Nick Vivid is breaking down boundaries and officially making a name for himself. His new release “I Wanna Reign Again,” brings all the potential to his upcoming LP No More Secrets. The single says it for itself “I Wanna Reign Again” speaks about the need to get out after strict Covid lockdowns, or to feel alive again as Nick puts it. The single is fluid in a hallucinogenic energy with heavy synths, with almost a thick cream texture to it.
The track is about the idea that he, like most people after all the Covid lockdowns and restrictions, just wants to “get back out there and live again. Back when Covid chaos was at its peak and our patience was wearing thin, just a walk in the park or a breath of fresh air was all we could salvage to keep sane.
Nick speaks about how he tried to balance his life with faith. A notable line you might hear, ‘Help me get out of the way’, hones in on the majority of our mental states during crisis, Nick believed that with the mindset that everything will work out for the best eventually led him to stop trying so hard.
Nick Vivid is a true testament to New York City’s culture, talent, and everchanging music.
Earmilk
Vivid explains how he came to write his tracks, finally reaching a point where he was 100% completely and utterly “in sync with things”. Pulling from his idols like Sly and the Family Stone, he was able to produce an eclectic sound still original in its own sound. Reaching this state of mind wasn’t easy, to let go meant pushing his brain to stop working overtime and to listen to his instincts.
The Grateful Dead’s first ever show in Rochester saw them bring a few friends along for the ride. Members of Jefferson Airplane joined them to cap off a mesmerizing night of music at The Palestra at University of Rochester. The late night gig allowed their fellow Californians, who played earlier that night at the War Memorial, a chance to get in on the fun. Jorma Kaukonen, and later Jack Casady, took full advantage, adding their unique styles to the psychedelic stew that serves as the second set. And the first one is essentially an entire Grateful Dead show crammed into a singular set, featuring more than 20 songs. All of this adds up to a simply unreachable bar for all future Dead shows in Rochester to reach.
The show starts off innocently enough with a leisurely run through of “Cold Rain And Snow” whose ending is unfortunately cut off in the recording. “Me And My Uncle” then picks things up a bit, sung ably as always by guitarist Bob Weir. An attuned Pigpen even adds some inspired fills on the organ as the song progresses. This paves the way for him to take center stage and lead the band through a blues cover of “Next Time You See Me” that has the Palestra now fully engaged. Things then get decidedly more psychedelic, starting with a “China Cat Sunflower” that’s accentuated with an early, effortless guitar solo from Jerry Garcia that hits home. A rapid, near chaotic, jam then transpires before a silky smooth landing into “I Know You Rider” as the Dead show off one of their signature song pairings to the Rochester crowd’s delight.
The Dead follow this up with a smoking take of “Sugar Magnolia,” a still relatively new song in their live repertoire at the time. Another furious Garcia solo and the drumming duo of Bill Kreutzmann and Mickey Hart fuel this one. The pace then slows back down again with the folksy pairing of “Friend Of The Devil” and “Mama Tried,” led by Garcia and Weir on vocals, respectively. An interesting little percussive jam then introduces “Good Lovin’” and the Dead are off and running again. Their cover of The Rascals’ hit song immediately goes deep, as the percussive vibe returns in a big way with a near immediate drum solo that doesn’t let up for several moments. It’s essentially the “Drums” portion of the show thrown right in the middle of “Good Lovin’.” Garcia eventually leads the rest of the band back into the fray and then he takes his turn exploring every aspect of the song in a jam that stretches out well past 20 minutes – a Type II “Good Lovin’” if there ever was one.
The Palestra at University of Rochester
A rowdy “Cumberland Blues” follows this, with the Palestra crowd clapping along joyously before an emotional and well harmonized “Candyman” that settles things back down once more. The first ever performance of “Truckin’” in Upstate New York comes next, as the Dead show off another new tune that will go on to become a classic. Although it doesn’t beget much of an extended jam, there’s some fun musical interplay between Garcia and Pigpen before another manic drum-heavy section that signals the beginning of “The Other One.” However, after an extended opening sequence, it’s a shortened “Other One” as the band quickly shifts gears and jumps into “Saint Stephen” after just one verse. Before “Stephen” is even finished, a noticeable “Not Fade Away”-like drum beat picks up, so it’s no surprise that they launch into that next. This kickstarts a truly vintage “Not Fade Away” > “Goin’ Down The Road Feeling Bad” > “Not Fade Away” sequence that has both the Dead and the Rochester crowd fully engaged.
As if that weren’t enough already, the set goes on afterwards as a bluesy shuffle starts up, clearing the path for Pigpen, with harmonica in tow, to take center stage once more for “King Bee.” The marathon set then finally comes to a close with a rousing “Casey Jones.” The Dead are then able to get their comrades from Jefferson Airplane out for a second set that’s short on songs but long on blues-infused psychedelic improv. It begins with a cover of “All Over Now,” a song popularized by The Rolling Stones. Jorma Kaukonen, who plays the entire set, steps right up and delivers a jaw dropping guitar solo with what sounds like Garcia on the pedal steel guitar and Weir belting out the vocals. A fun, short little “tuning” jam takes place afterwards before they jump into another cover, this time a ripping take Chuck Berry’s “Around & Around.”
Then the band just jams out for a while, with Koukanen and Garcia playfully trading guitar riffs back and forth. The rhythm section is locked in and it makes for one of the more enjoyable portions of this show as the West Coast-based musicians deliver their brand of psychedelic rock to an eager East Coast auditorium. It’s also probably one of the reasons that this sit-in has been dubbed one of the ten best ever with The Grateful Dead, per Rolling Stone.
As the jam progresses, Jack Casady joins in on bass as the music begins to take some structure. The group then goes through two verses of “Darling Corey,” a traditional song that Pete Seeger, among others, have recorded. This is just quick thought though, as the structure quickly devolves and soon dies out completely. After some extended tuning, the ensemble launches into another extended jam, now with dueling basses to go along with three guitars. They bounce and move from one loose melody to another, never stopping for too long. At one point, a jam reminiscent of a souped up “Cumberland Blues” seems to take place. “Uncle John’s Band” then closes out a lengthy night of Grateful Dead in Rochester, highlighted by a monumental sit-in from members of Jefferson Airplane.
View this and more Grateful Dead shows from across the years in New York State with our interactive map below!
Grateful Dead The Palestra at University of Rochester – Rochester, NY 11/20/70
Set 1: Cold Rain And Snow , Me And My Uncle, Next Time You See Me, China Cat Sunflower > I Know You Rider, Sugar Magnolia, Friend Of The Devil, Mama Tried, Good Lovin’ > Drums > Good Lovin’, Cumberland Blues, Candyman, Truckin’ > The Other One > Saint Stephen > Not Fade Away > Goin’ Down The Road Feeling Bad > Not Fade Away > I’m A King Bee, Casey Jones
Set 2: It’s All Over Now, Instrumental > Spring Song Tuning > Around And Around, Jam > Darling Corey > Jam > Tuning > Space Jam, Uncle John’s Band
Detroit based post-punk vets Protomartyr are back; on tour for the first time post-COVID and giving their excellent 5th LP Ultimate Success Today the live treatment. The band made their way to Bushwick’s Elsewhere Hall this past Thursday, November 18 followed by two more sold out shows upstate at Tubby’s in Kingston.
Protomartyr at Elsewhere 11/18/21. Photo by Buscar Photo
The night opened with a fiery punk rock set from the Philly based band TVO. After a short changeover, Poughkeepsie native and free jazz legend Joe McPhee took the stage for a deep and abstract saxophone performance. The crowd was quite taken back by the significant change of pace, but McPhee stepped up to the microphone and performed a 20 minute set consisting of three distinct movements. Bits of distinguishable jazz rhythms kept popping up, surrounded by layers of breathing and speaking (inaudibly) through the instrument as if an entire story was being narrated. You could hear a pin drop in the room while McPhee was performing, but he concluded with a thundering applause from an audience truly shocked and in awe of what we witnessed.
Joe McPhee at Elsewhere, 11/18/21. Photo by Buscar Photo
Protomartyr have been a cult success for their first couple of albums and their stature has grown quite a bit with their more recent releases. LPs such as The Agent Intellect and Relatives in Descent solidified the band’s sound; a solid post punk backing fronted with deep vocal style reminiscent of Nick Cave. Ultimate Success Today, released in July of 2020, stayed true to that sound and provided another pillar to the band’s catalog. One of the singles from the album, “Processed By The Boys,” came along with a comical video featuring the band in 80s era TV game show form.
The short tour started earlier in November and after the three New York shows, the band has one final stop in Pittsburgh to close out the run. Photos from the Elsewhere show are below and stay tuned for more updates from the band as the tour wraps up.
Looking for unique music for the holidays? Everett Bradley, performer with E Street Band and Bon Jovi, is ready to give us some holiday cheer, or better, holiday funk. The Grammy nominated rock percussionist has announced the return of his beloved holiday funk revue, Holidelic.
A 12-show run will be held at The Lucille Lortel Theatre in NYC from December 9 though 31. This is part of the theater’s holiday performance series Tinsel: A Global Holiday Celebration, running from December 6-31 and featuring effervescent live music, performance, and dance with leading artists from around the globe.
Bradley will strictly go by his name Papadelic, for the residency. The renamed Funk’s Father Christmas is a funk figure combining the personas of George Clinton and Santa Claus, with of course holiday-themed funk songs written by Bradley.
A flashy, bass heavy retro-futuristic take on the holidays
The New Yorker
Holidelic debuted in 2002 to bring some cheer after 9/11, something about his big furry white coat, sunglasses and 6-inch platform shoes has been selling out shows ever since. I mean maybe it’s from his stardom with Bon Jovi, Hall & Oats, Quincy Jones, and Snarky Puppy. Regardless this GRAMMY winner knows how to wow a crowd, exhibiting extraordinary talent, exuberance, and heart to every tour, session, Broadway show, or even TV show. The holidays wouldn’t be the same without him.
A new project chronicling the Grateful Dead has found its Jerry Garcia in Academy Award nominee Jonah Hill. Earlier this week, Hill shared the good news via Instagram, captioning a post with prayer hands and skull emojis.
The still-untitled biopic, directed and produced by Martin Scorsese and distributed by Apple, remains somewhat a mystery. Sources have yet to confirm what exactly will be covered in the film. However, Apple has reportedly acquired the rights to use Grateful Dead music in the project, But the project has recruited an A-list team, with Dead members Bob Weir, Phil Lesh, Mickey Hart, and Bill Kreutzmann all signed on as executive producers. Jerry’s daughter, Trixie Garcia, will also executive produce.
Jerry Garcia
The new film won’t be Scorsese’s first rodeo with the Dead’s iconic story, after directing the 2017 documentary Long Strange Trip. Furthermore, Scorsese and Hill have a history of working together. Scorsese directed Hill in the critically lauded 2014 film The Wolf of Wall Street, which earned Hill enormous praise and his first Oscar nomination.
Currently, Scorsese and Hill are both at work on other projects. Scorcese is developing his newest film Killers of the Flower Moon, a Western crime drama featuring Leonardo DiCaprio and Robert DeNiro. Jonah Hill will next appear in Adam McKay’s all-star comedy Don’t Look Up, alongside Jennifer Lawrence, Meryl Streep, Timothee Chalamet, and more.
Veteran writing duo Scott Alexander and Larry Karaszsewski have signed on to pen the script. Previously, they received rave reviews for scripting the acclaimed Fox drama American Crime Story: The People vs. OJ Simpson. Though this film will be Scorsese’s first musical biopic, with Alexander and Karaszsewski at his side, a triumph seems possible.
On social media, fans have already begun compiling their dream choices for the rest of the cast. With Hill the only confirmed cast member, imaginations have run wild as to who will portray the rest of the band.
All in all, however, fans seemed excited and interested by the news of the biopic. With many of the living members signed on as executive producers, fans expressed hope the Dead’s story would be done justice.
A Scorsese take on the Grateful Dead? This is all a dream we dreamed one afternoon, long ago https://t.co/a0UfCCL3NK
NYC singer-songwriter Ruby Greenberg has released her new single, “Run Away.” Simple yet charming, the soothing piano ballad is a love letter to her home state of Colorado.
Greenberg wrote “Run Away” during a bout of homesickness. While her time in New York began as an exciting barrage of new people and experiences, she would occasionally long for the familiar faces of the Rocky Mountains.
I wrote “Run Away” when I was feeling particularly nostalgic. One day I was sitting in a tiny rehearsal room with only an old piano and a small window that faced another wall. I started playing a melody on the piano, thinking of home and the way that the mountains out west created my sense of direction.
Ruby Greenberg
“Run Away” never outright disses Greenberg’s new home in the city, but the first verse tackles how jarring its busy atmosphere could be for a new transplant: “Madness is what we live in this city of lies.” The lyrics also comment on the kindness (or lack thereof) of New Yorkers, who “don’t have the time to look each other in the eye.” Greenberg spends the remainder of the song retreating to Colorado in spirit, with a jazzy organ joining the proceedings.
The vocals, songwriting and piano are reminiscent of Sara Bareilles, along with Greenberg’s main influences, Joni Mitchell and Brandi Carlile. It sounds like a sweater-clad hike on a fall day, which isn’t an accident. Greenberg is a lover of the great outdoors, and passionate about wildlife conservation and environmentalism alike. She’s performed at a benefit concert for parkland preservation efforts at Ivywild School, a community center in Colorado Springs.
Greenberg has plans to release more singles in the near future, dedicated to her loved ones. “Run Away” is now available on all streaming platforms.
Given the massive interest in The Beatles’ forthcoming Get Back film, an army of notable downtown artists are heading uptown to the Cutting Room for GET BACK NYC, a local remake/remodel of tunes from the Fab’s classic 1970 swan song Let It Be – all to benefit Teen Cancer America’sPlay It Back Music Program, a charity founded by The Who’s Roger Daltrey and Pete Townsend.
Produced and presented by David C. Gross and Tom Semioli, the hosts of the radio show/podcast NOTES FROM AN ARTIST, the reinventions are designed to showcase the many musical genres that New York City is renowned for – rock, jazz, experimental, funk, punk, folktronica and urban country. In keeping with the format of Gross and Semioli’s show, the event will be a “PodFormance” – a hybrid of live concert and podcast (with interviews). The event will take place Monday, December 6 at 7 pm at the Cutting Room, at 44 East 32nd Street, New York City.
Artists confirmed for the event include Emily Duff, Joey Kelly Allstars, Arno Hecht (Uptown Horns, Rolling Stones, J. Geils Band), Chris Parker (Bob Dylan, Stuff, Miles Davis, Aretha Franklin, Jon Secada), Peter Baron, Spaghetti Eastern Music, Ben Neill, Lorraine Leckie, Anne Husick (Joey Ramone, Ronnie Spector), Puma Perl, Mark Bosch (Ian Hunter, Mott The Hoople ’74, Garland Jeffreys), Kathena Bryant, Chris Berardo and The DesBerados, along with bassists David C. Gross, Tom Semioli, and a few surprise guests.
Publisher Nicholas Callaway will kick-off the evening of GET BACK NYC with a discussion of The Beatles: Get Back book (Callaway Arts & Entertainment). This is the official account of the creation of their final album, Let It Be, told in The Beatles’ own words, illustrated with hundreds of previously unpublished images, including photos by Ethan A. Russell and Linda McCartney.
Founded by Roger Daltrey and Pete Townshend, Teen Cancer America (TCA) partners with hospitals throughout the United States to develop specialized facilities and services for teens and young adults with cancer. TCA builds teen friendly environments, enhancing the hospital experience. TCA develops standards for age-targeted care, improve collaboration between pediatric and adult specialists and enable dedicated research to improve outcomes and survival for our young people. The Play It Back Music program gives adolescent and young adult cancer survivors the opportunity to express themselves and heal through the power of making music. Play It Back connects cancer survivors with industry professionals to create songs, meet artists, and explore music.
David C. Gross and Tom Semioli’s NOTES FROM AN ARTIST is an insightful, intriguing and informative talk/music program airing Monday evenings on www.CygnusRadio.com. It is a unique program that brings you behind the scenes with individuals whose artistry had resonated with generations. The program has presented some of the biggest names in music of many genres, including jazz bass legend Ron Carter, Michael League (Snarky Puppy), Richard Thompson, photographer The Cutting Room is located at 44 East 32nd Street, New York City. Admission for GET BACK NYC is $20.00 with all proceeds going to TEEN CANCER AMERICA. For tickets and info contact The Cutting Room.
The Hollies, one of the most iconic bands in British music and Rock & Roll Hall of Fame inductees will celebrate their 60th anniversary with a return to the US in 2022.
The dates mark the band’s first US tour in over two decades and take in New York, Los Angeles, Chicago, New Jersey, and Washington DC.
Famed for their soaring, distinctive melodies and brilliantly crafted songs, the 60th-anniversary tour will see The Hollies performing their best-known hits including ‘He Ain’t Heavy, He’s My Brother’, ‘The Air That I Breathe’, ‘Long Cool Woman (In A Black Dress)’, ‘Bus Stop’, ‘Carrie-Anne’ and ‘Sorry Suzanne’.
We felt like this is something no other band gets to do, celebrate six decades together, 60 years of this band and these songs means so much to us and so many others.
Tony Hicks, guitarist
The line-up includes powerhouse drummer Bobby Elliott, and singer, songwriter, and lead guitarist Tony Hicks, both of whom are original members of the band. They are joined by lead singer Peter Howarth, as well as bass player Ray Stiles, Keyboardist Ian Parker, and Steve Lauri on Rhythm Guitar.
Celebrated as one of the most influential bands from the 1960s British Invasion era alongside the likes of the Beatles and the Rolling Stones, the Hollies have had over 20 worldwide hits, including number one singles in both the US and UK. They have spent an astonishing 263 weeks in the UK’s top 40 official singles chart, and have been performing continuously since their formation in 1962.
We’re incredibly excited performing for everyone on what will be some of the most special shows in the history of The Hollies.
Bobby Elliott, drummer
Their cultivated musicianship, coupled with the Hollies’ extensive back catalog of memorable rock ‘n’ roll tunes, has ensured the longevity of one of the greatest groups to emerge from the early 1960’s British Rock Revolution.
In 1995, they have bestowed the coveted Ivor Novello Award for Outstanding Contribution To British Music, and in 2010 were inducted into the American Rock ‘n’ Roll Hall of Fame for their ‘impact on the evolution, development, and perpetuation of Rock and Roll’.
The Hollies 60th Anniversary Tour Dates
April 2 – Mayo Performing Arts Center, Morristown, NJ April 4 – The Kennedy Center, Washington DC April 5 – Town Hall, New York, NY April 7 – The Athenaeum, Chicago, IL April 9 – The Saban, Los Angeles, CA
Thundercat brought his grooves to Higher Ground last Wednesday night, performing a jam-heavy set interjected with thoughtful musings on his friends, his passions, and his career.
Known for his mind-bending bass riffs and soulful, high vocals, Thundercat brought an inventive, jam-heavy set elevated by his classic comedic flair. Playing to a mesmerized crowd, he encouraged the Ballroom to fall into the music the same way he does.
Thundercat. Photo by Hattie Lindert.
Compton producer Channel Tres opened for Thundercat, melding glitzy club beats with deep, emotive vocals. At first, Tres rose to fame crafting beats for hip-hop stars like Wale and Kehlani; now he’s forging a name for himself. Although initially the crowd seemed underappreciative of his set (he deserved a Brooklyn Steel crowd), by the end he had converted fans jumping at the barrier. By the time he closed with the pulsating “Topdown,” the crowd was screaming as he performed original choreography. At one point, he wiped his brow with a merch t-shirt, then tossed it into the crowd.
“Hey, I’ll sign it for you,” he called out the lucky winner. “I mean you never know, I might be famous one day.”
Channel Tres. Photo by Hattie Lindert
Channel Tres. Photo by Hattie Lindert
Thundercat’s comical and outlandish style precedes him, and he did not disappoint when he took the stage in an oversize, sparkling Gucci barrette. Even more outsized than his style is his mythical skill on the bass guitar. Before he even stepped on stage, tour staff came out to carefully lay the instrument by his mic.
“There it is,” an audience member in the front row whispered in awe. “There it f*cking is.”
Thundercat. Photo by Hattie Lindert
Throughout the show, Thundercat spoke continually about beloved friends and coworkers he’s lost. Thundercat has often spoken about the pain of losing close friend Mac Miller to an overdose in 2018. That loss had a deep effect on the artist himself, and the formulation of his critically acclaimed latest album, 2020’s It Is What It Is. Thundercat also shared stories of his childhood best friend, pianist Austin Peralta, who has since passed. As he dove into a racing rendition of “I Love Louis Cole,” Thundercat credited Peralta with introducing him to the artist’s music.
“Mac, MF Doom, DMX, Austin… they changed my life,” he said. “And I’m still here.” The following performance was nothing if not a celebration of life. Afterwards, he performed “A Message for Austin,” the track he wrote dedicated to Peralta, falling into an insane acid jazz jam session.
Thundercat. Photo by Hattie Lindert
Thundercat’s personality is defined by his passions, and he mused on them all: fashion, anime, his cat, Tron. He assured the crowd he’s working on new music, though a wide berth of tracks from his extensive catalog, along with Flying Lotus and Knower covers. Mostly, he jammed, disappearing into the eyes of keyboardist Dennis Hamm and drummer Justin Brown.
Thundercat knows his audience, and how long they’ve waited to see him; he gave fans a treat closing with crowd-pleasers “Them Changes” and “Funny Thing.” Though he remained faithful to the hits, Thundercat still experimented. Tracks like “Nowhere,” a Knower cover, and “Existential Dread,” found him switching things up and sometimes even extending runs beyond the crowd’s content. After all, as he playfully called out, many of them were still underage.
Thundercat. Photo by Hattie Lindert.
Thundercat’s expressive, masterful skill on the bass translates well to storytelling, be it comedic or serious. His graceful hands, adorned with tattoos, fly as he describes a night out drunken of Jameson with friends or a scene from Death Note. Above all, he wanted to share pieces of himself with the crowd: music, stories and laughs.
“I know you guys know the power of music,” he said to a cheer. That night, the power of live performance felt just as meaningful.
When it comes to classical music, it is hard to remember each piece’s name, composer, movement, opus, etc. Maybe that’s why Olmos Chamber Ensemble came up with “Classical Hodgepodge”. At Unity Hall, the free film premiere of the Olmos Chamber Ensemble will take place on Sunday, December 5 at 3PM.
The Olmos Ensemble film features a recent concert and interviews with the performers. You’ll hear works from Jacques Ibert, Maurice Ravel, George Gershwin, and Claude Debussy with performances hailing straight from Texas. Proof of vaccination and ID are required to attend the program and face masks are encouraged. The doors will open at 2:30pm.
The film will be shown upstairs in Unity Hall’s main stage theatre on the large screen and broadcast through Unity Hall’s concert sound system.
Established in 1994, the Olmos Ensemble has created a global name for itself as a premier chamber music organization. From numerous world class performances, live broadcasts and recordings Olmos Ensemble has increasingly gained more recognition with each performance. From the few players of the San Antonio Symphony that founded this ensemble you can find leading musicians from across the United States.
Rachel Ferris as a soloist represents Barneveld with her upbringing. The native of Central NY holds the position of Principal Harp with the San Antonio Symphony. Her academic career started at Poland Central School and graduated from the Interlochen Arts Academy. Later she received a prestigious Bachelor’s Degree in Harp Performance from Oberlin College and Conservatory. The other notable names you might recognize in the concert are Mark Teplitsky, the principal flute of the San Antonio Symphony and Mathew Cohen a nationally recognized violist and graduate of Julliard’s Master of Music Program.
Thanks to the support of Unity Hall Membership and funds from the Decentralization Program, we can look forward to more performances from the Olmos Ensemble.
Unity Hall is located at 101 Vanderkemp Avenue in Barneveld, New York. Information about upcoming concerts and other Unity Hall events can be found here.
