Gayle’s Broadway Rose is known for their singing Broadway servers and their extravagant milkshakes. On June 19, the restaurant is having a grand reopening featuring Broadway stars Kimberly Marable and Haley Swindal. The two will perform alongside the Singing Servers.
Kimberly Marable currently stars in the Broadway production Hadestown. Additionally, she has been in productions of The Lion King and Sister Act. Haley Swindal is presently in the Broadway production of Chicago and has also previously starred in Jekyll & Hyde.
Gayle’s Broadway Rose partnered with the Broadway and West End Community in order to keep the Broadway spirit alive with theaters closed. The talented Singing Servers and Broadway and West End show cast members have teamed up to produce a Virtual Celebrity Duet Video Series.
Come on out to Times Square on June 19 to help support the Arts and Broadway’s Theater District. All tickets for the grand reopening are available by advance purchase only here. Check out the Gayle’s website for additional information.
Gayle’s shares: Our video below featuring Broadway Celebrity performer Laurel Harris accompanied by Marc Christopher from Gayle’s Broadway Rose… the song is Beauty and the Beast from Beauty and the Beast! Laurel Harris currently stars in the Broadway production of Jagged Little Pill, and has played the roles of Jill and Mary Jane Healy! Laurel also starred as Elphaba in the Broadway production of Wicked! Previous Broadway credits include Beautiful: The Carole King Musical, In Transit, and Evita! Viewers can make a donation to a special charity that Laurel has chosen: stopaapihate. Thanks to Michael Aaronfor his fabulous audio/video production services!
St. Vincent took to the Studio 8H stage this week as Saturday Night Live‘s musical guest, with Judas and the Black Messiah star Daniel Kaluuya serving as SNL host. St. Vincent, (real name Annie Clark) will release her seventh studio album Daddy’s Home on May 14.
TONIGHT I’ll be playing songs from my upcoming album #DaddysHome which hits the streets May 14th! #SNL
The episode opened with Chloe Fineman’s take on Britney Spears, who tackled Lil Nas X’s Satan shoes, Pepé Le Pew’s removal from Space Jam 2 and Rep. Matt Gaetz’ sex scandals. While Britney was sympathetic to Lil Nas X, she deemed Le Pew and Gaetz “not that innocent.”
St. Vincent’s first song of the night was her lead single, “Pay Your Way in Pain.” The funk track is a love letter to the 1970s, channeling Prince, David Bowie and the sounds of Studio 54. At the end of the performance Clark revealed the word “Daddy” on the back of her jacket, in reference to her upcoming album.
https://www.youtube.com/watch?v=UeHnPfIEyss
“Pay Your Way in Pain” was co-written by Jack Antonoff, who previously worked with Clark on her last album Masseduction. The two also shared writing credits on Taylor Swift’s 2019 song “Cruel Summer.”
Taylor Swift, Lana Del Rey, St Vincent, Lorde, and Carly Rae Jepsen passing Jack Antonoff around for their next albums pic.twitter.com/Tm1ATdMf6Y
This isn’t the first time St. Vincent has played SNL; back in 2014, she played the gig to extremely mixed reception. It’s not surprising: like Fiona Apple or Björk, Clark’s sound is an acquired taste that cares little for accessibility. All are undeniably talented, but easily jarring to unfamiliar listeners.
St. Vincent closed out the night with her new single, “The Melting of the Sun,” whose lyrics reference Joni Mitchell, Tori Amos, and Nina Simone. Clark’s backup singers nearly stole the show:
https://www.youtube.com/watch?v=baklAZ2Rrt4
SNL returns next week, April 10, hosted by Promising Young Woman star Carey Mulligan with Kid Cudi as the musical guest.
From New York, NY, Backline will host “Set Break” on April 10th. This will be their first-ever livestream fundraiser on The Relix Channel, exclusively on Twitch. The event will feature live performances worldwide, public service announcements from music professionals, and immersive wellness experiences also.
Backline dedicates their time to connecting music industry professionals and their families with mental health and wellness resources as a nonprofit organization. Backline seeks to provide a safe, private, and immediate place to go for help with the difficulties that life in this industry brings.
Set Break intends to bring the music industry together to break the stigma surrounding mental health in the community. During the event, money will be raised to expand Backline’s programs and services in a time when they are needed most. In addition, Set Break will incorporate wellness experiences from Wanderlust, Breathwrk, The Big Quiet, and Meditation Studio by Muse to promote collective healing for those greatly affected by the closures within the last year.
Backline has provided a safe place to land for industry workers during this time, and the event will bring together fans, artists, and organizations who all believe in the cause and want to create a safer and more supported environment for music to thrive.
Backline’s Executive Director Hilary Gleason
The lineup for Set Break expands across an array of genres. The event will have performances by Alanis Morissette, Leon Bridges, Dawes, Black Pumas, Sara Bareilles, Bob Weir & Wolf Bros, Ben Folds, Oteil Burbridge, Los Lobos, Michael Franti, K. Flay, Galactic, American Authors, Larkin Poe, Deer Tick, DJ Millie, and more. Many musicians are coming together to raise mental health awareness and show support.
Join this Movement Through Livestream
Set Break will feature conversations with the Black Mental Health Alliance to represent the music industry’s diverse experiences. Also, there will debut findings conducted by the Tour Health Research Initiative (THRIV). The free event will have opportunities to donate and support the mental health of the music industry. In addition to supporting Backline, a portion of the proceeds will benefit Crew Nation and Sweet Relief’s Mental Health Fund. Fans even have the opportunity to turn their physical activity into charitable donations by signing up for the wellness app Sweatcoin before the event. Make sure to tune in to Set Break on April 10th to support the cause!
Two words succinctly sum up the driving force behind the first ever Phish show at Nassau Coliseum: Island Tour. It’s the impromptu run of shows that are now viewed as essential elements of Phish lore. As the legend goes, the band was preparing to record their new album and wanted to test run some of the new songs. The previous year saw them at the height of their powers to date so a last minute tour announcement was sure to have few issues. And, somehow, Phish had never played Nassau Coliseum before. This all changed with the Island Tour and an opening show that saw new songs debuted and older ones stretched out in the new, infectiously funky sound the band had begun to hone.
There’s no time wasted this evening, as Phish thoroughly rips a “Tube” opener to the delight of the Nassau Coliseum crowd. Page McConnell on keys drives the jam in its early stages with heavy clavichord work. After that, it’s not long before the band is in full funk mode with a digital delay loop in full effect, picking right up where 1997 left off. This “Tube” is a great sign of things to come. The band seems locked in from the get-go as they stretch this one to nearly eight minutes.
After a quick conference, “My Mind’s Got A Mind Of Its Own” is the selection, filling the customary bluegrass spot that was more prevalent at this point in time. Bassist Mike Gordon nails the lyrics before this quick one ends with a flourish on piano from McConnell. “Sloth” emerges next to the delight of the crowd as Phish takes a quick trip to Gamehendge. Despite some lyric fumbling from Trey, they’re able to make it out of this one fairly unscathed. “NICU” follows this which sees drummer Jon Fishman in fine fashion keeping the time on this older Phish tune. Afterwards, Trey makes his now famous comment about the band “being bored at home” and “wanting to do some shows.”
Then, the first song with some real exploration since “Tube” comes next in a complex “Stash”. It features some early dissonant playing from Anastasio on guitar that the band uses as fuel for this particular jam. Before long, Phish has filled Nassau with a dark, foreboding jam that’s accentuated by a menacing light show. The digital delay loop then makes another appearance as the jam then shifts into a near ambient space. It stays in this mode for a while, with the band patiently crafting this one. It’s a truly exploratory section that yields little payout, however. Instead of bringing it back around to the finish, the jam slowly trickles out and the opening chords of “Horn” ring out.
Trey shows a little rust on the guitar solo, but overall it’s a harmless effort that wraps up quickly. “Waste” comes up next, a popular track from Billy Breathes, their most recent studio album. Trey nails his part on this one, as it finishes with an inspirational flourish. Then, as if to make up for the last two “slower” songs, an absolutely incendiary “Chalkdust Torture” wraps up the first set. Immediately, Anastasio is in rapid-fire mode on guitar for this “Torture” which seems like it’s intentionally sped up. The rest of the band is up to the challenge though. Gordon on bass goes tit-for-tat with Trey while Page pounds away on the baby grand on this simply (and literally) electric Phish classic that sends the Nassau crowd into set break.
But you don’t have to take my word for it. Check out the nice fan-shot video footage of the first set below or here.
https://www.youtube.com/watch?v=gehEr7EOLn0
The second set picks right back up with a return trip to Gamehendge courtesy of “Punch You In The Eye.” Once again, Phish exhibits impeccable patience and craftmanship as they deftly stretch out the intro to this one, much to the delight of the Nassau crowd. The rest of the calypso-style rocker is played to perfection, with Gordon shining on bass throughout.
“Simple” fills the two-spot for the second set, and after a standard composed section, eventually yields a spiritual instrumental jam spearheaded by Anastasio. Majestic, soaring guitar lines help create an incredible soundscape on one of the better extended pieces of improvisation this evening. As the jam winds down to a standstill, the choice is then made to drop the debut of a brand new song. The first ever “Birds Of A Feather” then leaves the nest, soon to be featured on the band’s upcoming Story Of The Ghost album they would record the following week. Instantly, everyone can tell this song has a bright future as another digital delay loop and some intense wah-wah from Trey warmly welcome this one to the live Phish catalog.
After some more banter from Trey about the new tune and upcoming album, the familiar opening chords of “Wolfman’s Brother” ring out. Gordon’s bass seems to has a little extra “pop” on this one and helps power yet another funk-fueled excursion. Eventually, McConnell reintroduces some more heavy clav sound and Phish ever so subtly slides right into their cover of Robert Palmer’s “Sneakin’ Sally Through The Alley.”
But there would be no customary vocal jam accompanying this “Sally” – the funk is too deep. Instead, the jazz-shuffle jam that had developed wanders for a bit before taking a turn to the dark side and into the debut of “Frankie Says.” This harrowingly beautiful number, with McConnell on lead vocals here, would also wind up featured on Story Of The Ghost. Although it hasn’t been played live in nearly six years now.
The final major improv of the evening then follows in the form of “Twist.” Once the opening vocals are out of the way, this one takes off with a another frenetic jam with McConnell emitting a myriad of tones and styles on keys with Fishman playing in metronome-like fashion on drums. An inspired Trey on guitar helps give this jam yet another ethereal feel that soon devolves into outright ambience with a drumbeat.
Phish then wraps up the second set of their first ever show at Nassau Coliseum with a couple of crowd favorite sing-a-longs. “Sleeping Monkey” takes it on down to the shore and a blisteringly fast “Rocky Top” puts a cap on a memorable set of music. For an encore, Phish goes dark one last time with “Guyute,” giving the Nassau crowd one last taste of what to expect on the forthcoming album.
Phish Nassau Veterans Memorial Coliseum – Uniondale, NY 4/2/98
Set 1: Tube, My Mind’s Got A Mind Of Its Own, The Sloth, NICU, Stash > Horn > Waste > Chalkdust Torture
Set 2: Punch You In The Eye > Simple > Birds Of A Feather, Wolfman’s Brother->Sneakin’ Sally Through The Alley->Frankie Says->Twist > Sleeping Monkey > Rocky Top
Jazz at Lincoln Center announces their 2021 gala concert: Innovation + Soul. The gala concert will take place virtually on April 15, 2021 at 7:30 PM EST.
Jazz at Lincoln Center orchestra with Wynton Marsalis.
The summer concert series at Lincoln Center started in 1987, later fully orchestrating the achievement of opening the world’s first venue designed specifically for jazz in 2004. Their mission is carried out through four elements—educational, curatorial, archival, and ceremonial—capturing, in unparalleled scope, the full spectrum of the jazz experience.
The gala concert will feature the Jazz at Lincoln Center Orchestra with Wynton Marsalis who is known as the heartbeat of the organization. The performance will be pre-recorded at Rose Theater in Jazz at Lincoln Center’s Frederick P. Rose Hall in New York, New York. The concert is being put on because of National Jazz Appreciation Month. It will attempt to not only honor the music but the artists and figures who have made outstanding contributions to jazz.
https://youtu.be/qQ__lmCOSeg
Some of the line up for the performance include Jazz at Lincoln Center Orchestra bassist Carlos Henriquez, percussionist and vocalist Pedrito Martinez, and trumpeter Michael Rodriguez. It will also feature appearances by President Bill Clinton, actor Anna Deavere Smith, jook dancer Lil Buck, vocalist Veronica Swift, and pianist Sean Mason throughout the evening.
The group will perform Henriquez’ composition, “2/3’s Adventure,” a piece that travels between mambo, swing, and guajira, and demonstrates Henriquez’ absolute mastery in orchestration and grooves. This song has been a hit for the group for over a decade. It has been featured in the Orchestra’s songbook in shows and the band’s recording of it remains one of Blue Engine Records’ most popular downloads.
https://youtu.be/YhikjvXpQ7g
Innovation + Soul performance-only passes are $30.00. Following the premiere on April 15, ticket holders will have on-demand access to the performance portion of the event through April 25. For virtual gala tickets and packages, and information on ways to contribute to the Center in a meaningful way, visit their website here.
Coming this summer to rest stops along Interstates 81, 84, 86, 87, 88 and 90, New Yorkers and other travelers can discover new bands and artists thanks to the State Division of Tourism sponsoring the “Rest Stop Pop Up NY” Thruway Concert Series.
At the state’s Welcome Centers, multiple bands will be featured throughout the day, offering a small but distanced festival feel. Service Areas along I-90 and I-87 will feature top rock and jam acts performing on stages set up in parking lots, starting at 10am and going until 10pm.
moe. will give a nod to their New York roots by make appearances at rest stops near Buffalo, Utica and Albany. And provided their drummer can catch a ride, The Assortment of Crayons will reunite at the Plattekill rest stop on I-87 North.
Heading along I-88 and I-81, a broad selection of bluegrass and metal bands will perform at the more rustic rest areas located on these comparatively lesser traveled highways. Meanwhile, I-84 will feature singer-songwriters from the Hudson Valley at each of the four rest stops. Don’t miss July 4 with Don McLean at the Brewster Rest Area.
I-86, the state’s newest highway, will feature Buffalo’s Organ Fairchild. Much like the band, I-86 was years in the making and brings together many great parts of the state in one solid collective.
The new ‘Text Break’ stops will feature acoustic performances only, with requests taken by texting your song request to 38262. There will be no shows along I-495 on Long Island.
When the State Division of Tourism was asked what could go wrong with these Pop Ups, a representative admitted there would be some issues.
For one, there’s only so much parking, and while we will allow you to park on the grass for that true festival feel, some folks may need to park on the side of the road and walk into the festival. This state has a great history of parking cars and walking miles to see music, whether it’s the original Woodstock festival, Summer Jam 1973, or The Clifford Ball. We want to give people the real music experience, including, but not limited to, fatigue and mild exhaustion upon arrival at your destination.
Judith McCarty, State Division of Tourism
McCarty also discussed safety measures, saying “Of course people will socially distance. And if they don’t we hope they’re spending money and we feel that trade off is worth the risk.”
Alcohol will not be sold at any Thruway Rest Stop, per usual, but CBD vendors will be on hand for to provide attendees with an energetic natural high. “We strongly encourage CBD use. Please don’t drink and drive. That would make us look really, really bad,” said McCarty.
The State Division of Tourism feels that the Rest Stop Pop Up concert series will encourage travel across the state, and also allow travelers to learn about the history that happened here.
Additionally, toll money will be used to help balance the state budget.
Thank you for reading. This was an April Fools article, published on April 1, 2021.
To support the #SaveOurStages foundation during the pandemic, artist Phil Robinson today releases a video for his song “Transcendental Cowboy” from the renowned The Bitter End venue in New York City.
Phil Robinson
Robinson’s live performance is another in his efforts to fundraise for live music venues that have suffered astronomically throughout the pandemic. In September 2020, he created, hosted, and performed in the “Save The Bitter End!” livestream fundraiser. It ended up raising over $24,000 towards The Bitter End’s $100,000 GoFundMe campaign, and ensured the venue’s April 9, 2021 reopening.
In addition to his venue fundraising efforts, Phil Robinson has organized and performed livestream events that benefit the NAACP Legal Defense Fund, local food banks, and more.
“Transcendental Cowboy (Acoustic)” is out March 31st via Phil’s label Roomful Of Sky. His debut album Through the Middle is set for release later in 2021. His soulful rock music is a balm for the struggles of the pandemic, garnering comparisons to Cat Stevens and Bruce Springsteen.
Robinson shares: “‘Transcendental Cowboy’ is usually my encore song – it gives audiences the chance to yell at the top of their lungs, so it’s always a lot of fun to play live! I thought it’d be a great fit for the #SaveOurStages campaign because it highlights that LIVE engagement between audience and performer that we all live for. Performing the song in an empty venue as I do in this benefit video highlights exactly what’s been missing this past year and what we hope to get back once the pandemic’s over and our music venues can hopefully re-open.”
Guitarist, multi-platinum-selling singer-songwriter, Rock and Roll Hall of Fame inductee, and Songwriters Hall of Fame electee Steve Miller has dug deep into his archives, now releasing the recording on both music formats such as vinyl and CD as well as a full-length video available on Amazon Prime Video.
The original liner notes by music journalist David Fricke read:
Breaking Ground captures the Steve Miller Band on stage in one of their biggest years, 1977. They were at a perfect crossroads of psychedelic zeal and progressive, popcraft while staying true to Miller’s first love, the blues.
The year 1977 was a top year for the Steve Miller Band, playing theaters, arenas, and stadiums. It was recorded at the Capital Centre in Landover, MD on multi-track tape and newly mixed and mastered by Miller and his veteran audio engineer Kent Hertz.
Pre-order the album here. For more information about the Steve Miller Band, visit stevemillerband.com. The new archive concert Breaking Ground: August 3, 1977 arrives on Friiday, May 14, 2021.
Heavy rock supergroup The Limit, consisting of former The Stooges and Pentagram members, release new single “Death Of My Soul” accompanied by a video in preparation for their upcoming album Caveman Logic – releasing April 9, 2021.
The Limit is an astoundingly fresh and hot-blooded shot to the veins that heavy rock needs in this day and age. “Death Of My Soul” sees the band go straight to the heart of rock to deliver a electric performance accompanied by some eerie visuals. The gothic mood of the track conjured forth by the intersection of all the various sounds from the band members background helps deliver a song that does the legacy of these rock mainstays justice.
This song and video is not something warm and fuzzy you can wrap your arms around and feel good about. It represents a deep feeling of alienation, loneliness, a sense of an unchangeable and Doomed timeline of life and world events.
Sonny Vincent, Musician
The Limit consists of several high profile members such as Ex-Stooges member Jimmy Recca on bass, Sonny Vincent an early NYC punk scene legend and member of Testors on guitar and vocals, Bobby Liebling from Doom Rock originators Pentagram on vocals, and Hugo Comin and Joao Pedro on guitar and drum from Portuguese band Dawnrider. The diverse range of musical influences come together and create a sound that respects the band’s Punk and Doom Rock origins while creating a whole new sound entirely.
The upcoming album Caveman Logic is set to be released on April 9, 2021, the album can be pre-ordered here.
Acid Dad have shared their new track “BBQ” off their sophomore album Take It From The Dead, due out on June 11, 2021
“BBQ” Single Artwork
The rock band hails from Bushwick and is composed of singer-guitarists Vaughn Hunt and Sean Fahey, and drummer Trevor Mustoe. Vaughn first started recording the band in his Bushwick apartment. Playing live in the New York City rock scene in 2016, Acid Dad quickly moved to a world stage with their self-titled debut album, released by Greenway Records in 2018.
Over 2020, Acid Dad rented studio time in Queens as well as built their own guitars. They also independently produce their music. This creativity and innovation led to their second LP Take It From The Dead. The record features a variety of influences ranging from 90’s neo-psych, modern post-punk, and 70’s rock. Their sound meanders the perfect musical boundary of brand-new and nostalgic.
The new album is accompanied by psychedelic and glitchy art videos in a collaboration with video artist Webb Hunt, adding an otherworldly visual counterpart to their dreamy music.
Artwork in collaboration with artist Webb Hunt
Listen to Acid Dad and their new track “BBQ” here. Watch the visualizer for the single here. Find out more information about Acid Dad at their website.
