Lespecial, the heavy future groove trio from Kent, CT, is hitting the road for repeaTOUR an extensive run of shows this Fall. Including a show in Niagara Falls, NY and one in East Durham, NY for the Flyday Music Festival.
Dubbed “2021 Fall RepeaTOUR,” the jaunt is named after “Repeater,” a track on the band’s 2020 release, Ancient Homies. Starting on 10/1, the band will travel to upstate NY for a pair of shows, before heading to Portland, ME to support Pigeons Playing Ping Pong at the State Theatre on 10/8. Mid-October will see lespecial host “Le Getaway Part Deux,” a curated overnight music and camping experience at the beautiful Club Getaway in Kent, CT, with support from West End Blend and Cosmic Dust Bunnies. After a 10/28 play at Suwannee Hulaween in Live Oak, FL, lespecial will spend its’ favorite holiday in Asheville, NC for a Halloween throw-down at Asheville Music Hall.
November will see a handful of shows in the mid-Atlantic region, followed by a return to colorful Colorado on 12/2, where the band will headline Cervantes Masterpiece Ballroom in Denver for the first time. After a visit to Fort Collins (12/3), the band will hole up at Old Town Pub in Steamboat Springs for two nights. Subsequent shows include a string of appearances in the Midwest with special guest Mike Dillon Band, including much-anticipated returns to Chicago, Indianapolis and Columbus. The tour concludes in Ferndale, MI on 12/18 at Otus Supply
Lespecial repeaTOUR Fall 2021
10/1 – Niagara Falls, NY – Rapids Theatre
10/2 – East Durham, NY – Flyday Music Festival
10/8 – Portland, ME – State Theatre (supporting PPPP)
10/16 – Kent, CT – Le Getaway – Club Getaway
10/28 – Live Oak, FL – Hulaween
10/31 – Asheville, NC – Asheville Music Hall
11/3 – Charlotte, NC – Heist Brewery & Barrel Arts
11/4 – Roanoke, VA – 5 Points Music Sanctuary
11/5 – Baltimore, MD – The 8×10 (w/ Kick The Cat)
11/6 – Asbury Park, NJ – Wonder Bar
11/12 – Ardmore, PA – Ardmore Music Hall (w/ Space Bacon)
12/2 – Denver, CO – Cervantes Masterpiece Ballroom
12/3 – Fort Collins, CO – Aggie Theatre
12/4-12/5 – Steamboat Springs, CO – Old Town Pub
12/8 – Kansas City, MO – recordBar (w/s/g Mike Dillon Band)
12/10 – Chicago, IL – The Point (w/s/g Mike Dillon Band)
12/11 – Madison, WI – High Noon Saloon (w/s/g Mike Dillon Band)
12/12 – Milwaukee, WI – Colectivo (w/s/g Mike Dillon Band)
12/15 – Indianapolis, IN – The HiFi
12/16 – Grand Rapids, MI – The Stache
12/17 – Columbus, OH – The Summit
12/18 – Ferndale, MI – Otus Supply
For more information, and to purchase tickets for the Lespecial ReapeaTOUR visit: lespecial.net.
Starting shortly after 9/11, Musicians For Harmony has confirmed its 20th Anniversary planned for September 11 2021, with an online and in-person concert at Merkin Hall in Kaufman Music Center in New York City. The special event aims to ‘elevate musical voices in the service of peace, health and equity to commemorate the victims of 9/11, Covid-19 and social injustice.”
Musicians For Harmony is an organization dedicated to advancing peace and cross-cultural dialogue through music. The aftermath of 9/11 has greatly changed our nation. It is important to remember and honor those who lost tragically lost their lives. There are many memorials to pay your respects, as the 9/11 memorial and museum are both free to explore.
The two-hour concert will be one of the first in-person music events of the fall season post-Covid. Access to the online concert will be free, and the in-person show have tickets for sale.
The show will feature the music of Juilliard String Quartet, ETHEL, Musique Sans Frontières, and more. Composers include Ladysmith Black Mambazo, Ulysses Owens, Jr, James “Kimo” Williams, Robert Mirabal, Pat Irwin and John King. Learn more about the artists here.
The Districts wrapped up a four night run at Brooklyn Steel Saturday August 14th in support of Modest Mouse’s MMXXI Tour. We were there for night three; you can see the full photo gallery below.
The Districts at Brooklyn Steel, 8/13/21. Photo by Buscar Photo
For so many bands today, these tours mark the return to the stage after nearly a year and a half pause due to the pandemic. Vaccine and testing requirements are constantly changing, but while this remains in flux, these early concerts have shown that both the fans and artists are eager to get back on tour. Brooklyn Steel was nearly at capacity for The Districts’ opening sets, drawing their own fans out early who were more than ready to get back to live music.
The Districts at Brooklyn Steel, 8/13/21. Photo by Buscar Photo
The Districts released their fourth LP ‘You Know I’m Not Going Anywhere’ back in March 2020, right before COVID-19 would cause mass lockdowns around the world and in the US. These shows, more than 500 days later, are the first time the band has been able to perform the new songs live since their 2020 tour was cut short. Even with the hiatus, the band performed a tight set and did not show any sign of rust.
The Districts at Brooklyn Steel, 8/13/21. Photo by Buscar Photo
The band’s last pre-COVID show ironically was a hometown gig at Union Transfer in Philadelphia. The tour has the band making their return to Philadelphia in December for a show at The Fillmore with Dr. Dog. Check out all of their upcoming tour dates HERE.
As of this week in NYC, proof of vaccination will be required for most shows, including all of Bowery Presents’ venues. Visit their site for more information on acceptable proof of vaccination and individual venue policies.
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 Kimberly Hawkey, Canella 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.
Kimberly Hawkey
Kimberly Hawkey’s album We the Nighthawks is begging to be adapted as a musical. Combining jazz, folk and Broadway influences, each of its 13 tracks tells a stage-ready story ripped from the Great American Songbook. The album’s title track, a melancholy piano ballad, is a love letter to the insomniacs and night owls staying up while the rest of the world sleeps. Hawkey is also the lead singer of NYC swing sextet, The Swingaroos. This Tuesday, August 17, you can catch her performing at The Linda, WAMC’s performing arts studio.
Canella is a new project from former members of Albany band Waitress. On “Quiet Love,” lead singer Juliana Castrillon shares her experience with homelessness and finding her way back: “I won’t miss the times before, I was locked right out the door.” The video, directed by El Modernist lead singer Will Fredette, showcases Castrillon’s journey, from waiting at a bus stop with a suitcase to experiencing happiness and safety again.
Bathrobe Robots
Bathrobe Robots is a sibling duo made up of Devon and Linnea Seegers. Their Facebook bio reads “Sibling robots crash landed in the desolate countryside of upstate New York, and decided to make some music.” Their glitchy, politically-charged, Grimes-channeling single “Speak Now” encourages listeners to make a difference by using their voices.
Phish began its three-night siege of Atlantic City last night with a concert on the beach that was a year in the making. Like most of this summer tour, this was the rescheduled date after being postponed last year due to the pandemic. With plenty of fans still masked up and partying safely, Phish more than made up for lost time with a show that surely stood out among the other customary bright lights along the iconic Jersey boardwalk.
photo: Dave DeCrescente
In a fitting nod to the locale, “Cars, Trucks, Buses,” the notable New Jersey Turnpike driving lane designation, was tapped to open the show. This gave way to an “AC/DC Bag” that followed, with Trey Anastasio ad-libbing a “put ’em on the beach” lyric much to the crowd’s delight. The ensuing jam bled nicely into “Blaze On” and Phish was off and running. The first set later featured an appearance from drummer Jon Fishman and his trusty vacuum for “I Didn’t Know” and an explosive “Funky Bitch” contained the first of two distinct “Fire” (Ohio Players) teases from Anastasio this evening. In an all too fitting selection, an exploratory “Sand” later closed out the opening set in grandiose fashion as fans danced and kicked it around on the beach.
In a move that surprised no one, the second set continues to be a warehouse of monstrous, type-II jamming from Phish and the first night of Atlantic City would prove no different. The intensity on the beach reached a new level once the opening notes of “Tweezer” rang loud and true. True to form, “Tweezer” could have been jammed out for the entire second set and there would have been few complaints. Instead, after an extended visit, the music slowly veered into the opening notes of another classic jam vehicle “Bathtub Gin.”
At one point, it seemed like the set could very well be just a few songs, all jammed extensively. Instead, Phish threw in a couple more songs, starting with the upbeat and uplifting “Everything’s Right.” A rambunctious “Possum” popped up later in the set, only to be steered directly into an intense “2001” that set off the entire beach into a synchronized frenzy. The late second set “Harry Hood” was perfectly placed and performed to perfection. However, fans will have to wait (at least) one more night for the anticipated “Tweezer Reprise” as the lone encore this evening was a cover of The Rolling Stones’ “Loving Cup,” leaving plenty on the table for nights two and three to follow.
photo: Dave DeCrescente
Setlists via Phish.net
Friday, August 13, 2021
Soundcheck: Theme From the Bottom, My Soul, We Are Come To Outlive Our Brains, Lonely Trip
Set 1: Cars Trucks Buses, AC/DC Bag > Blaze On, Wolfman’s Brother, I Didn’t Know, Funky Bitch, Rift, Sand
Set 2: Tweezer > Bathtub Gin > Everything’s Right > Possum > Also Sprach Zarathustra > Rise/Come Together > Harry Hood > More
Encore: Loving Cup
On Saturday, slow Llamas got Drowned as Phish took stage for night two of their three night run in Atlantic City. The Vermont quartet immediately set the tone with a slow “Llama” to get the funk going. Page McConnell immediately got scratching on his clavinet and stayed atop of the clav for more funk on “Tube” with Trey’s Wah pedal still in effect.
Any first set “Reba” that unfolds naturally like it did on Saturday immediately set the crowd off into a frenzy. A nod to beach side reggae ensues with Bob Marley’s “Soul Shakedown Party” The first set ended with Page’s solo over the quiet ocean for “Squirming Coil.”
photo: Dave DeCrescente
“I Never Needed You Like This Before” a new tune that breathes rock and roll while including Phishy tension. Roger Daltery’s words “Let me get back to the ocean, let me get back to the sea” carried across the Atlantic on a raucous cover of The Who’s “Drowned.” Trey and Page reunited on the wah funk pedals and clavinet during a second set “Ghost” that came full circle with Chris Kuroda’s lights and”No Quarter” by Led Zeppelin brought in another chilling cover for the night.
During the encore Phish sublimated the crowd with the “Life Beyond a Dream” before revisiting the “Tweezer” that started Set 2 Friday night, with “Tweezer Reprise” certainly sending everyone back to the dunes with a smile.
Saturday, August 14, 2021
Set 1: Llama[1], Tube, Destiny Unbound > Ya Mar, 46 Days, Reba[2], Soul Shakedown Party, Split Open and Melt, The Squirming Coil
Set 2: I Never Needed You Like This Before, Drowned > Ghost -> Scents and Subtle Sounds[3] > Chalk Dust Torture[4] > No Quarter > Slave to the Traffic Light > Suzy Greenberg
Encore: A Life Beyond The Dream, Tweezer Reprise
[1] Performed in slow, funk style
[2] No whistling
[3] Did not contain the intro
[4] Unfinished
Never miss a Sunday show. It’s been a mantra for Phish fans since the 1990s, and once again the band delivered an excellent closing to what could easily become a regular stop for the band.
Opening up with the rare “The Landlady” caught everyone’s attention shortly before 8pm. The band dipped into the intro section of “Scents and Subtle Sounds,” which clocks in at under two minutes, but the final line “the moment never ends” segued perfectly, and lyrically, into “The Moma Dance.” Fans who caught this subtle connection were elated, but who couldn’t be when a 16 minute “Moma” was in store for the beach. A well placed “Mike’s Groove” filled the middle of the set, while an energetic 20-minute “You Enjoy Myself” closed the set.
A fiery “Carini” lit up the beach to start the final hurrah of the weekend, leading into “Set Your Soul Free,” giving a release of energy for the thousands elated to be dancing to live music once again. The most perfect placement for the weekend goes to “Beneath a Sea of Stars Part 1” which followed. The timing of this serene and at times ambient number from Ghosts of the Forest has found a home in the exhaust of jams, breathing new life for the crowd here together.
A top notch “Piper” followed, a highlight of the weekend for some, with the requisite “Waves” following and sending fans into the ocean, if they hadn’t been already. The set closed with “First Tube,” as energetic as ever, and setting the stage for a double encore of “Fluffhead” and “Backwards Down the Number Line.”
For a weekend on the shore, amid concerns of large gatherings, Phish pulled off a memorable as ever run of shows in Atlantic City, ones that stand free of time as their best in America’s Playground.
Set 1: The Landlady, Scents and Subtle Sounds[1] > The Moma Dance[2] > The Final Hurrah > Mike’s Song > I Am Hydrogen > Weekapaug Groove, The Sloth, Roggae > Back on the Train, You Enjoy Myself
Set 2: Carini > Set Your Soul Free > Beneath a Sea of Stars Part 1 > Piper -> Carini > Waves > Simple > About to Run, First Tube
Encore: Fluffhead > Backwards Down the Number Line
[1] Intro only[2] Unfinished Scents and Subtle Sounds was only the intro. The Moma Dance had a Scents and Subtle Sounds tease and was unfinished. Mike’s Song had a Strawberry Letter 23 tease from Trey. Set Your Soul Free had teases of I’m a Man, Carini, and Linus and Lucy. The soundcheck’s jam contained Soul Planet quotes from Trey.
Brooklyn’s Creek and Kills will put out their new EP “Unstitching” on Friday, August 20, 2021. Recorded in their homes from May 2020 to April 2021, with mixing and mastering from Danielle DePalma, “Unstitching” includes remixed, rerecorded, and/or remastered versions of the band’s pandemic singles plus three new tracks. These are wild siren songs from far reaches of an urban estuary. Creek and Kills rock out like a mermaid party in a Superfund site…a little dirty, a little dangerous, a little sexy, luring you to sink in the dark water.
The band’s first full-length eponymous album (released 2019) was praised for its “unadulterated filthy Rock rhythms,” “artful alchemy,” and the “striking strength” of vocals from singer-bassist, Kate Bell (A&R Factory). Bell comes from a background in jazz. Her octet, the Poma-swank, was hailed as “one of the best offerings from the New York jazz underground” by music writer Mark Kirby, and All About Jazz described Bell as “oozing sass . . . her instrument is not only her voice, but her total self . . . and the person who is singing is someone you’d most definitely want to meet.” Since Bell’s switch to rock, she’s worked on projects with members of the Julie Ruin, Bush Tetras, and Groovy Ghoulies. Guitarist Marc Montgomery began collaborating with Bell in late 2017, and “Unstitching” features his heartbreaking song, “Sunshine Hotel.” Drummer and vocalist Erin Harney joined Creek in Kills in late 2019, previously of the bands The Shook Ones and Femmepire.
Creek and Kills’s music has been heard on the “I Art NY” podcast, in the short film Skin the Wire (NY Shorts Festival), on WPRB (Princeton, NJ), BVEW (Brattleboro, VT), and on the greatest freeform radio station in the world, Jersey City’s WFMU. Creek and Kills will celebrate the release of the “Unstitching” EP with special guests, Groupie and Rest Ashore, at 18th Ward in Brooklyn on Friday, August 20, 2021, open to all, music starting at 8 p.m.
On Tuesday, August 10, NYC based band We Are Scientists were scheduled to play a one-off warm up show at Brooklyn’sElsewhere Rooftop. Right as doors were set to open, severe thunderstorms rolled in and forced the band to postpone the show (now scheduled for September 20th at the Rooftop). The crowd waiting in the loft was told that We Are Scientists would come out and perform an impromptu acoustic set in the empty Hall downstairs. Not quite knowing what to expect, fans filed down the stairs and into the main venue at Elsewhere.
We Are Scientists, Elsewhere 8/10/21. Photo by Buscar Photo
At about 9:15pm the band came out on the empty stage armed with an acoustic guitar, a snare drum, and three voices. Keith and Chris engaged in some comedic back and forth with the crowd, joked about the lack of amplification and the barrier still in place in front of the stage, then treated the fans to a 20 minute acoustic performance (plus one air-bass solo) of old and new songs. Any disappointment over the postponed show quickly evaporated as the crowd engaged in an enthusiastic sing along. In spite of the circumstances, the guys were able to give their fans a special treat that will surely be cherished by those who stuck out the rain.
Keith Murray of We Are Scientists – Photo by Buscar Photo
The postponed warm-up show will be made up at Elsewhere on September 20th with a full European tour kicking off on November 24th in the UK. In between, the band’s new record, Huffy, will be released on October 8th on 100% records. Full tour dates can be found HERE – check back in September for a review of the show and the new record. You can watch the music video for latest single “Contact High” below.
Independent comedy musician Donny Skipper has released a new single and music video for “She Farts Just Like Her Daddy.” With two albums already streaming and a third in the works, Skipper has been putting in the work. This latest track is based on the recent arrival of his baby, a daughter named Donna Skipper who farts so much he had to write her this song.
Originally born and raised in Saskatchewan, Canada, Skipper moved to Syracuse about 10 years ago where he was a delivery driver at Syracuse University. He later moved to Cohoes to pursue his career as a musician and TikTok star. That leads to now where he has released his latest song “She Farts Just Like Her Daddy”.
The music video was to accompany the song was made with Skipper’s neighbor Montrese as the star. It was filmed at random farms in Halfmoon and the crew were asked to leave a few properties by angry farmers but regardless of that fact they still got everything needed. The video is directed and edited by Donny Skipper himself.
The lead up to this release was accompanied by a series of videos posted on TikTok involving a high end baby crib called the Snoo. In the skit like videos, Donny Skipper tells the story of a fussy baby only put to sleep by the Snoo. Except after only a little while with peaceful sleep, the crib was stolen while he was away from the apartment. In the resolution of the conflict it is revealed that Montrese, Skipper’s neighbor, had stolen the crib in order to gain the starring role in the “She Farts Just Like Her Daddy” music video.
Feel free to find Donny Skipper on TikTok or Instagram @DonnySkipper. To listen to this single and his previous two albums visit Spotify, Apple Music, YouTube, or wherever you listen to music.
After being closed for 18 months during the pandemic, Bardavon Presents has announced the reopening of Ulster Performing Arts Center (UPAC) on Sunday, September 26 at 7pm. The show is rescheduled from August 22 due to Hurricane Henri, with tickets from August 22 being honored.
Sunday August 22 at 7pm with preformers Trombone Shorty & Orleans Avenue, followed the week after by Brit Floyd on Sunday August 29 at 8pm.
Trombone Shorty & Orleans Avenue – Sunday, August 22 at 7pm at UPAC
Troy Andrews, or, “Trombone Shorty,” brings his R&B, rock, rap and funk brass band to UPAC for the first time ever! Come early and enjoy the Brasskill second line on Broadway starting at 5pm, and grab dinner in a great Kingston restaurant before celebrating UPAC’s reopening!
Trombone Shorty has draw the unqualified respect of some of the most iconic legends in jazz and is known to, “Deliver a high-energy funk rock show capable of mesmerizing international rock stars.”
Trombone Shorty is equally gifted on both trombone and trumpet. Originally from New Orleans, Trombone Shorty was a bandleader by the age of six. He spent a great deal of time absorbing lessons from his older brother James, a dynamic musical performer known as “Satchmo of the Ghetto.”
“It really is as good as they say – believe the hype and don’t miss it. The perfect rock show” -LA Times
Twenty-seven years ago this weekend, Woodstock 94 took place on Winston Farm just north of Saugerties, New York. Woodstock 94, or “Woodstock II” was the next generation’s attempt to rekindle the same “Summer of Love” spirit their parent’s experienced at the original 1969 fest. This was the first shot at doing so, and many future attempts will completely flop, like Woodstock 50, or will end in fire-burning riots, like Woodstock 99. 1994’s rendition isn’t as shockingly awful, but some believe it’s still incomparable to ’69. This is Woodstock 94.
Woodstock ’94 poster, a playoff of the iconic Woodstock ’69 poster art.
Saugerties‘ Winston Farm is approximately 100 miles away from Bethel Woods and Yasgur’s Farm – the birthplace of “Woodstock.” But, Winston Farm was supposed to be the original location for the ’69 fest until the owners got cold feet. This change in location was a way of improving the flaws of the previous festival for the second time around, while still holding true to Woodstock roots.
The 1994 concert was scheduled for August 13–14, and Friday, August 12 was added after first-pool tickets sold out under 12 hours. Ticket prices hiked to $135, plus a three-day pass to the beer tent was $250 – a huge jump from 69’s $18 three-day pass. Tickets were only sold in sets of four, and one parking pass was provided per set.
A snippet of Billboard Magazine’s coverage
The star-studded lineup included ’69 alum mixed in with up-and-coming ’90s bands. Plus, the extra day allowed for many more artists to join the setlist.
Friday, August 12, 1994
Aphex Twin
Blues Traveler
Candlebox
Collective Soul
Deee‐Lite
Del Amitri
Jackyl
James
King’s X
Līve
Orbital
Orleans
Peace Bomb
Sheryl Crow
The Orb
Todd Rundgren
Violent Femmes
Huffamoose
Abba Rage
Lunchmeat
Saturday, August 13, 1994
Aerosmith
Blind Melon
Candlebox
Crosby, Stills & Nash
Cypress Hill
Fight
Hot Tuna
Joe Cocker
Melissa Etheridge
Metallica
Nine Inch Nails
Primus
Rollins Band
Salt‐n‐Pepa
Suicidal Tendencies
The Band
The Cranberries
Crosby, Stills & Nash
Youssou N’Dour
Zucchero
Sunday, August 14, 1994
Cypress Hill
Fight
Hot Tuna
Rollins Band
Salt‐n‐Pepa
Suicidal Tendencies
The Band
The Cranberries
The Roots
Weir & Wasserman
Green Day
Country Joe McDonald
Porno For Pyros
Sisters of Glory
Allman Brothers Band
Santana
Red Hot Chili Peppers
Spin Doctors
Traffic
Bob Dylan
There was no Youtube back then. If you wanted your band to get big, you had to hope it came on the radio. We hadn’t heard of bands like Blind Melon and Collective Soul yet, and a lot of these people (festival-goers) had never been to a concert before.
Dan Lane, Woodstock 94 attendee
The fest can be credited for the growth of many young millennial bands. Even Green Day was just finding their fame as their second album Dookie, released six months prior to Woodstock 94, would hit #4 on the charts only weeks after the festival weekend.
Snap of the Woodstock ’94 stage art
Promoters ensured the event would be secure with drug dogs, security brigade nicknamed the “peace patrol,” hundreds of port-o-johns, and chain-link fence. Re-entry was not allowed, but festival-goers smuggled food and drink over fences and through bushes. There were no reports of excessive force or need for riot control like there was in 1999.
From the looks of it we thought we were gonna get strip-searched at entry, (with the dogs and officers) but it was pretty mellow, actually. I think the light security is what they tried to fix in ’99 but that all went wrong.
Dan Lane
500,000 young-adults flocked from around the country in fear they were going to miss out on something great. Woodstock ’69 attendees even paid a visit to see how they compared. Festival-goers did seem to enjoy the excitement of making history and there was a notable peaceful vibe across the farm. People were just happy to be there and enjoying music.
People are understanding that Woodstock 94 is a seminal gathering and a once-in-a-generation opportunity.
Promoter John Scher for Billboard Magazine
This fest was rumored to be even bigger than 1969, with two stages and constant MTV coverage. Unlike the first festival, ’94 hosted two large stages with constant live music on each. There were a mix of bands playing each stage, for example, while Green Day was playing on the South Stage, Weir & Wasserman were on the North. This helped spread audiences evenly and highlighted the divide of subcultures. DJ rave sets continued the party late into the night.
Don’t worry: The two stages, facing opposite directions, are about a third of a mile apart, so there’ll be little chance the sound from one will interfere with the other.
A rainstorm passed over the festival grounds, on top of the cooling sprinklers, leading to the notorious moniker of “Mudstock.” Described by the New York Times as “a sea of mud and trash and amid evidence of anarchy,” festival-goers took this opportunity to roll around, dance, and sling the wet dirt onto the stage – it did not help that Primus had their song called “My Name is Mud” on the setlist.
Aug. 14, 1994 — A couple dances in the mud to Traffic in the North Stage area (Credit: Times Union Staff Photo by Steve Jacobs ATU112)
There were mile-long conga lines with half-naked people running around. You could feel them coming – they wouldn’t stop either. If you were in the way, you were getting trampled by a train of muddy kids chanting “Primus Sucks.”
Dan Lane
Credit: Michael Greenlar
Was the hype just too much? Anything with the “Woodstock” name attached is bound to have some high expectations. At the time, some attendees complained the event was too saturated in over-commercialized gimmicks. Looking back 27 years later, It is difficult to compare Woodstock 94 to the pedestal Woodstock ’69 is on. After all, even ’69 was a commercialized event too, inviting the biggest names of the time to help put a spotlight on the era’s changing times. Even Led Zeppelin historically turned down Woodstock ’69 to make more money playing in Asbury Park on the same weekend.
All expectations aside, Woodstock 94 was just as good as fests like Lollapalooza were at the time. It’s the music and the people that make it a memorable experience, not the gimmicks.
Dan Lane
The mid-90s were a very different time compared to the late 60s as well, not everyone was in the same ex-Vietnam hippie-free-spirit in the 90s. There were people holding on to that Summer of Love spirit, but others were clad in platform boots, grungy flannels and buzzcuts.
Subcultures were everywhere. You’d be walking around thinking “wow that guy has a lot of facial piercings” and the same guy will be looking at you like “wow that guy has way too much tie dye on.” Like, immediately after Joe Cocker’s set you had people barricading the stage for Blind Melon. It was wild.
Dan Lane
(Image credit: Getty Images/John Atashian)
A commemorative double live CD set was released on November 8, 1994, nearly three months after the festival weekend. Titled “Woodstock 94,” the two-disc set documents the best song of each of the 27 performing artists. Check out our Woodstock 94 Spotify playlist based on the album, as well as a playlist with some live footage on Youtube.
After 27 years, it seems 1994’s rendition of Woodstock was, generally, pretty nice. Positive memories, crazy rumors and great music came out of it. The fest served as a cohabitation of multiple generations of music, so maybe, more peace and love came out of it than expected. Plus, Woodstock’s reputation was about to get much worse in the years to come. Enjoy ’94 while it lasted!
Other notable moments:
* A “protest concert” was rumored to go on at Yasgur’s Farm frontlined by ’69 alum, though many of the claimed attendees were playing at Winston Farm the same weekend. It is unclear if this rumor is true due to lack of media coverage.
*RHCP wore their iconic light bulb costumes for the first half of their Day 3 set, then changed into Jimi Hendrix costumes to pay homage to Woodstock ’69.
* Green Day engaged in a mud slinging fight with the audience.
* Green Day bassist Mike Dirnt was accidentally punched in the face by a security guard, knocking out some of his teeth.
* Rumors circulated that The Rolling Stones were to make a surprise appearance because they were scheduled to play a concert in New York that weekend.
* Johnny Cash was invited to perform on the last day, but after learning that he would not be performing on the main stage, declined to appear.
* Most of the ’90s-era bands (and their instruments) were completely caked in mud by the end of their performances, audiences were more respectful towards ’60s-era musicians.
