Category: NYC Metro

  • Imaginary People Release Raucous Single “Renegade”

    New York City’s post-punk, art-rock ensemble Imaginary People return with an irreverent, amphetamine-fueled new track “Renegade,” lifted from the band’s forthcoming album Alibi due later this year.

    Any music worth its salt will reflect the times it’s made in. It’ll absorb the atmosphere of everything around it, hold up a mirror to what’s happening in the lives of the people who made it and also the wider world outside.

    That’s exactly what Imaginary People aims to portray in Alibi, the band’s third full-length album. It is, as frontman Dylan Von Wagner, explains, a response to the cultural civil war that he sees unfolding all across the USA. That cultural dystopia bristles through Alibi’s 11 songs.

    The band – consisting of Mark Roth (guitar), Justin Repasky (keys/synth), Kolby Wade (drums), Bryan Percivall (bass/synth), and with additional synth work by Grant Zubritsky – have not just perfectly captured the times in which this record was written, but have managed to turn the nightmare of the modern world into something truly exquisite, pitting emotional vulnerability against an almost resigned stoicism.

    Just listen to the way that Von Wagner’s voice trembles on the albums opener “It’s Simple,” the tenderly mournful opener written minutes after the singer watched the gun massacre at Stoneman Douglas High School unfold on live television.

    Listen to the tentative fragility and dark romanticism of “Bronx Girl” and the jittery “Neon Age” which rails against a world in which people present a different version of their lives to society in order to impress them.

    “It’s a giant sh*t on Instagram,” Von Wagner says matter-of-factly. “I have no problem with people using it, but everybody’s just making up their life to be their own little movie, and I think it’s making a lot of people mentally ill.”

    While there are glimpses of light throughout the darkness that permeates every aspect of Alibi – one that captures the nature of what humanity has become – and while its songs do reflect the harsh, bleak reality of being alive – it also manages to exist on its own, and in its own terms.

    The official video for “Renegade,” directed by Dylan Von Wagner, is out today. Von Wagner says, “After spending two nights in jail for trespassing in an empty warehouse we found the ‘right’ one and performed an exorcism!”

    Alibi is being recorded by Phil Weinrobe (Nick Murphy, Pussy Riot, Stolen Jars) at Rivington 66 in the band’s home of New York City, as well as upstate with Eli Crews (Tuneyards, Deerhoof, Xylouris White) at Spillway Sound in the Catskills and mixed by Crews at Figure 8 in Brooklyn.

    Imaginary People have created an album that shimmers with a twisted beauty, which feeds off all of that disturbing substance and turns it into something both harrowing and beautiful.

    “Renegade” is now on all streaming platforms. The release follows up the album’s two pre-release singles, “Hometown” and “Crazy Eight.”

    “Hometown” was described by PopMatters as “landing somewhere between ’80s stadium rock (The Alarm, War-era U2) and latter day saints such as the War on Drugs.” Both songs are available now to listen and share on streaming services.

  • Sulene Releases Introspective “he•don•ic”

    On March 5th, South African-born, Brooklyn-based artist Sulene released her new EP, he•don•ic, on Trash Casual.

    Sulene

    The five songs on the EP dive deep into her struggles with alcohol addiction, depression, and hedonic pleasures, and finding a way out of these destructive cycles.

    Sulene’s dark lyricism is juxtaposed by dancey, sexy beats strewn with synth and guitar that she describes as a “gothic disco party.”

    This vulnerable-meets-underground club aesthetic is found on songs like “identity crisis” and “photo booth”, both questioning bad habits she’s encountered in her life.

    Written at the start of the pandemic, “diner coffee” brings a more slowed down, sullen moment to the record as Sulene states “I promise to be useful” – a nod towards needing to create while blocking out depression.

    For Sulene, writing he•don•ic was a painful and difficult process, but also one that allowed her to experiment with music in a new way.

    Exploring a darker side of her character and production, Sulene wrote, recorded, and produced the entire EP out of her apartment in Brooklyn, NY. She also delved into filming and editing her own music videos and artwork, giving a full 360-degree view of her newest art.

    Speaking on the release, Sulene stated:

    he•don•ic explores my relationship with hedonism and addiction. Lyrically it speaks an uncomfortable truth and sonically it makes me wanna be in the club; a contradiction I find intriguing.

    This is definitely a fair overview or the EP. Each song is introspective in its own way, with Sulene analyzing her habits and tendencies, as well as her mental state. Sulene is heavily critical of her relationships with others, and her indulgences and dependencies.

    At the same time, the pounding, synth-heavy beats remind the listener of going out at night and partying with friends at clubs. It is a truly interesting contradiction, especially now in a time when clubs have been completely empty for almost a year.

    With the release of the he•don•ic EP, Sulene has broken new ground as an artist, bringing an experimental and refreshing take on pop music. You can stream he•don•ic here now and purchase the EP on vinyl here.

  • Amsi Drops New Single, “Cry,” Reflecting on Pandemic Pain

    New York City-based singer-songwriter Amsi releases the second single of 2021 today, “Cry” being an outlet for listeners to be vulnerable and express their grief on matters pandemic and beyond. The artist prides herself on her culturally diverse background and unique sound, whilst also addressing experiences that are all too universal and relatable.

    There were many instances where I was told I was too sensitive or too emotional, but now especially in this past year, I realized that crying doesn’t mean I am weak, it means that I am processing & growing. I hope people find comfort in knowing that it’s okay to cry too.

    Amsi, on “Cry”

    The impact of the coronavirus pandemic and quarantine on the mental health of today’s society is one that cannot possibly be looked over, with the yearning for things to return to normal and the fears that someone you love could possibly be affected. These fears became a reality for Amsi, who was quarantined with her father, sick with COVID-19, ten days after her last live performance.

    amsi

    You can stream her newest single here, as well as check out the rest of her works on her Spotify.

  • Record Heat Drops Scorching New EP “1”

    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
    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.

  • Lowhency Pierre Releases Somber “Losing” With Choreocinema Visual

    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!

  • Infidelity Makes Sweet Sounds on debut from Lisa St. Lou, “Ain’t No Good Man”

    Marvin Gaye’s “I Heard It Through the Grapevine,” TLC’s “Creep” and Alanis Morissette’s “You Oughta Know.”  The Eagles’ “Lyin’ Eyes,”  Dolly Parton’s “Jolene” and, of course, Hank Williams’ “Your Cheatin’ Heart.”  

    Infidelity is torture on the soul of the victim. But it is also a potent catalyst for great artistic output, especially for musicians. It’s the brand of misfortune that inspired classic songs like the above.  It also birthed a bevy of legendary albums, from Fleetwood Mac’s Rumours to Dylan’s Blood on the Tracks to Beyonce’s Lemonade – works which pushed these artists to creative apexes they may never match.

    Lisa St. Lou

    Singer/songwriter Lisa St. Lou with debut album, Ain’t No Good Man, is another powerful product of a ‘done me wrong.’  It’s a blues-powered blast of 13 soulful originals, tunes that travel the road from betrayal and broken heart to redemption and, seemingly, a new love. They are expertly performed by Lisa St. Lou and an all-star crew including New Orleans greats Irma Thomas, Cyril, Ivan and Ian Neville, axe man Walter “Wolfman” Washington and many more.  

    Brooklynite St. Lou’s style is anchored in the gospel she absorbed as a child at a Baptist church in her native south St. Louis. Her childhood love of singing led her to serious musical study. Lisa earned a Masters in Opera (!) before heading to New York City and rapid success with a role in the Broadway production of The Producers. But an entertainer’s lifestyle didn’t jibe with her new husband’s vision of their future, so she quit showbiz and had two kids. Her partner’s repeated infidelities over the following decade led her to the most important decision of her life – leaving him in an effort to reclaim her voice, metaphorically and now literally.

    St. Lou has had the good fortune of partnering with Grammy-nominated producer and songwriter Tor Hyams (Joan Osborne, Lou Rawls) for her debut. And while she sites Aretha Franklin, Janis Joplin and Nina Simone as inspirations, I hear another soulful St. Louis white girl wailer evident in her style – Bonnie Bramlett of Delaney and Bonnie fame.

    St. Lou and Hyams have co-written 12 top-flight tunes. They are all in a bluesy vein but with an original bend, not a very easy thing to do with such a well tread genre.  Recorded at Parlor Studios in New Orleans, the tunes all naturally have a swampy, steamy, Big Easy groove. There’s also plenty of Memphis in the horns and Stax-like guitar licks and Chicago-flavored gospel in the ever-present Hammond organ swirl and churchy background vocals.

    The album kicks off with the title track. Here Lisa puts her operatic pipes and gospel grit to good use.  She sings high and hard to romantically nihilistic lyrics like:

    I’m hip to the game
    They’re always the same
    I can smell a rat from a mile away
    Ain’t no good man
    Who gon’ be lovin’ me, anytime soon
    Ain’t no good man,
    Who can fool me twice, by giving me the moon

    “Girl Get On” warns the “other” woman to stay away from her man, set to an up tempo groove with plenty of lyrical double entendre. “Love Me Baby” is a plea that starts with fingers snaps, a four note bass riff and solo voice,  before breaking into a shuffling blues with some great call-and-response with the chorus.

    Lisa St. Lou

    On one of the album’s showstoppers, “Nothing Is Never Enough (For A Man),” St. Lou is joined by the immortal Irma Thomas. The NOLA soul queen who throws down her signature stanky vocals on a slow blues with some sweet guitar licks and punchy lines like:

    You give your body, you give your soul
    You give up on every fight
    Don’t wanna get out of bed in the morning
    Cause nothing, nothing, nothing is ever right
    Nothing is ever enough, for a man
    Nothing is ever enough, for a man
    Don’t matter how hard you tried or if you’re doing the best that you can
    Nothing is ever enough, for a man

    The Meters’ founder Cyril Neville shares the vocals on “Whatcha Gonna Do.” This is true New Orleans funky with all the trimmings, wah wah guitar (or clavinet), more call-and-response vox and a jerky stop-time beat.

    While St. Lou’s go-to style is up tempo, my favorite tunes here are the ballads.  “Miracle in Motion” is an achingly slow love song, a gospel-flavored offering with no lyrical axe to grind.  There’s some nice rhythmic changes and modulations, luscious horn and keyboard support, which make this seemingly straight forward ballad something more. 

    My favorite on the album, “Flowers In the Rain,” closes the collection on the kind of hopeful note we wish for all wronged in love.  The arrangement is pure gospel, largely just piano and voice at first, like a sketch or a demo. Lisa and her throaty angelic background singers build the song, along with a churchy, bluesy organ that surges and dances around the melody.  This is a real could-be classic.

    You gave me hope through the storm
    When it was cold you kept me warm
    You took away the pain
    You gave me flowers in the rain
    I never met a man who could look in my eyes
    And see all the beauty inside
    And the sound of your voice
    It takes all the worry away
    You opened up my heart
    You picked me up when I fell apart
    When my whole world went insane
    You gave me flowers in the rain

    St. Lou’s Ain’t No Good Man is a musical journey through Kubler-Ross’s famous five stages of loss, with plenty of anger at first, ending with acceptance.  It boasts some wonderful songs and topflight performances from all involved.  It’s good musical medicine – a shot of gospel goodness that can help the brokenhearted exorcise their rightful anger and move on down the road.

    It’s also refreshing to see a debut disc come our way from a 40-something with something to say, rather than a pre-fab teen product spit out by the pop machine.  In music, as in life, Lisa shows that it’s better late than never.

    Lisa’s website provides some cool video clips of the recording of the album and discussions of the development of the songs and the arrangements.  Check it out here and find all links to all platforms here.

    Key Tracks: Whatcha Gonna Do, Nothing Is Never Enough (For A Man), Flowers In the Rain

  • Flushing Town Hall announce their Jazz-packed tribute for Women’s History Month

    Flushing Town Hall has announced their Jazz-packed tribute for Women’s History Month. The tribute will take place on March 26, 2021 7PM EST and is being called “Songbirds,” a virtual tribute to Minnie Riperton, Shirley Horn, and Joni Mitchell by the Mala Waldron Quartet. 

    Women's History Month

    Flushing Town Hall is known particularly for its long history of presenting strong jazz programming. It has been able to expand its audience across the globe through virtual programming since the COVID-19 pandemic closed its doors one year ago, like most music venues around the world. Although audiences are still not permitted into the venue, local performers are now slowly being able to return to the stage for live-streamed performances. The cultural nonprofit also has increased its collaboration with other performance venues to bring additional programming to its fans.

    The Mala Waldron Quartet features Mala Waldron who is a pianist and vocalist who has a unique technical alacrity and sensitivity that isn’t widely known. She is the daughter of Jazz Icon Mal Waldron. She has performed all over the world at prestigious music festivals including in Belgium, Russia, Belarus & China, Taiwan and Malaysia. Waldron has performed on some of NYC’s most prestigious stages, including the Iridium Jazz Club, the Blue Note, and the Jazz Standard, and at the Kennedy Center’s Millennium Stage. The rest of the quartet is made up of Steve Salerno on guitar, Michael T.A. Thompson on drums and Gene Torres and bass. They will perform “Songbirds”—a beautiful journey into a not-so-distant past made popular by Minnie Riperton, Shirley Horn and Joni Mitchell. It will be filled with memorable music and songs. 

    The concert will be performed at Flushing Town Hall’s theatre and will be streamed live for audiences at home in celebration of  Women’s History Month. It will be available on the Flushing Town Hall’s YouTube channel. This performance is ticketed performance and requires a prior purchase of $5.00, plus a $1.00 convenience fee to view the performance online. Audience members can submit questions at any time during the performance for a live Q&A which will be moderated by Flushing Town Hall’s Jazz Producer Clyde Bullard after the show. 

    For more information on Flushing Town Hall tribute to Women’s History Month visit their website.

  • Arsun Shares Visuals For “Southern Winds” and Launches T-Shirt Collab

    New York indie rocker Arsun has released a new music video for his song “Southern Winds,” premiering on i-D, alongside an exclusive interview.

    Arsun southern winds

    The music of Arsun is influenced by the art-rock of the late 60’s and 70’s, with heavy influence from Lou Reed and The Velvet Underground. The music video for “Southern Winds” is directed by Arsun’s girlfriend, Tasmin Meyer Erahin, makes special use of black and white, intentional video artifacting, and a four way split camera perspective. Shot on a vintage Super 8, the video was not initially meant for a music video – just the couple causally videoing their tropical getaway. Nature is a key fixture of the video, strolling through idyllic beach vistas and gorgeous ocean’s to match the serene mood of the music.

    The new track comes packed with a catchy, retro instrumental line, as Arsun’s gritty vocals take the lead

    Indie88

    Arsun released “Southern Winds” with Dover Street Market as part of their Art Book Fair programming. Dover Street Market is multi-brand relator that collaborates with several of its closest associates to release a series of virtual events. Arsun’s collaboration with Dover Street Market also includes a new t-shirt designed in conjunction with visual artist Tom Sachs.

    The t-shirts are up for purchase on DSM New York E-Shop.

  • AJA Creates Inclusivity Through Diversity

    International role model AJA (they/them) has broken down barriers in their new single titled “21 Roads,” featuring Katie Jobes. The revered artist and performer has brought non-binary visibility into the music industry, while also building a safe community among their fanbase. AJA is of an ecletic Puerto Rican, Nigerian and Egyptian background. Being an adopted Afro-Latino from Brooklyn has also had a lot of influence over their music and this new single. 

    AJA
    Photo Credit: Tanner Abel

    “21 Roads” is the first single off of AJA’s upcoming sophomore album CROWN. The song delves into being stuck at a crossroad, re-evaluating and learning to prioritize yourself. Protecting your happiness and being at the forefront of your own destiny is what AJA preaches.

    The artist used three tracks on the single: an interlude, the actual song, and recorded drumming. AJA shares that “the beat of the song, the interlude sample of the drums as well as the instruments, singing, and chants that are on the drumming — these are traditional songs for Esú Elegba, who is the gatekeeper, and opener of all roads in the Lukumi Faith; which stems from Nigeria.”

    Watch the Lyric Video for “21 Roads” Here

    Later this spring, AJA will release CROWN. The album incorporates themes of back spirituality, fame, race, class, gender, and sexuality. CROWN deals with AJA’s hardships and their adjustment to vulnerability. Following their critically acclaimed debut album, Box Office (2019), CROWN has high anticipation. 

    AJA
    Photo Credit for CROWN Album Cover: Tanner Abel

    AJA constantly uplifts their fans through inspiring perspective, fashion, and activism. They have taken their positive outlook to over 180 live shows and even sold out venues worldwide. The new single is nothing short of AJA’s empowering insight.

    “21 Roads” (featuring Katie Jobes) is available on major platforms. Listen to the single below.

  • Grateful Dead Return to the Garden: March 9, 1981

    Grateful Dead Garden

    Few buildings have as storied a relationship with the Grateful Dead that Madison Square Garden does. The World’s Most Famous Arena quickly became the band’s “home” arena on the East Coast beginning with their first run here in January of 1979. Their welcomed stay would last until their final shows played there in 1994. Today, we celebrate the anniversary of the Grateful Dead’s third run at the Garden and only their sixth show ever here. This would be the first of only two Dead shows here this year. But its musical impact, thanks to an incredibly well preserved AUD recording, will last forever.

    The opening tones of “Feel Like A Stranger” ring throughout the Garden to kickstart things this evening. The electricity immediately comes through the pristine recording on this one as the bands “get’s on with the show.” Guitarist Bob Weir’s voice is in fine form for the opener and throughout the rest of this show. Some typical brief, scat-like improv singing from him gives way to a short but tight little opening number. “Althea” then follows, with fellow guitarist Jerry Garcia getting his turn to serenade the New York faithful. A fierce early guitar lick sets just the right tone early as Garcia nimbly moves from singing to soloing and then back.

    This is followed by a super-bluesy “C.C. Rider” that’s fueled by some great interplay between Garcia, Weir and Mydland on keys. A raucous Garden crowd makes their feelings well known afterwards. An extended tuning break might disrupt the rhythm for any other concert, but it’s not long before the arena is back in full sway and singing along with Garcia to “Ramble On Rose.” As expected, the “Just like New York City” line is met with resounding approval. Weir seems to begin “El Paso” by himself at first, but the band soon catches up and nails the rest of this first set staple. This one sees more impressively delicate guitar fills thrown in by Garcia who sounds clean and inspired from the onset this evening.

    A return to the blues then follows, this one of the “Deep Elem” variety. After being taken off the shelf late last year in October, the vocal sections still sound a little unsure on the Dead’s take of this blues standard but the continual passionate guitar stylings from Garcia more than makes up for it. There’s nothing unsure about Weir’s vocal delivery on “Beat It On Down The Line” as the band rips through another first set staple.

    Jerry’s vocals seem to run out of steam somewhat in the “Bird Song” that comes next. But the initial lackluster vocal section quickly gives way to some dazzling improv in the jam that follows with Garcia’s guitar leading the way. This seems to infuse some life into the band and the song’s dismount is much cleaner. Weir then re-assumes command and “New Minglewood Blues” closes out a rollicking opening stanza. Whether it was planned or not, the two guitarists wind up going tit-for-tat and alternate lead vocal duties between each song in the opening set.

    But like any Dead show, the real “meat and potatoes” of the show are generally found in the second set. Tonight’s show at the Garden would be no different. After some clearly audible teases while tuning, the band takes their sweet time before launching into a majestic set-opening “China Cat Sunflower.” Garcia’s meandering guitar solos play perfectly atop a bed of fresh bass rhythms supplied by Phil Lesh. The slowly building jam eventually makes its seamless transition into “I Know You Rider” where both Weir and Garcia throw a little extra mustard on their respective parts. The second “China Cat” > “Rider” sequence ever played at MSG is certainly one to behold.

    Out of the ashes of this blistering start comes “Samson and Delilah” with drummers Bill Kreutzmann and Mickey Hart wasting no time at all before launching into the percussive into. The accompanying jam is played at a near-frenetic pace that seems to have carried right over from the start of the set. Things finally cool down for a bit with “Ship Of Fools” that Garcia ably leads the group through with no issues. Even a slower number like this one seems to have the Grateful Dead Garden crowd enraptured.

    Things perk back up in a big way in the second set with the two heavy hitters that follow. “Estimated Prophet” sees a fired up Weir complemented beautifully by Mydland and the signature tone of his electric keys on this number. A typically patient and slow-building jam then ensues with Jerry soon beginning to take the helm musically. When this reaches its conclusion, he switches tones and starts the opening chords to “Uncle John’s Band.” The Garden is again enthralled by these proceedings, with many clapping along in time.

    Towards the end of the second’s set traditional “Drums” > “Space” section, some familiar chording can be heard. And before long, Lesh’s bellowing bass roars once again, signaling the high-intensity start of “The Other One.” The rest of the band follows Weir’s lead on vocals with this passionate take on a classic Dead number.

    After this powerful, but fairly short “Other One,” begins to peter out, Garcia slows things down once more and the beginning of “Stella Blue” ensues. A large crowd that was in full rock mode, clapping along wildly just more than an hour ago, is now in near total silence listening to Jerry’s deliberate and soulful vocals – a testament to the emotional power of a Grateful Dead Garden show.

    It sounds like Jerry wants to revisit and possibly finish “Uncle John’s Band” at the end of “Blue,” but they instead shift towards a “Good Lovin’” closer, the second set’s only cover song. The Garden crowd, once more, shows their love and appreciation afterwards before a “U.S. Blues” finishes things out, a proper call after so much blues-inspired songs and playing this evening. The Dead would go on to play one more show at MSG the following night. And thanks to the impeccable recording by Barry Glassberg below, we’ll be able to enjoy this one forever.

    Grateful Dead – Madison Square Garden – New York City, NY 3/9/81

    Set 1: Feel Like A Stranger, Althea-> CC Rider, Ramble On Rose-> El Paso, Deep Elem Blues, Beat It On Down The Line, Bird Song, Minglewood Blues

    Set 2: China Cat Sunflower-> I Know You Rider-> Samson & Delilah, Ship of Fools, Estimated Prophet-> Uncle John’s Band-> Drums-> The Other One-> Stella Blue-> Good Lovin’,

    Encore: U.S. Blues

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