear. Their newest music to date is a single titled “Private Eye” that was released in May. The Demos have promising potential to become big around the nation, not just around New York State. Their merchandise consists of t-shirts and CDs of their EPs.
Coming from Troy, Dark Honey‘s music is lyrically-rich, indie-pop-rock with an emphasis on guitar notes. They are currently selling their creative merchandise in a variety of forms including T-shirts and sweatshirts.
Melt the Band is based out of New York City and their music has been described as “One groovy super organism.” They are soulful and funky and are currently selling epic merchandise, such as beanies, posters, hoodies, and more.
From Rochester, Mikaela Davis continues to prove her outstanding talent with every new release. Her alternative sound pulls from rock, 70s and 80s pop, and funk vibes. This fabulous artist is currently selling physical copies of her full-length album.
Sean Rowe is an indie singer-songwriter from Troy. His music evokes emotions from listeners that they have never felt before because of his stunning vocals and peaceful guitar blends. He is selling physical forms of his four albums.
From Troy, The Sea The Sea is a powerful indie folk-pop duo featuring Mira Costa and Chuck E. Costa, who make a lovely couple in and out of the studio. Their merchandise is currently physical albums, signed posters, and various clothing items.
This alternative band from Buffalo, is known for their ability to entertain everyone, regardless of musical preference. They have gained many fans over the years, performing at major music festivals and winning multiple awards in Buffalo. Funktional Flow‘s merchandise consists of t-shirts, pins, and stickers.
Although this singer/songwriter from Syracuse, just recently began her career, she has already been nominated for three major regional music awards. Sydney gets inspiration from artists including but not limited to Taylor Swift, Tom Petty, and Post Malone. She is currently selling merchandise such as t-shirts, tank tops, and buttons.
Bandits on the Run is a staple band in the Metro NY music scene, both below and above ground. They released their debut indie-folk-pop album in 2017, and have become even more adored ever since. They are currently selling merchandise items such as t-shirts, bandanas, and stickers.
Architrave is a husband and wife duo from Ballston Spa. Their alternative music is heavily reliant upon post-punk guitar and basslines. They also incorporate a funky 80s flair into their tracks. They are currently selling t-shirts with differing logos on them.
Lucas Garrett is from Queensbury and is known for his catchy hooks that don’t necessarily fit under one category. He started playing his original music at local coffeehouses and eventually released his debut EP in 2017. He is selling physical copies of his music as well as t-shirts.
Eastbound Jesus, from Greenwich, is an Americana/Bluegrass Northern Rock band comprised of six males. They have five albums that they are currently selling in CD format.
From Brooklyn, Fake Dad is a band that will leave listeners assured that everything will be alright, almost as if they were giving you a tight hug while blasting their tunes. The electronic tracks that the duo creates have a calming effect when mixed with their peaceful vocals. They are currently selling two epic variations of a t-shirt.
From Buffalo, Intrepid Travelers is a musical quartet that is rooted in friendship, fun, and freedom. Their music can be described as upbeat, groovy jams with roots in jazz, funk, and a hint of bluegrass. They treat every show as an interactive experience with the audience rather than a typical performance. The merchandise that Intrepid Travelers currently has on sale includes shirts, koozies, and pins.
Noon Fifteen is Ithaca’s genre-bending soul combo that produces forward-thinking jams with old school instrumentalism. Their sound has been compared to Lake Street Dive as well as The Beatles, with elements of gospel, funk, and hard rock. They are currently selling a band logo t-shirt.
moon kissed comprises of New York City natives Emily, Khaya and Leah. Their debut album was self-released and tells stories of youth and heartbreak. Their sound is inspired by artists such as Charlie XCX and St. Vincent. The trio is currently selling t-shirts and vinyls.
Girl Blue is the project of vocalist Arielle O’Keefe who is based out of Troy. Her angelic voice paired with her songwriting capabilities leads her to have an extremely positive outcome on every listener. She has tons of merchandise available now, including shirts, vinyls, and buttons.
Originally from South Africa, Sulene started her music career out of Brooklyn. She is most well-known for being the the lead guitarist for Nate Ruess of Fun. She is active in the indie-pop Brooklyn scene and has performed on stages all across the world with all kinds of people. Her aesthetically pleasing merchandise collection features t-shirts and vinyls.
Vaporeyes is a progressive rock band from Syracuse. Their sound can be described as an actualized collective of overactive subconscious. Merchandise for Vaporeyes comprises of hats, buttons, stickers, and more.
Based in Buffalo, Grosh is an energetic four-piece rock band. They are known for frequently selling out local Buffalo shows, and fans love them for their heavy-hitting rock style combined with their vulnerable lyrics. They recently released their second full-length studio album, Not Down For Long. They are now selling t-shirts, koozies, bracelets, and more.
The Jess Novak band is from Syracuse, and is known for their powerful, fierce vocals (by Jess Novak herself) and their engaging songwriting capabilities. They can win over any crowd with their unmatched energy and soul-pumped rock sound. They are surely on the rise and have made a great impression on New York State audiences thus far. Their merchandise includes stickers, mugs, shirts, and more.
From Albany, E.R.I.E. can be described as “Not yer Dad’s dad-rock.” The motivational messages behind their lyrics helps them stand out from other rock bands. Their first full-length album, Don’t Wanna Live, Don’t Wanna Die, was released in August 2020. They are now selling one t-shirt and physical copies of their album.
The Erotics, from Albany, take a very straightforward approach to rock & roll. They released their first full-length album in 1997 and fans have loved them for their constant political incorrectness ever since. They have a comprehensive merchandise list, ranging from t-shirts to dog tags to shot glasses.
Mike Grutka describes his music as, “acoustic based funky modern roots rock-n-roll.” His most recent album takes listeners on a journey through loneliness and pain to find happiness and peace. His merchandise is currently physical copies of his albums.
Organ Fairchild is a highly admired organ trio from Buffalo. Their music has been described as a party that never quits. Their vibe makes you want to jump out of your seat and jam along until the sun comes up. They are currently selling their own shirts, posters, and stickers.
On May 18, Mister Rajers’ Neighborhood dropped the new trippy summer anti-anthem “Cinco Uno Eight“ a psychedelic song about the Capital Region of Upstate New York.
“Cinco Uno Eight” is originally written, composed, and produced by L Niño. An idea to combine various local artists he had previously worked with in order to properly honor the 518 led to the development of this song. Whether it be the appearances of Mike Guagliardo and Showerpanther adding a distinctive synth sound, to including soothing ambient noises from artists from the local area.
Perhaps the highlight of the track however are the two local MC’s, Justin Sedefian aka SavandWord ClassakaMajor Capers. “Each individual layered on an instrumental or vocal to create a truly odd, strange, ode to our beautiful homeland.”
Cameos were also made by Will Fredetteof the Albany band El Modernist. The final edition of Kevin Lovely, who has known L Niño since they both attended Guilderland High School, took over mixing duties, while sound engineer legend David Tyo refined the track as the mastering engineer.
L Niño wrote the initial song and produced it and left “gaps” for people to spit verses on, and then had friends each add “layers” which which was chopped up and collaged by L Niño.
“L Niño” isa singer-songwriter, multi-instrumentalist, and producer based out of Troy, NY. He remained in the underground scene until achieving some local traction in the Albany area for his work with Major Niño which was recently in the running for an Eddie Award.
L Niño played violin all throughout highschool. But really didn’t start getting into production, until returning to Troy around 2015. He has taught himself guitar, bass, drums, and production. “My favorite thing to do is produce though, so this was a really neat opportunity to “produce” other musicians and have them spit on a track that was designed to be uh….spitted on?”
He has released music under numerous monikers and projects such as L Niño, Mister Rajers’ Neighborhood, Major Niño, and Jacques in the Bag. Featured in the Times Union and Floated Magazine with features on 102.7 WEQX-FM and local radio stations such as WCAA-LP 107.3 FM, L Niñohas also played at well-known local Capital Region venues such as The Fuze Box, The Low Beat, and Troy Kitchen.In the wake of Covid, as venues start to open back up, L Niño hopes to bring more compositions from different projects and artists to the stage.
In L Niño’s other video, “Trumpistani Breakfast,” he compares peoples obsessions with McDonalds to others obsession and fascination with Trump in this wacky video.
“I guess the tongue-in-cheek metaphor would be like…imagine if there was an individual or a whole group of individuals who for some reason thought that McDonald’s makes the BEST burger ever! Which works since Trump LOVES McDonalds. (Not saying that there’s anything wrong with a McDonalds burger, there’s a time and place where it sure hits the spot, but to believe that it’s THE BEST EVER is uh….is something) So the video was just trying to convey being disturbingly obsessed with McDonalds…..or other things.”
L Niño
You can stream the new single here and find out more by visiting the label’s website.
L Niño will be returning to gigging this summer and will begin doing small shows around the Capital Region as things start opening back up.
Marco Benevento tended to his muster of peacocks near a seemingly innocuous building in Saugerties that serves as a porthole into the inspirational playground of Fred Short Recording. Later that week, he’d play at Westville Bowl for the third time this summer with Joe Russo’s Almost Dead before prepping for his upcoming 2021 solo shows, including one at Roots Rock Revival, and opening for moe. at Apple Valley. Amidst a wall of keys, eight-track players and plastic microphones, Marco discussed his creative process, upcoming tour, new music, tools of the trade, and life after shutdown.
Marco Benevento
A show and tell concluded the hour long chat. Marco shared some of his favorite devices that helped him access the mind that created his genre bending and catchy latest album Let It Slide. The whole experience felt like a movie filmed in the past, that took place in the future.
Upcoming Tour
Em Walis: How’s it going here with your tour about to start?
Marco Benevento: I was looking at my calendar and I just swipe to the right and I saw August and I was like, “Oh no, I’ve got lots of gigs.” Yeah. Which is great because, you know, gigs are back baby.
EW: I was thinking it might be a cool thing to talk about would be the idea of wearing different hats, shifting from home hat to tour hat. What does shifting from the creative process hat to, “Okay, business time. Let’s get it out there,” hat look like?
MB: I wear a bunch of hats in that regard. Because you’re like, weird musician guy. And then you’re like, also booking hotels and flights. So then we’re here, you record and how, how, you know, when that you comes out, and yeah.
Octagon Discs
Fred Short Recording
EW: Do you find for your flows, because I see you have almost different zones here, that if you’re working you have one place that’s your business zone and separately have an “I’m making stuff now” zone?
MB: I basically do it all in this one zone. I mean, here’s the headquarters right here sit behind the piano move and the piano tape machine all the gear here recording, but then here’s the laptop for music and stuff. Also dealing with manager emails. This is the office in studio basically. Yeah, this is the always curious, just how to change literally. Luckily, I have a booking agent and a manager. So there’s a lot of behind the scenes, those guys are making my days easier. That’s really so I can just focus on the music and that’s cool. And everything and even just being around the kids. Yeah, hanging out.
EW: So how many you have kids? Two kiddos?
MB: 14 and 11. One just went to a friend’s house. My other is inside just playing Legos. She’s like, “Okay, when you’re done with your interview…,” Daddy comes and goes. So it’s nice that people like helped me out. You know, making my life easier. So I enjoy being a dad.
MB: Yeah. It’s cool place. I did it last year. I just did a day workshop there. It’s just like, music camp. They have a lot of artists come in. People talk about music and improvisation. And, you know, everybody needs camp. I mean, I went to like, some heavy jazz camps growing up and learned a lot from cool clinics, you know, sleepover camps, or music all day. It’s immersion. And then you’re picking each other’s brains about stuff. On a loose level. You don’t get a lesson from a guy and you have an hour and that’s it. You’re at a camp that lasted for a week and, maybe later at night when you’re hanging out. You know? Yeah, just sort of shoot the shit about some questions you might have. Yeah, totally.
Outdoor Live Performance Experience
EW: How do you feel about like being in the “cool outdoor environment” places? I imagine with the electricity and things like that, it might be hard to like play the kind of music you want to play, or run into difficulties with like sound and light conflicts, or is it worth it when you’re in out in the middle of the woods playing at a place like Full Moon?
MB: I love that. I’m all about it. The outdoor stuff is cool. I always prefer playing outside because you’re not fighting the venue and the walls are the collection of all that stuff. Sometimes you get into a room and you’re like, “Oh, just sounds weird in here at soundcheck,” and they’re like, “Oh, when people come in, it sounds better.”
EW: The bodies right?
MB: Yeah, that does help. But for the most part, the trees in the open air, no walls by us, it’s so nice. That’s better. I’ve always wondered whether it’s preferred or not. For me, I like outside better. I’m curious to see what other musicians would say, but yeah, there’s nothing like playing an outdoor stage.
EW: What would the word be for it? If it’s not a room for us? It’d be really great woods out there. You know, the trees really just sounded great.
MB: We played this festival called Pickathon in Oregon. And they had this tree branch stage. It was just made out of branches, it was so cool, a little stage in the middle of nowhere. Yeah, it was just all these tree-like branches are all over you and around they make a dome that has branches and it’s really cool.
Marco Benevento’s Fred Short Recording
Creative Process: Starting
EW: Let’s talk creative process.
MB: I mean, creatively, I’m just in here writing and recording all the time. Yeah. It’s kind of funny, because most people, when they do their job during the day, and they come home, they want nothing to do with their job. When I do my job, and I come home, I want everything to do with my job again. Yeah, put the kids to bed and then hang out with my wife, and then she goes to bed. And then I’m in here writing and recording.
EW: The best hours?
MB: Yeah. The creative process for me is writing with playing along to a drum machine. Recording keyboards to a drum machine and then adding drums and then adding fade and then figuring out the lyrics after, if there are lyrics. Yeah, figure those out sort of, after the fact. But basically writing. Writing groups.
The creative process for me is writing with playing along to a drum machine. Recording keyboards to a drum machine and then adding drums and then adding fade and then figuring out the lyrics afterwards, if there are lyrics.
marco benevento
Marco Benevento finding inspiration in the Octagon
EW: Writing groups, that comes first. The late night is just the best creative time it seems like. Is it something about inhibitions that are just lessened at that time?
MB: Yeah. And talk about immersion. You’re just like, in here, and you almost spend too much time on one little particular thing. But then you get to the next morning, and you listen back and you’re like, “Oh, I’m glad I spent time dialing in. Yeah, that weird drum machine sound or there’s a mission.”
EW: Yeah, exactly an hour for the paper focus. Lasering in on something instead of having to have that bigger picture that seems like we feel so much pressure.
MB: Yeah, the bigger picture sort of comes after. I’ll get the groups baseline, I’ll figure out the arrangement, and then the bigger picture starts coming in.
Creative Process: Finishing
EW: How do you know when it’s time to like, start wrapping something up?
MB: It’s a good question. I find that like a lot of musicians. I guess it maybe it’s like, almost 50/50 I feel like there’s musicians that are just like, putting shit out, no problem., and not getting too hung up on certain things. Then I feel like there’s another side of musicians that says, “How long do you work on this record?” Two, three years in some cases, that’s a long time. You put that out, or even like longer, like 10 years, right?
EW: At what point does it start to deconstruct?
MB: I’m the kind of person that’s almost to the point where I should maybe be spending more time with it. But I’m like, “You know what? This is done.” And the good thing about being “This is done” is that you’re like, OK, you get excited for the for the next thing. So yeah, keep things fresh. that’s why. Recognizing when the freshness is starting to fade. I made this COVID record basically, over the last year. Now it’s starting to, fade, I’m like, I gotta put this out, because it’s just time for this to be out. I’m excited to be done with it. It’ll be done very soon.
Creative Process: Prioritizing
EW: How do you prioritize?
MB: I like deadlines. Especially when you’re planning your whole touring schedule and everything like that. If you want to know the music, you want to know the music’s ready and you want to time it. So when you do that tour, you have a new record. So by saying, “August 15, it needs to be done,” the signal will come out. Maybe the whole record comes out in the winter, but then you want to do a tour in the spring. So you time it all out. If you hold it up and the records are done, then you mess up everything down the line. So that makes so much sense, like planning a baby. Yeah, exactly. Keeping the ball rolling, that’s really it. I’m working like with all sorts of other folks, which is fun, on side projects. Specifically one with my friend Leon Michels, who lives across the river, and Ryan Cliff. He has his own thing called El Michael’s Affair. Check it out. He moved up from the city, we made my last record together and he’s just doing so many things with different folks, so he’s always having me over to like record on something that’ll eventually be used. He’s producing, having songwriting sessions at his house, it’s super fun and brings us to the Hudson Valley, it is nice to be up here. There are so many people with studios around here.
The Hudson Valley
EW: It’s the place where the real stuff is happening. This is where the people that have done well enough for themselves to make a home and be outside. And a lot of really, really amazing artwork.
MB: And there’s a lot of home studios, there’s a lot of people that are recording themselves in their side house studio, or their room or their garage or their basement and they’re really tasteful. They make great music. There’s so many folks around here and then even just professional studios. Applehead is nearby, and on the other side of the river where Leon lives, actually not far from him, it’s called The Clubhouse, which is another great studio.
Marco talks home studios and shutdown
EW: Especially after this year. It’s the home setup, for sure, and be glad if you have already had a place in the Hudson Valley.
MB: Absolutely. I know. I couldn’t have quarantined at a better place. It was ridiculous. Some of my musician friends were going through a really hard time. I couldn’t even imagine… I was like, “Okay, I’ll be stuck here for how long?Actually don’t even tell me, I’ll just do this.” I was so productive. Anytime anybody would like call me or FaceTime me. I’d be like, “Yo, what’s up?”
Live Streaming
EW: My family did a fake music festival with live streams. So when we were done texting we would be like, “Alright, I’m going back to camp and my sister would be like, get me a flannel and beer!”
MB: Online streaming things from festival stages, that was a kind of cool platform, and there’s a really successful tipping system where it’s really easy for people. You can scroll by all these comments, sitting here playing in my house, feeling like I’m playing and people just rolling through, so I liked it. Not a live show, it’s just something else, right? People are watching you on their computer, and we all know what that is. So it does feel somewhat rewarding, but it has its limitations, obviously.
EW: Well, if the home is interesting now, do you see an evolution happening with home fans that still will follow musicians around but not actually physically? Like, seen/listened to every show?
MB: I think that those platforms are hoping that artists don’t stop doing their online streams. It was funny, because I did a bunch of shows with StageIt and then things started opening up and my schedule got pretty busy again. I was playing shows and they were like, “Do you still want to do a StageIt show?” I thought, “I don’t know. Should I? Everyone’s going to shows, do people still watch stuff on their computers?” And they were basically like, “You know, that’s how we make our living.” So yes, of course, it’s still happening. I did one the other month, it was kind of fun. It’s still fun to do, because this room just looks cool with keyboards.
EW: They see where you hang out every day, and it can be funny when your cat knocks something over.
MB: It’s definitely more connected. Yeah, people want to go out to live but yeah, it’s more personal. It seems cool. It seems like at least I know for myself, like the gates opened a little bit more. It’s kind of cool to still feel like part of something. It’s definitely interesting.
Making memories
Return to Touring
EW: Have you found you’ve played a lot since reopening?
MB: Yeah, I play with this band called JRAD which is, which is Joe Russo’s Almost Dead and it’s like all the music of the Grateful Dead. I’ve done it a couple of shows with them in that place in New Haven at a new spot. It’s pretty awesome – Westville Music Bowl. I do love tennis and played so much tennis because of the quarantine. I’ve been playing with them, smaller shows, some smaller solo outdoor gigs which has been cool. I played with my band with Karina and Divi at Brooklyn Steel and cool stream from there. That was really, really fun. It’s fun to be able to capture the venue and do what I do, go into the venue and have a sound person that you know and everything, helping you out and doing it safely felt really good.
Connecting Post-COVID-19
EW: With the upcoming tour, do you anticipate there being a different energy or headspace in the crowd?
MB: Well, it’s not full capacity. For example, Westville in New Haven holds I think 12,000 people or something. If there were actually 12,000 people in that venue it would feel a lot different than it does now because I think they’re literally only letting in like 3000. That’s gonna be a little… it’s kind of like you’re aware but kind of wandering around a little because you have a little bit of wiggle room.
EW: Gratitude. In my experience, like it seems for some people it’s almost more of a religious experience than it’s ever been. Because artists that have been there for them through stuff, your streams kept people happy.
MB: I did feel that way, which was a nice feeling. Like, oh, I can I provide something that people like, they really love, and they really needed love, even if it’s not live, they need it through somewhere, somehow, and even as a musician, I also need that outlet as well. Even though I’m playing here all the time anyway, but just to have a concert where you’re like, actually emotionally connecting.
Cheap Keyboards
EW: And we’re like, “Yeah, music. It’s fun. It’s creative. This is who I am.” But then after it becomes like any relationship, where you were there for me, when I was going through this thing, and your music was there, almost saying “I got your back.”
MB: Yeah, I did feel that way. I also taught some lessons. I was like, I’ll just put my name out there. And if it’s just one person that wants to take a lesson every week, that’d be awesome. And they’re so stoked, they’re so stoked, right? This one guy, still takes a lesson with me. He just wants to shoot the shit about music and talk about how things roll and writing everything. It’s really loose, it’s been really cool. Now we have this connection and never met before. Now I know how smart he is. How great of a musician he is, and that’s so cool. I know that he was at this show, and for certain songs of that show, really freaking out that night.
This one guy, still takes a lesson with me. He just wants to shoot the shit about music and talk about how things roll and writing. It’s really loose. It’s been really cool. Now we have this connection, and never met before. Now I know how smart he is. How great of a musician he is, and that’s so cool. I know that he was at this show, and for certain songs of that show, really freaking out that night.
Marco Benevento on Teaching music
The Future
EW: What are you excited about right now?
MB: I’m excited. I’m very excited. I’m playing this weekend with JRAD. I played at the Newport Jazz Festival on Sunday with Christian McBride, John Scofield and Joe Russo, and some other people will probably sit. It’s like the the grand jam at the end. So I’m doing that and then I’m playing with my band at Levon Helm Studio.
EW: When you are into something, do you go so deep until the point where you’re like, “Alright, I’ve done enough in order to do more. Do I have to give up something else and therefore move on?” Or do you have different psych levels, where you have many things that you’re sort of slow cooking?
MB: That was that was a good way of saying it. Just lots of things that are still simmering in this. Song ideas. I rarely look back and think, “I spent too much time on something.” Getting a sound, maybe I look back thinking I spent too much time on maybe the arrangement of the song that seems to take me a long time to figure out which parts of where it feels like if it’s too scary or too much. For example, I had a song that was like, basically three parts in it, the whole thing repeated as a song form and it was an instrumental song, you know, whatever A, B and C, then I edited it, I listened to it and was like, this doesn’t sound right. So I flipped it around and see it was C, B then A – I was like, that’s on the song with the ending that I thought was the ending but it should be the beginning of the song. The middle of that regard, this is where it’s pretty awesome.
Four Track
Fred Short Show and Tell
EW: Then mixing and mastering – is that your people that do that for you?
MB: I love using tape machines and I have a four track recorder. I basically get all my tracks down to four tracks and I’ll have drums on one track, one bass. one vocals and then put it back in the computer. This is an essential tool for me.
EW: Do you find having a lot of gear can get overwhelming? Or do you love having tools and things around?
MB: I know how they all work. So yeah. If anything, I always love more.
Random Note
MB: This is called Random Note, it just does whatever you can adjust. You can adjust the speed, and then you can adjust the world. There’s the gear shelves too. This is a favorite too, this is a Wurlitzer kind of a classic sound. I mean, you’ve heard this. Oh, this is this is another new thing. You’ll like this one. This is cool. I just got this. I do like the cheap keyboards. I love these cheap keyboards.
“I do love cheap keyboards” Marco Benevento
You can adjust the speed, and then you can adjust the world.
Marco Benevento
EW: Why is that?
MB: It sounds so cheesy, but when you hear right, I use a lot of drum machines. This keyboard plays these discs, and it’s called the octagon, it uses a light. That’s why it’s called the optimal use of the optical sensor. It has these cool grooves and then you can play along with your right hand. So they all have these funky little album covers too that you get with it. These are cool, just found on eBay. So for example, your special effects, tambourine covers, track sandbox, and that’s what this one sounds like.
I spent a lot of time over here with this keyboard because it helps me get inspired right away. This sound is awesome, then it just helps me, like that. Even though maybe at the end of the songwriting process, this might be eliminated, at least it got me there. I might not use the original drum track that inspired the song, at least in the moment this is drum sound inspired me to write something, which is what everyone’s looking for when they’re being creative.
The Octagon
EW: It’s an intervention, sort of.
MB: Yeah, this is just a quick way, an intervention. Getting started really quickly. I’ll just randomly do shit like this.
EW: What is the story with the artwork in the corner over there?
MB: That’s Billy Martin from Medeski Martin Wood. The donkey is from my friend Battista Ebar, who actually made the artwork for my first record, Invisible Baby. I’m a fan of just making weird art. My record cover, obviously. I just like doing drawings like a staple in your book, and it’s the cover of our record called The Story of Fred Short.
Up-and-coming neo-soul artist Kristen Merritt paired up with NYS Music to create a summer playlist for fans to enjoy, leading up to the release of her debut album on Sept 14.
NYS Music x Kristen Merritt Playlist
Detroit native turned New York local, Kristen Merritt has taken advantage of the creative energy the city has to offer. Since 2019 she has released an EP and various singles all leading up to the formation of her debut album Joi. The latest release from the artist is the single “I Don’t Think About You,” which is the second taste of the upcoming album after “I’m Done” was put out this May.
“I Don’t Think About You,” has a little bit more of the flavor that you’ll see present throughout the album. I say that because “I Don’t Think About You” is a little bit more of a love song. While “I’m Done,” is a love song in a way, it’s a breakup song, love was there at some point.” said Kristen adding, “Generally, the tone of the album is love songs that explore the different parts of love. Whether it’s beginnings, endings, something in between, just to describe how it feels to have love and to carry that love for someone.”
While writing this album, Kristen went about it the same way she goes about life, “I’m very hype as a human being so I like to bring hype to everything that I’m doing. In addition to being hype, I’m very “go with the flow.” I hadn’t always been this way– and don’t get me wrong, I like the list, but for the most part, I am pretty free flowing and so I carry that into my writing process as well.”
“I will hear a melody in my head, sometimes that melody is on guitar and sometimes that’s a vocal melody. I’ll go ahead whether it’s vocal or guitar and record it in the recording function on my iPhone. Then I will freeform, stream of consciousness, let the thoughts flow. Then after the fact, I’ll go in tweak some metaphors, make sure things make sense, and make sure that there’s a story within what I’m expressing.”
For specific songs and their meanings, Kristen always makes sure to focus on storytelling and the emotional weight, “On the smaller, micro level, different lines that hit me emotionally like, “Wow. Okay, that that came from a deep place, a vulnerable place.” Then on the macro level, when there is a story being told, and it feels like it started, in a way that is going to pique someone’s interest, and ended in a way that didn’t have to be completely resolved, that still felt like there was some level of finality then I know that I have written a good song.”
“I Don’t Think About You” featured on the Kristen Merritt playlist
This summer NYS Music and Kirsten Merritt have teamed up to give the people a “Summer Jamz” playlist to fit everyone’s newly liberated and fully vaccinated plans. Filled with songs like “Feels Like Summer” by Childish Gambino, “Toothache” by Topaz Jones, and of course Kirsten Merritt’s own tracks.
“What I ended up doing to create the playlist was going through my liked songs on Spotify and any song I found that immediately brought a smile to my face I added it to the playlist. I have about maybe 300 songs on my liked songs so I made sure to comb through. The ones that really stood out to me where I loved this song, I loved the way that it feels, or the lyrics, or the message it imparts. I added that to the playlist. I wanted to share good feels with everyone.”
While it is technically a summer playlist, for Kristen at least, that is just a state of mind. And that state of mind is put on repeat, “You could blame it on me being a Taurus. One time I saw a Zodiac thing that said, “Taureans, we love playing the same song 15 million times. You never get tired of it.” That is true for me. Where often I will play the newest songs that I’ve added because I’m so excited about that and then occasionally I’ll shuffle through. Unless it’s a colder or a rainier day outside I generally go for higher energy music and then if it is one of those other days I might do a little bit more chill music.”
As a growing artist, Kristen has been setting and making goals for her various works, “My biggest goal now– you know if you had asked me this a year ago, it would have been to release more music. So, that’s what I’m doing now and to get more comfortable with releasing music, because previously, while I felt there was an expectation and a standard that I was holding myself to with releasing music. It was good and I liked it, but there was a level of enjoyment and joy, if you will, that I hadn’t yet accessed in terms of feeling comfortable releasing music. At this point, that’s not the case with this album. I feel very excited to release the album.”
At any level of performing, getting in front of a crowd can be intimidating. Despite that feeling, Kristen can’t wait to give it another go, “Previous to the pandemic I was working on doing some sets with open mics and gigs like that. And while I was pretty comfortable, I was getting much more comfortable with my instrument because I haven’t been playing guitar for too long. There was still just a part of me that really wanted to be present in those performances. It may not come off as it but I feel internally stilted in a way that I want to tease out and untether a little bit.”
“Moving forward, I want to work on having fun at the live performances and feeling really present. So whether it’s busking in Washington Square Park, doing a gig at a small cafe, or all the way up to a larger venue. Having bandmates accompanying me, I want to enjoy performing. My work moving forward is allowing myself to be open and have fun with it.”
“I’ve been very fortunate that the first song, “I’m Done,” got added to some Spotify playlists and I’m hoping the same for “I Don’t Think About You.” I want to let people know that I’m so happy that I’m getting to meet people digitally, even if it’s digitally for now. Being able to have my music out there and hopefully affecting people, whether it’s positively or negatively, I’m open to all types of effects just as long as it’s there. “
The next single “Breathe,” is except to hit all platforms in late July or early August, while the album, Joi, will drop on Sept 14.
To stay informed, follow Kristen Merritt on Facebook, Instagram, Twitter, Spotify, and Apple Music and be sure to listen to the Kristen Merritt playlist “Summer Jamz” linked below.
Togs, a new band formed in Brooklyn, are self-releasing their debut EP More of Your Favorites today. Set to a groove-laced indie rock jam, a cyclist out for a cruise gets mugged and chases his attackers into a twisted disco nightmare. The release is accompanied by the adventurous music video for lead single “Disco Ball Shoes”.
“Disco Ball Shoes” via YouTube
After first coming together in 2018, Togs found a new stride while living through the pandemic by playing socially-distant shows from their stoop in Bedford-Stuyvesant. The stoop was upgraded to an outdoor, backyard venue where full-day shows became regular programming. Back in May, Togs headlined a party for a full-house and played the final version of More of Your Favorites for the first time. The band has natural chemistry and were noticeably “at-home” playing in front of friends, family, and strangers who heard the music from the street.
More of Your Favorites Cover Art, Designed by Graci Mills
Specializing in “angular music suitable for aqua-aerobics, wave simulation, and so much more,” the original 4-piece lineup consists of Graci Mills on guitar and keys, Colin Vallee on guitar and vocals, Abbie Krinsky on drums and vocals, and Justin Birmingham on bass and vocals. New member Tony Catalano joined the group in 2021 to round out the live show on guitar and effects.
You can see Togs this Friday, July 16th, headlining a release party at Gold Sounds in Bushwick with support from Night Coast and Plastic Hag. You can find the EP on their BandCamp or Spotify pages.
Togs Headlining the Doomyard, 5/22/2021 – Photo By: BuscarPhoto
Check out more photos from May’s Doomyard show below and keep your eyes peeled for more shows to come this summer.
