Jam band supergroup Dead & Company make their summer tour stop at the land of chocolate, Hershey Park, on August 28. With them as always, following is their eclectic, eccentric, and electric fanbase: the Deadheads, as colorful as their kaleidoscopic visions can take them. The fanbase is incredibly kind, tight knit, dedicated, and functions as a self sustaining community that follows the band.
The band started the night with “The Music Never Stopped,” a good way to get things going. “Touch of Grey” proved to be a most apropriate song, one whose message we can all relate to in the midst of a worldwide health pandemic. Mayer shines on “Tennessee Jed” with some fancy chicken picking and long time superstar vocals on “Mr.Charlie.” The band wrapped up the first set with an incredible “Cassidy,” featuring iconic Weir vocal parts and a fast, fun, everyone sing a long “Don’t Ease Me In” to end the set.
The second set blasted off with a psychedelic “Here Comes Sunshine”, featuring Mayer leading everyone into the sun, vocally and theoretically speaking ofcourse. Now Bobby gets to shine on vocals as the band goes into an epic “Estimated Prophet”. Dancing shoes are coming on and the band pulls of several extended, even for Grateful Dead standards, improvised sections on a massive “Eyes of The World”. Mayer gets to shine on vocals again with “Althea”. And now comes time for the rhythm devils as the rest of the band leaves.
After “Space” Dead & Co went into an unexpected Miles Davis cover of “Milestones,” a most psychedelic and sonically unexpected spectacle. They switch gears into “Going Down The Road Feeling Bad” and quickly again into “Death Don’t Have No Mercy.” This featured a somber Weir on vocals, really belting out about death and loss. And to close out the set, a most apropriate “One More Saturday Night” played with all the vigor and groove a Saturday night show should have.
Bobby declares that there is a strict curfew in play so they’ll skip the formalities of getting off stage and get right to the encore which was a thumping sing along, “Quinn the Eskimo.”
Dead and Company – Hershey Park Stadium, Hershey, PA – August 28, 2021
Set 1: The Music Never Stopped -> Easy Answers -> The Music Never Stopped, Touch of Grey, Tennessee Jed, Mr. Charlie, Black Throated Wind, Cassidy, Don’t Ease Me In
Set 2: Here Comes Sunshine > Estimated Prophet > Eyes of the World > Althea > Drums > Space > Milesstones > Going Down the Road Feeling Bad > Death Don’t Have No Mercy > One More Saturday Night
Denise Parent, the beloved Hudson Valley guitarist known for her work with Grateful Dead cover band The Deadbeats and Brown Eyed Women, has released her first album of original music, The Songs In My Heart.
Though Parent has been a songwriter and guitar player for the majority of her life, picking up a guitar for the first time at six years old, this is her first solo release. Parent wrote all songs herself.
All of the tracks capture the warm, full quality of a live album. Parent’s historic career of jamming with The Deadbeats and Brown Eyed Woman is apparent in her light style. Every instrument is apparent in its own uniqueness; the boxiness of the drums, the strummed acoustic guitar in comparison to soaring electric riffs. All of these songs beg to be heard in a smokey venue, where one can experience what decades of practice and natural talent look like.
Deadbeats band members Mike Johnson and Dan Gerken contributed to the album as well; Gerken engineered the project. Gerken also contributed guitars, bass guitar and keyboards, while Johnson played guitar on “Morning Sun” and “Get Over It”, songs the band have been playing together live for years.
Much of Parent’s music reflects on her own emotions, and the ways in which music has helped her speak to them. These really do feel like songs that live in her heart, little reminders of how to stay hopeful and loving through life’s many seasons. On the poignant and bluesy “Morning Sun,” Parent sings: “It’s so hard to feel it all the time/To wait it out just for a little shine.” The jaunty tempo sets the perfect tone for the mournful lyrics. Ultimately, as hard as it gets, the tune encourages one to just keep trucking along.
The album sends the message that for Parent, that shine has been music, and shine is something she’s keen on sharing. On “Hey Darlin,” a chugging minor-key groove, Parent seeks to bring love and happiness to the titular character. As a song that seeks to make someone move, the insane electric guitar breakdowns throughout surely help.
On album opener “Shangri-La,” Denise Parent tells the story of a family growing together over time, finding their own version of happiness and paradise together. The song echoes a statement by Parent from her press release: “I thank my musical mothers and fathers and brothers and sisters for inspiring me to create and to sing and to play my heart out. I thank every artist and thinker who ever made me think twice about something, and who opened my mind and my heart.” These musical family members allowed her to make that journey, complicated and never quite complete, to her own musical Shangri-La.
A musician who has made her career performing covers, Parent’s solo music reflects the way the simple art of music has allowed her expression for a wide range of deep emotions. From the joyful freedom and peace of “Shangri-La” to the jauntily mournful “Morning Sun,” to the it-gets-better anthem “Get Over It,” all the songs have a message of making it through. Things will get better, happiness will come again, and if you listen in, Parent’s music just may help guide you there.
Halsey dropped her powerful new album If I Can’t Have Love, I Want Power which was produced by Nine Inch Nails member Trent Reznor on August 27, 2021. With Reznor and Atticus Ross producing the album it transcends through multiple genres bringing industrial, rock, grunge, and pop all together and takes risks all along the way. The album’s release coincides with an hour-long IMAX film under the same name that features Halsey in the lead role and features music from the album.
If I Can’t Have Love, I Want Power album cover.
Ashley Nicolette Frangipane, or more commonly known for their stage name Halsey, was born and raised in Edison, New Jersey. They spent much of their young adulthood visiting NYC and ended up living in Manhattan briefly before getting their big break with their song “Ghost” which was released on her soundcloud and ended up gaining lots of popularity. They ended up signing with Astralwerks because of their offer of retaining creative control. She debuted her first EP titled Room 93 on October 28, 2014. Since then they have released four albums titled Badlands on August 28, 2014, Hopeless Fountain in Kingdom on June 2, 2017, Manic on January 17, 2020 and finally her newest album If I Can’t Have Love, I Want Power on August 27, 2021.
Halsey’s original album, Badlands, fell into the indie-pop realms but her next two albums seemed to be more or less strictly pop. Halsey has never been one to cater to the audience and refuses to be anything but themselves. This album though takes more risks than the previous albums both is subject matter and musically. If I Can’t Have Love, I Want Power steps away from the pop sound Halsey has become known for to make way for something different and I would argue better. The album is stronger and has more depth to it than her previous albums and really feels like Halsey has come into their true sound.
Although the album as a whole was very good there were a couple songs that stole the show and were definitely the stars of the album. “Easier than Lying” was one of those songs that really pushed the album to being a bop. You can definitely hear the influence of Reznor in this song. It is probably the hardest song Halsey has released. The continuous leading drum line combined with the distorted heavy bass line in combination with Halsey’s harder and grungier voice is a new sound for the artist and it suits them perfectly. Listening to it you never would have thought this was a new sound for them if you didn’t already know this was a step away from their pervious sound. It feels natural and like the sound she was meant to make.
Another song that really made the album was “Girl is a Gun.” It uses a continuous leading drum line and a bouncy bass line combined with synth to make a song where, without even trying to, the listener finds them self bobbing along to it. It has a 90s drum and bass feel that’s addicting. It’s not as hard as “Easier than Lying” but definitely pushes Halsey out of the strictly dickly pop realms they have been more known for before this album. It’s catchy chorus and driving beat make it the kind of song where if it came up on your recommended playlist you would be checking to see who it was by and saving the song before it’s even over.
The last song that has to be mentioned is “Darling.” This song isn’t like any other on the album. It features a simple fingerpicking guitar and Halsey doing harmonies with it for the majority of the song. It’s not hard but it’s a risk. It’s not flashy but it’s honest. It makes you feel the bittersweetness of life and the hope and love for new life. The song is definitely a nod to Halsey’s child who was born shortly before the album’s release and to which they were pregnant with during the making of the album. The simplicity of it musically gives the chance for the lyrics to really be the star of the song and make the listener really focus on what Halsey is feeling.
Although you should really listen to the entire album in order, if you are looking to checkout a song or two to see if it’s your cup of tea, any of these would be a great place to start. Anytime an artist changes up their sound it is a risk for them especially when they are moving away from a classically popular sound to something else. Not every attempt is successful. Halsey has taken this leap of faith and has landed with flying colors.
The full album is available on all streaming platforms. The accompanying film is available via Global IMAX. Showings, available dates, and locations can be found here.
For their fourth and final show in the Empire State, Dead and Company made their annual stop at Saratoga Performing Arts Center, hallowed ground for seeing the Grateful Dead in the 1980s. And much like the Dead shows at SPAC in the 80s, the venue was as packed as ever, hosting a sold out crowd of 25,103 – a few short of the record set by the Dead in 1985.
On Friday, August 27, Deadheads of all ages – grandparents bringing their grandkids, parents going with friends, college kids meeting up with uncles and aunts, or just locals looking for a night of classic American music – filled in every corner of SPAC, and in this era of social distancing, the crowd at times felt like there were more than 25 thousand in attendance. Early entry was a smart move this night, as COVID-19 vaccine checks as well as ticket/security checks slowed entry down for many. If you’re attending a sold out show at SPAC this summer, the best move you can make is go in early and avoid the rush.
photo by Conor McMahon
Once inside, the Saratoga Springs crowd was as boisterous and congenial as you’d expect at a Dead and Company show, let alone a Phil and Friends, Ratdog, Billy and the Kids, Joe Russo’s Almost Dead, Dark Star Orchestra, or any other Grateful Dead side-project/tribute band. That’s what makes these shows so appealing to so many – you get that same wonderful vibe from those around you, all of whom are there for the music and allow themselves respite from the daily grind.
That collective release was felt when Dead and Company dropped into “Shakedown Street” to open a show, a resounding statement that tonight was going to be a barnburner. With Bob Weir wearing ‘Bobby Shorts,’ and Oteil Burbridge donning Section 119 shorts, even the band knew it would be a hot one. The “Bertha” that followed maintained the momentum out of “Shakedown,” which wound down so Weir could play a couple of acoustic numbers, the beautiful “Peggy-O” and “Me and My Uncle,” both of which were tour debuts.
photo by Conor McMahon, Oteil’s shorts by Section 119
Would be captain John Mayer took over vocals for “They Love Each Other,” and on “West L.A. Fadeaway” successfully pushed for a second jam with the help of Jeff Chimenti on keys. The set closing “Bird Song” was played at such a slow tempo it took Weir six minutes to get to the lyrics, while he and Mayer struggled for direction throughout the rest, clocking in at 22 minutes for the longest song of the night.
Set 2 opened up with “Let the Good Times Roll,” evoking memories of the show opener on “Downhill From Here,” and driving the bus towards “Scarlet Begonias,” which was paced at times as it meandered over 13-minutes. Surprisingly, “Help on the Way” arrived when “Fire on the Mountain” was expected, cranking up the energy once again, and diving into a “Slipknot” that was exploratory courtesy of John and Oteil, and is well worth a listen below. When “Fire” finally arrived, it lit the crowd up in a haze for 10 minutes, before an exodus of fans made their move towards the back of the lawn or parking lots with the onset of “Drums.” Oteil joined Rhythm Devils Bill and Mickey for the a tribal interlude, followed by Mickey getting to work on The Beam for “Space.”
Upon the band’s full return to the stage, “Cumberland Blues” brought the crowd back to their feet, then giving them a chance to rest during “Days Between,” the final tour debut of the night. “Not Fade Away” would close the set, bringing Buddy Holly’s lyrics to echo across SPA State Park and beyond. To balance out “NFA,” an encore of “Black Muddy River,” while soulful, zapped the energy that had been flowing all night.
While an up and down show tempo-wise, Dead and Company were energetic and polished throughout. It would be difficult to find a fan of the Grateful Dead who didn’t enjoy this performance at SPAC, or elsewhere on this tour, one that comes at a needed time for the fans after many months without live music.
Set 1: Shakedown Street > Bertha, Peggy-O, Me and My Uncle, They Love Each Other > West L.A. Fadeaway, Bird Song
Set 2: Let the Good Times Roll, Scarlet Begonias > Help on the Way > Slipknot! > Fire on the Mountain > Drums/Space > Cumberland Blues > Days Between > Not Fade Away
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.
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.
