Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear new music from Under the Den, Jade Relics, and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
This week’s EQXposure starts with a four-song feature from Under the Den, a group that hopes to capture the positive essence and momentum of the progress which has become symbolic of the Upstate NY area.
Under The Den formed in the autumn of 2017 as a collaborative effort in Upstate New York of four people trying to make good music. Madison Lewis, the group’s lead vocalist from Orange County, CA, pours her soul into live performances, understanding the need for connection and reciprocation with an audience large or small. Benjamin “Ideas” Zoleski, a music major from Berklee, brings a great range to the guitar following a recent outing as the Musical Director for Andrew Lloyd Webber’s “School of Rock” (2018-2019) theatre production, as well as the guitarist for the European hologram tour of Buddy Holly and Roy Orbison (2019). The rhythm section is comprised of identical twin brothers John Nowak (on bass) and drummer Jason “J NO” Nowak. Both have a long musical history in the 518 and abroad, with bands on indie and major labels.
They are performing on March 27 at Albany’s oldest bar, Pauly’s Hotel. The show is supported by Kid Vicious with live sound by Lyons Den Productions. Doors open at 7pm and shows start at 8pm.
Jade Relics from Vermont is a trio of IamE, Rico James, and Elder Orange. The music floats along a hip hop feel with emo heartfelt singing, excellent production and instrumentation creating a head bobbing yet smart piece of music.
Jade Relics recently released “Start Over” a massive sounding intoxicating grooed out jam about pushing the rest button or at least being forced to do so.
After preparing a massive arsenal of puns in preparation for a ten year tour of stand-up punning in pun-friendly venues worldwide, Troy, NY’s DayBloom packed a van and set out, only to get a flat tire in the driveway. Plans dashed and bored, they started playing music.
‘Till the Sky” is a deep roots style track with enriching harmony and clever twists and turns. The acoustic instrumentation which implies a laid back sense does not cover up the rumbling intensity and dark turns of this rather well put together piece of music.
Record Heat, formerly known as Spirit Animal, is back with a new 3-song EP titled 1 out on March 12. “Nathan” and “Just Hits” are previously released tracks, with brand-new closer “Networks.” Produced by Nolan Lambroza, 1 has an industrial, ground-shattering, alternative-rock sound.
Record Heat’s NST Album Art
The opening track “Nathan” booms into headphones with a huge grimey bass sound and commanding, catchy vocals. The beats are redolent of “Believer” by Imagine Dragons and “Black Skinhead” by Kanye West, delivering a powerful energy that is cinematic and danceable. One could imagine a live show with pyrotechnics and a zealous crowd. “Couldn’t really say that I’m the patient type,” lyrically encompasses the strength of this song.
“Just Hits” opens with a mysterious synth line and a techno beat that kicks in with a groove. Steve’s vocals are confident, almost rapped, giving the song a quick, invigorating aura. There is a spoken-word prechorus that induces reflection about nature: “We came from the sky / We came from the trees.” The song morphs into a bravado-filled chorus, with idiosyncratic production. The manipulated vocals, sirens blaring, and synth motif coat the song in a bold color palette. Record Heat knows that they are hot stuff.
The newest track on the EP is the closer “Networks.” It opens with a jangly percussive bar and instantly adds groovy guitars. The energy is infectious immediately. The song criticizes networking and its inherent artifice; Record Heat are not in search of fortune and fame – even stating “The music industry sucks” as an ad-lib – they are artists, here for music, not commerciality. “Networks” is an anger-tinged indie dance track. It’s a powerful track in less that 2 minutes and 30 seconds. Record Heat’s new EP “1” is a whirlwind of confident, experimental, industrial rock. Their sound is refreshing, and you can listen to it on March 12th on all streaming services. You can find more about Record Heat on Instagram, Twitter, and Facebook.
If you’re free on the 17th and 18th of April, the Barenaked Ladies have announced a new concert stream event, “Flip N’ Hits With NBL: A Night of Monster Jams on Pandemic Proportions.” Taking place at 9 pm EDT and 6 pm PDT with an additional special encore at 8 pm on the 18th, the virtual hour-long show will be available for viewers across the globe, promising high-powered energy and fun.
Message from Barenaked Ladies on the Event
For the first time in 30 years, the Barenaked Ladies are making a return to the historic Danforth Music Hall in Toronto for this event. The setlist for the event contains a variety of fan-favorites, including “If I Had $1,000,000,” “One Week,” and “Pinch Me.” Tickets for the event start at $15 and can be purchased here. The show will be unavailable to rewind or view once it’s over, so grab your tickets ASAP.
We had such a blast playing together again when we made the Holiday Special, and we’ve been trying to find more ways to connect with fans. The Selfie Cam Jams are fun, but we’re really jonesing to play an actual concert!
Vocalist/guitarist Ed Robertson on the show
Partnered up withSessions to help make the virtual show happen, the event is certainly a can’t-miss for fans to sing along, or alternative fans to check out. Unavailable for post-broadcast viewing, there’s only one chance to attend and enjoy the experience. There are also bundles available to super-fans that include merchandise and access to a post-show Q&A.
For updates on the Barenaked Ladies stream, and to see Ed Robertson in an exclusive Breakfast Television interview click here.
Upstate New York join forces in the latest single by burgeoning rapper, Baddnews. The Syracuse native has recruited Griselda and Buffalo’s own, Benny The Butcher for this catchy, up-tempo record about pushing through the treacheries of the street life, in pursuit of more prosperous times.
After all, adversity is nothing new to the rising rap star, after facing a barrage of drug trafficking charges, the former Rhythm + Flow contestant has made a triumphant return to music with this latest release. His recruit? One of the faces of the Upstate New York rap scene responsible for bringing the city of Buffalo to prominence, along with his fellow Griselda cohorts.
The duo shares similar backgrounds, growing up in rough, urban neighborhoods, mired in violence and drug use. Their attempts at financial prosperity landed them in trouble with the law, before deciding to hone their craft and use that as their golden ticket out. With Baddnews gaining traction as an artist, he can always look to his counterpart and know that there is a future beyond the streets.
Our visions weren’t equally aligned, to chase my dreams I had to leave the streets behind.
Baddnews
Baddnews
Known for his detailed recounts of his time in the streets, Benny The Butcher is the perfect opposite to Baddnews on this record. While the song sees the latter look towards a more promising future, the former spends his verse poignantly recounting the roads traveled that made him a successful rapper.
Drop elbows like Randy Savage to count up Andrew Jackson’s.
Benny The Butcher
Benny the Butcher
“This record with Benny holds a different level of importance, because not only is he one of the hardest lyricists in the game right now, but he’s also from upstate NY just like me” Baddnews commented. “This is just the beginning and I can’t wait to show the world what else I have in store this year.”
Long Island’s Versa the Band, releases their politically reflective first single of the year entitled “ROLL (Homies Love Democracy).”
Credit: Derlis Chavarria and CK Productions
The band started in 2019 with a mission to create music that is out of the box and not tied to just one genre. While they are called a band, that is not quite the dynamic. The name originated from when the creator Ethan Fezzilari was brainstorming band names with his best friend for their cover band. The name Versa came to him after driving on the Long Island Expressway and seeing a Nissan Versa in front of him. The name stuck with him even though Versa the Band is a solo project.
Versa the Band describes themselves as a “music collective” Fezzilari collaborates with other artists of different backgrounds. With influences from various artists such as Bon Iver, James Blake, Sam Cooke and more, Versa the Band has a versatile catalog. They tap into multiple sounds consisting of Hip Hop, Alternative, Pop, Jazz and more. He also draws inspiration from natural sounds and from things humans do regularly that create sound.
With his El Salvadorian background, music has played a major role in his life. He recalls being around music all the time and seeing his mother cook with music playing in the background. While his parents aren’t musicians, their creativity influenced where he is today. The piano was the first instrument that he played when his mother made him and his siblings take lessons. Piano remained a constant throughout his career as a musician. He began his career in the entertainment business as a child actor in community theatre and progressed to short films and commercials. Versa the Band really fell in love with music through singing and the art of it.
Versa the Band is signed to founder Fezzilari’s own Indie label CK Records. The company broadens to different aspects of entertainment including film and theatre. His executive involvement made him yearn for more creativity and his experience as director contributes to his writing skills. His journey with song writing began about two years ago. Versa the Band’s songs “Chelsea in the Spring,” “Barefoot,” “Just Friends,” and “Don’t Be Alone” were all released under the label. It allowed him to stay true to their sound and proved their individuality and creativity.
The newest single “ROLL (Homies Love Democracy)” is another step further in not conforming to just one sound. It derives from a meme, specifically a meme that said “All my homies love Celine Dion.” The song is written from the perspective of the United States during the era of Trump’s administration and the issues resulting from COVID-19. He saw the way certain communities were struggling and lacked resources during a time when they needed it the most. Fezzilari says this is the most unique song the band has come out with. It captures the frustrations that many people felt during these times and they hope it will get people to think and receive the deeper message.
The first half of the song calls out the current state of the political climate, while the second half serves as a cry for help. The single is produced by LOGO, mastered by Colton Lava, mixed by donSMITH along with Cliff 41 Studio. “ROLL (Homies Love Democracy)” is one of the tracks on Versa the Band’s upcoming album Free Thinker, which is releasing in June. Free Thinker is a 16 track project, containing five interludes and two more singles coming out shortly. This first single along with the video releases on March 12.
On March 1st, Brooklyn based singer-songwriter and poet Lowhency Pierre unveiled a new single and visual for his latest single “Losing.”
The genre-bending crooner delivers a strong and passionate vocal performance that details not measuring up to gain the attention and affection of a partner.
The somber cut is his most vulnerable and emotional track to date – with its thrumming heartbeat and bassline that grow more pronounced with time, over theatrical strings and overlapping vocals.
In “Losing,” Lowhency Pierre turns grappling with self identity and worth into moments of clarity, security and liberation.
Lowhency shares, “Lyrically, I’m saying that it’s really hurtful, and exhausting trying to exceed your expectations to win your love; and, recognizing my value and self worth enough to set myself free from that negative and toxic space.”
Inspired by the art form of dance and natural human body movements, Lowhency says, “After discovering choreo-cinema films by Maya Deren (Study In Choreography for Camera), and Robyn Brentano and Andrew Horn (Cloud Dance), I really wanted to challenge and explore new areas of my body to express myself beyond writing and singing for the visual.”
Pierre teamed up with longtime collaborator, choreographer and director, Barby Beauvais, to share his vision, and began training for two months on steps and movements that conveyed the concept of the song.
Barby created the choreography piece-by-piece to showcase reflection, frustration, vulnerability and peacefulness.
The new release is a taste of what’s to come on Lowhency’s forthcoming (yet-to-be-titled) project. Pierre’s last single “Crew Love” received and generated support from Grandma Sophia’s Cookies, Music and Other Drugs, Bands Do Brooklyn and more!
Stan Denis of Denis Entertainment Group is a live sound engineer/system designer and President of the Denis Entertainment Group (DEG). With years of experience producing events and designing sound systems for venues, including Bearsville Theater in Woodstock and Lark Hall in Albany, Stan offers insight for up and coming bands when working with production teams.
In my previous blog post titled “The common production issue musicians encounter during concerts and why it’s a travesty,” I discussed one of the biggest production-related complaints that we get from bands. Bad monitor mixes and feedback from the monitors. You might remember I mentioned that it is often an unorganized, or maybe even uncaring sound engineer that quite literally sets the stage for things to go poorly during the show. Well, like with many other issues in the world, there are at least two sides to this story.
Imagine this, if you will. You are a sound engineer or perhaps part of a multi-member production crew. You have a show coming up in 2 weeks and you have been given the band’s contact information. You reach out to them to do the TECH ADVANCE. You ask all of the appropriate questions. How many members? What instruments are they using? Specifics to the size of the drum set? You discuss the total mixer channel count for this event. You determine that you will need 10 drum mics, 2 mics on the electric guitar cabinet, a bass Di box, and also a separate mic for the bass cabinet. There is a keyboardist with two keyboards that you will run in stereo. There are three horns and four vocalists. You determine that you need six stage monitors to cover the band’s needs. This is all agreed upon during the phone call.
Next, you do what any responsible sound engineer should do before the day of the show. You build a scene for the digital mix console that you will be using, where you spend 45 minutes or so thinking of every detail that you think might occur during the show with this band. You go to youtube and listen to the band’s music. You determine what kinds of effects they are using on the vocals and drums. You study them for a few songs so that you know what their sound is.
On the day of the show, you get to the venue before the band. You place all 6 monitors, run all of the mics and have them positioned the best you can, keeping them out of the way, yet ready to quickly be placed. You “ring out” all of the vocal mics/monitors before the band gets there, ensuring that there will not be feedback and that you will be prepared to give a great monitor mix. Your goal is to save as much time as possible during the band set up in order to be able to give them a great soundcheck. You want the band to have the best experience possible, and you want to wow the audience with the sound quality of the show. In other words, you have done everything that a professional, competent, and caring sound engineer should do.
Next, the band arrives 20 minutes after the scheduled load-in time. They get to the venue, see a few people they know, and start having a conversation. You are already twenty minutes behind schedule and now the band is delaying more. Finally, you approach the band and say “Hey guys, I just want to make sure we have enough time to give you a great soundcheck, so can we please get set up?” Next, the guitarist asks if you have a spare guitar cord because he forgot his. You can’t help but think to yourself how were they planning on performing if they didn’t have what was needed to actually perform. You notice that the keyboard player is not yet there and that there are only two horn players instead of the three that you were told would be playing that show. You ask the band if they know when the keyboard player and the other horn player will be arriving, and they say “oh man, yeah they can’t make it to this show.” You can’t help but ask why they didn’t alert you to this when you did the tech advance for show or when they found out that this was going to be the case. And no answer. So now you look at the monitor you placed, the 4 channels that you set up along with the 2 stereo DI boxes that you ran and positioned. You look at how you positioned everything to give the band a nice symmetrical appearance on stage and you realize that since there is no longer a keyboard player taking up a good amount of stage real-estate, you have to shift everything over for this to look right.
On stage you begin moving things around. Just then the guitarist starts blaring his amp and goes into a loud shred guitar solo instead of helping you to make the stage changes. The drummer is tuning his snare, smashing it even though you are right next to him. They are not at all concerned with the fact that you are the one tasked with making this band sound good tonight and that they are essentially dulling your hearing and more importantly just being rude. There you are sound engineer doing more work and getting further behind because the band did not communicate appropriately with you. No one took the time to alert you to changes. Some members came unprepared to put on a good, professional show. None of the band members seem to be concerned that as their engineer for the evening you did everything in your power to be prepared, yet this band has completely disrespected you and instead of working together, you feel that it’s you against the band now.
Does this sound like an annoying day’s work for a sound engineer? If you said yes then you are correct, and this is far too often the reality for production people.
There is a team required to put on a great, successful show. There is the venue, the promoter, the production crew, and the band. Everyone needs to know the plan. Everyone needs to be on the same page working toward the same goal. The band and the sound engineer need to be working very closely together since they are both an intricate part of the actual live performance. There needs to be mutual respect between these two parties. You need each other in order to put on this event. So how can you help your production crew to take care of you?
I’m glad you asked. Let get into it.
Putting yourself in the shoes of the production crew is imperative to know what you can do to help make their job easier and most effective.
Let’s start with the TECH ADVANCE.
Every musical act, even if you are a solo performer, needs a document that explains what you need on stage and what your production requirements are. There are generally two separate pieces of information that a sound engineer needs from you to be prepared for your show: a stage plot and an input list. Many times these two documents can be combined into one stage plan.
Stage Plot. This is an easy-to-read map of how you would prefer the band and all of your equipment to be located on the stage. This document should make it easy for the engineer to know exactly where to locate stage monitors, mic stands, stage rugs, DI boxes, and such. As an engineer, I should be able to look at your stage plot and easily layout the stage before you arrive. Don’t get too fancy. Keep it simple to read. When we are providing production for festivals we may encounter as many as 10-15 different stage plots per day. An organized production company will locate printouts of all of the bands’ stage plots on both stage left and stage right. The crew needs to be able to look at your stage plot and quickly know how to set the stage for your set. Make sure you include things like how many drums are in the drum kit that you will be bringing.
Input List. This is a document that shows how many channels you require as well as the microphone and direct input compliment that you are requesting. Do you want two mics on the kick drum? How about the snare drum? Are you requesting just a direct input of the bass or do you want a mic on the cabinet as well? Are you bringing your own vocal mics or using the “house mics?” If you are bringing your own mics, then what model are they?
Show up prepared. How many cables should a guitarist have when going to a show? Well if you require two normally then you need at least three. Always have a spare. How about a spare snare drum head or better yet a spare snare drum? If you break your snare head, what’s your plan? Keyboardists, you should have enough cables for a sound engineer to be able to put your instruments into the PA using stereo (2 channels). I don’t know how many times I’ve had a keyboardist show up with a $3,000 stereo keyboard only to have one crappy 1/4 inch cable. Come prepared, have enough cables and at least one spare. Guitar pedal patch cables, strings, power cables, drum sticks, instrument stands, a drum key, etc..
Show up on time. In the world of live music, very often the biggest obstacle to putting on a great show is time. Be at the venue by the agreed time. Be ready to quickly load-in and set up. Leave social time for after sound-check. You never know what issues may present themselves, so make sure you have left time to deal with them.
Understand the reality of the sound engineer. Production crews are usually people who work very long hours in what can be harsh, unforgiving environments, dealing with disrespectful musicians and know-it-all audience members. Being under a time crunch is the norm and there is barely enough time to get things done properly, even if everything goes as planned. What does this mean? It means that you need to take care of the production crew, just as they need to take care of you. You need to understand what they may be going through and you should try to make their lives as easy as possible. You can’t have a great show without them, and they can’t have one without you.
You have heard of the grumpy sound engineer, right? If you perform enough shows you, will eventually encounter one or more of them. You have the power to turn the grumpy sound engineer into a positive asset of the band. You simply need to show them that you understand and respect their position. Be the breath of fresh air. Be accurate when discussing the tech advance, come on time and prepared, be kind, and understand that something you think is no big deal may present a sizable problem for them.
The music business is all about relationships. You will usually find that it’s the people who know how to create friendships and who are a pleasure to be around that have the best experience in the music industry. If you do not have promoters, venue owners, booking agents, managers, and production people on your side, you will find it tough going in music. I know of more than a handful of bands who are known for being difficult, arrogant, or clueless and probably don’t even realize that they have been basically blacklisted. Everyone knows that doing a show with them is simply too much trouble, and so they are on the bottom of the list when it comes too booking. If instead you are known for being an artist or band who are fun and rewarding to work with, then you will likely find yourselves with more shows, more compensation, and an overall more enjoyable existence in the world of music. Take care of the production crew. Make their already difficult job as easy as you can. Remember, they want you to have a great show as much as you do. Their reputation is also at stake with every show they mix. The band and the production crew are on the same team. Take care of each other.
Now go have a good good time with your new friends, the production crew.
18-year-old singer-songwriter Zola releases her new single “Not Like Other Girls” today, March 12. Building her fanbase in the New England area, the young artist blends indie, pop, and R&B. Zola integrates her raw and honest lyrics within her work also.
Zola’s music is oriented around her vulnerability. The way in which she can unapologetically be herself is what resonates with many fans. Although, at such a young age, Zola has had to face hardships within the music industry. Zola shares with NYS Music:
I think, especially being a woman in the industry, there’s a completely different set of expectations placed on us than on our male counterparts. Women in music constantly have to reinvent themselves in order to stay relevant and, in general, face way more judgment on whether or not we’re ‘basic.’ If you’re basic, that has a sort of negative connotation, but if you’re ‘alternative’ you’re trying too hard. It’s an impossible battle to win.
Zola
This “frustration and relationship between judgment and identity” had a major influence on how she wrote the new song. Being a young woman in this industry places a microscope on one’s work. Zola takes this scrutiny, though with an enlightening and mature perspective. She aims to fit no one’s narrative but rather create her own.
Calling Out Misogyny
“Not Like Other Girls” sets a haunting tone with penetrating piano keys, moody guitar chords, and a synthesizer. Layered over this is Zola’s riveting vocals that effortlessly glide with the beat. When constructing this single, Zola shared that she first began with the lyrics and then built the additional instrumental sounds around that. As this single is very personal to Zola, she wanted the song’s tone to be reflective of the meaning.
The song deals with “finding the courage to stand up for one’s self.” This phrase ‘not like other girls’ is inherently misogynistic because it instinctively devalues other girls. Zola purposefully utilizes this phrase in order to bring attention to this popularized but damaging mindset.
The ‘Not Like Other Girls’ trope is very interesting and complicated, and there is definitely a growing discussion about how the whole concept is rooted in misogyny. The whole thing started out as women trying to remove themselves from femininity, in order to set themselves apart and prove superior to other women. Oftentimes it’s even just a ploy for male attention. I think in order to break down this harmful trope and mindset we need to educate people on what it actually means, and have conversations with other women about it. Being into popular things isn’t bad, and being into unpopular things doesn’t make you better. Everyone should be able to like what they like, but if I see a girl with a superiority complex, I’m not going to think twice about calling her out.
Zola
Breaking Down Barriers and Building Connections
Zola values the importance of her individuality and has expressed that freely in her work. Being personal with her fans has built a relatability that is hard to find. Her new single is one of many that encapsulates her artistry and vulnerability.
I’m just a very vulnerable person, so my music and what I write directly represents who I am. I’m driven by everything; life experiences, relationships, hardships. Life’s too short to not be vulnerable, because what’s the point if you don’t let yourself feel, isn’t that what music is all about? I like to think so.
NYC Indie singer Mae Krell peels off layers of their personal story as they release their newest single “are you sure?” on March 5.
Mae Krell by Sarah Midkiff
Krell is more than a singer, they entered the music industry through photography and traveled around the nation capturing pictures. They wrote poems and aspired to become a performing artist one day and found the courage to do so. As a member of the LGBTQ+ community, they find ways to connect that with her artistry. Krell is also an advocate for mental health and incorporates messages surrounding the topic within their music.
Before this new release, they created and dropped their singles “Monsters” and “Scars” when they were just a teenager. Their debut EP Anabasisreleased in 2018, resulted in a nationwide tour at the age of 19. They took a two-year hiatus from music and returned in March 2020 releasing four new folk-pop singles and receiving about 500,000 streams on all of them.
At the time, it helped me take a step back and learn about myself and why I was really doing all of this. I was so worried about what other people thought for so long that I forgot to enjoy making music- I was so overcome with anxiety all the time. I write songs to figure things out, get closure on situations, or just to express how I’m feeling. Releasing those songs is scary, but I’ve learned that I can’t be too much of a perfectionist or else I’ll never put anything out.
Mae Krell
These new releases start a new era for the artist as they confront past hardships, self-love, self-truth and reflection. Some of their influences are Bob Dylan, Phoebe Bridgers and Gregory Alan Isakov. When the 21-year-old returned from their hiatus they came back with a more mature and understanding approach.
“are you sure?” is their first single of 2021 and it was written on the two-year anniversary of their sobriety. The song explores cognitive dissonance and feeling stuck even though they made a lot of progress. It dives deep into the low moments that make you forget how far you’ve come. Krell pours their emotions into the song singing over a guitar loop with pain in their voice. The lyrics honest, raw and intimate. Although spreading awareness wasn’t their initial thought about the track, they hope releasing this “personal and intensely emotional” song will bring discussions about it to normalcy.
More so than raise awareness I want to normalize talking about feelings. Why don’t we share how we feel when someone asks? What’s wrong with being honest and open? I think the world would be a much kinder place if we all had an open mind when we asked someone how they’re doing.
Guitarist Joe Bonamassa announces a one-night-only livestream concert at the iconic venue, Austin City Limits on April 1st, at 9PM EST.
The livestream, broadcasting worldwide, will raise money for musicians and artists in need. Bonamassa is returning to his blues-rock roots with a power trio performance and a setlist curated by his fans.
Joe Bonamassa is bringing his blues-signature sound to the homes of fans all across the world, even though he is known as “always being on the road.” His set will include members Anton Fig from Late Night David Letterman and Steve Mackey on bass. It will be a rare power trio!
Austin was one of the first cities in which Joe Bonamassa played as a three-piece, with Austin City Limits, a national landmark music venue, having been awarded “Best New Major Concert Venue” by Pollstar. Over the years, the venue has been home to legendary artists such as B.B. King, Santana, Peter Frampton, Paul McCartney, and Bonamassa himself, as well as many other artists. Bonamassa’s energy will take over the stage, making his own impact on musical history.
The setlist will be curated by his fans, selecting from his 24 #1 albums. The cuts chosen from his extensive catalog will delight his fans and charm new ones with his virtuosic guitar playing and incredible energy.
To enjoy this captivating event, you can purchase tickets here . Tickets start at $30 and increase for deluxe packages, including merchandise and passes to his other on-demand live performances. There will also be a VIP package where members will have their photos and names featured in the live stream credits as a virtual audience member.
Bonamassa is a two-time Grammy nominated artist and hailed as one of the greatest blues guitarists of all time. Joe recently received his 24th #1 album on the Billboard Blues Chart with the studio album Royal Tea, a nod to his British heroes, recorded at the legendary Abbey Road Studios.
His musical programs Fueling Musicians and Keeping the Blues Alive foundation have raised hundreds of thousands of dollars for struggling artists over the past year. To learn more about Joe Bonamassa, visit jbonamassa.com.
