The lives and times of the Wu Tang Clan has been chronicled heavily (deservedly so) throughout their existence. Beginning with their own personal accounts in their music, to feature interviews, documentaries, tv series and now, an exclusive Wu Tang Clan photobook will share rare and never seen before images of the rap phenoms. With photography from the likes of; Danny Hastings, PROTIM PHOTO, Kyle Christie and Andy Cantillon, as well as friends and family of the Clan.
Titled Wu Tang Clan: LEGACY, this large format photography book features more than 300 pages of images and comes encased in a 400-pound sculpted chamber.
“From conception to the present day, this is the story of the undisputed greatest hip-hop group of all time being unveiled through rare and never before seen photos,” said John “Mook” Gibbons, CEO of Wu-Tang Clan Management, in an official statement.
According to the book’s official website, only 36 editions will be made available for purchase, and each comes signed, dated and numbered and with a certificate of authenticity.
Each book will be printed and bound in Italian leather and will come encased in a bronze-encrusted black steel chamber individually designed by sculptor Gethin Jones. The design was inspired by the bronze ritual bowls from the Zhou Dynasty, an ancient period considered the pinnacle of Chinese bronzeware crafting, and its first ruler was King Wu-Wang. This comes as no surprise as the Clan’s music — specifically RZA’s production – was heavily influenced by Asian martial arts, beliefs and overall culture. Even the 36 copies being produced serves as an ode to their first album tittle (36 Chambers) and the numerological significance of there being 36 chambers in a Shaolin Temple.
For more information on how to purchase and own what is sure to be a rare collector’s item, click here.
On February 26th, Brooklyn-based pop artist Love Lola Love dropped a vibrant new single, “How I Do It,” hoping to capture the feeling of self-love in musical form. Described as “straddling the line between brat pop and swagger,” Love Lola Love carries an anti-pop sound that hopes to squash previous misconceptions about the pop genre.
Anyone who’s lived in NYC knows how tough it can be. I def have had a love/hate relationship with it. This song was inspired by Lizzo’s ‘Good As Hell’ which is one of my fav self-love anthems. Living loud with absolutely zero fucks.
Love Lola Love, on “How I Do It”
Alongside Lizzo, some of her musical influences include Charli XCX and Gwen Stefani. Music of hers has landed spots in an Old Navy commercial and a Chanel commercial, the newest addition being “How I Do It” in a Samsung commercial.
Artist Love Lola Love pictured above.
If you as well are in need of a funky pop song that focuses on self-love during the pandemic, this is a must-add to your playlist, and Love Lola Love could be a rising artist that you catch before she blows up. You can keep track of her work on Spotify, where you can listen to “How I do It,” “Bang!,” and “Bold.”
In February of 2014, Paul Simon and Sting began their ‘On Stage Together’ Tour in Houston, TX. The tour traveled across North America, Oceania, and Europe before concluding in Amsterdam in 2015. I was lucky enough to catch one of the shows on my birthday, March 4, 2014, at Madison Square Garden. That made this night even more special than it was already set out to be. The accompanying band was comprised of members of both Simon and Sting’s bands respectively.
“Welcome to our little experiment” Simon said to the crowd early on. After performing the first few songs together, the duo took turns alternating throughout the night, but still sprinkled in a few more songs together before they both took the stage once again for the encore. After the opening duets, Simon left the stage and Sting began his Police heavy solo block with “Every Little Thing She Does Is Magic”, Englishman In New York”, “I Hung My Head and “Driven To Tears”. He ended his first set with “Walking on the Moon” which transitioned nicely into Simon’s “Mother and Child Reunion”. After that, Sting left the stage and Simon began his first solo set with “50 Ways to Leave Your Lover”. The rest of his set were all hits from his solo career like “Graceland”, “Still Crazy After All These Years” and “Me and Julio Down by the Schoolyard.”
Before Paul left the stage again, they both did a magnificent cover of Sting’s “Fragile” from his Nothing Like the Sun album. Sting started his next set with a stripped down cover of Simon’s “America”. “Paul has been my mentor and teacher for many, many years” Sting told the audience. He then explained that the song reminded him of when he first came to America. Him, Stewart and Andy rented a station wagon in New York and drove across the country playing in dives and staying in shitty hotels. He said “Even though this song was written a decade before, it still reminds me of that time”. He then continued his set with some more Police classics like “Message in a Bottle” and “Roxanne” along with more solo hits like “They Dance Alone” and “Desert Rose.”
Another highlight of the night is when Simon appeared back on stage and helped end Sting’s set with another duet cover of Simon and Garfunkel’s “The Boxer”. The two sounded amazing as they harmonized on the song that was recorded over 40 years earlier.
For his next set, Paul dusted off the title track to his 1983 album Hearts and Bones as well as his 1991’s percussion driven “The Obvious Child”. I love this song but for some reason it is not a crowd favorite. But, needless to say he quickly reengaged the sold out crowd at The Garden with what is probably his most popular solo song “You Can Call Me Al” to end his final solo set.
The encore began with “Bridge Over Troubled Water” with Sting nailing the high notes on the first verse. Paul sang the second verse before transitioning right into “Every Breath You Take” as well as a vibrant version of “Late in the Evening”.
At this time the band walked off the stage and it appeared the show was about to end, but Simon and Sting then both picked up acoustic guitars and harmonized once again on the Everly Brothers “When Will I Be Loved” that they dedicated to the late Phil Everly.
The show was over three hours long and it was so good that I could have watched the entire performance again. This was one of the best collaborations I have ever seen between two iconic performers coming from different backgrounds and styles.
Paul Simon and Sting, Madison Square Garden, NYC – March 4, 2014
Setlist: Brand New Day@, The Boy in the Bubble@, Fields of Gold@, Every Little Thing She Does is Magic#, Englishman in New York#, I Hung My Head#, Driven to Tears#, Walking on the Moon#, Mother and Child Reunion@, 50 Ways to Leave Your Lover*, Dazzling Blue*, Graceland*, Still Crazy After All These Years*, Me and Julio Down by the Schoolyard*, Fragile@, America#, Message in a Bottle#, The Hounds of Winter#, They Dance Alone#, Roxanne#, Desert Rose#, The Boxer@, That Was Your Mother*, Hearts and Bones*, Mystery Train*, Wheels*, The Obvious Child*, Diamonds on the Soles of Her Shoes*, You Can Call Me Al*
Encore: Bridge Over Troubled Water@, Every Breath You Take@, Late in the Evening@, When Will I Be Loved?@
On March 3, Govenor Cuomo announced a pilot program to test the Excelsior Pass to begin opening up businesses, starting with Madison Square Garden and Barclays Center. This follows the recent announcement of “NY Pops Up” featuring over 300 free live performances.
Aeriel view of Madison Square Garden
At the Governor’s 2021 State of the State Address, Cuomo declared the Excelsior Pass will use proven technology to confirm an individual’s vaccination or negative test results for COVID-19. Through confidential data transfer, the Governor is hoping this will help quicken the pace in reopening theaters, stadiums and more in accordance with New York State guidelines. Ticketmaster proposed a similar plan in November.
The state tested the first pilot on Feb. 27 for the Brooklyn Nets game at Barclays Center and the second one on March 2 at a Rangers game at Madison Square Garden. The pass is like an airline boarding pass where the attendee has an app called the “wallet app.” There, they can either print it out or have admissions scan the QR code within the app.
We’re doing everything we can to vaccinate as many New Yorkers as possible, as quickly as possible, while keeping the infection rate down and reenergizing our economy in a safe, smart way.
Governor Cuomo
The Governor also explained that the Excelsior Pass will get information to venues and establishments quick enough to avoid an outbreak and get more businesses to open their doors.
Since the pandemic shut down the nation a year ago this month, many venues and restaurants have struggled to stay afloat. Although a lot of businesses qualified for the Paycheck Protection Loan and were able to maintain stability, others did not. Now that more New Yorkers are getting vaccinated and COVID-19 cases are decreasing, this is a chance to get those struggling businesses back on their feet.
That app has been tested right now, both at Barclays and Madison Square Garden, and those tests have been successful. So, once we get the approvals, the app will be available for download on both platforms, on Google, on Apple platforms; people download to their smartphones. And that will allow someone to show the result of their test, whether it be a PCR test, which (will be) valid for up to 72 hours, or rapid test, which will be valid for six hours. In addition, though, if you don’t want to use an app, you will be able to download a paper result of your test that you can then print out and use that to demonstrate your negative test.
Rob Mujica, New York State Budget Director
The news on the Excelsior Pass was followed up by an announcement that beginning on Friday, April 2, event, arts and entertainment venues can reopen at 33% capacity, with up to 100 people indoors and up to 200 people outdoors. All attendees must present proof of negative test prior to entry, which can lead to a capacity increase of up to 150 people indoors and up to 500 people outdoors.
Social distancing and face coverings will be required by all attendees, as well as strict adherence to all applicable Department of Health guidance.
Additionally, Cuomo announced that beginning March 22, residential gatherings of up to 25 people can be held outdoors. Indoor residential gatherings remain capped at 10 people to reduce the continued risk of spread. Also, non-residential social gatherings of up to 100 people can occur indoors and up to 200 people can occur outdoors.
Cuomo isn’t the only one who’s optimistic about returning the music industry to somewhat of a normal state. Live Nation’s CEO Michael Rapino believes outdoor events will be able to achieve an audience capacity of 75 or even 100 percent across the nation.
“We might have certain states that might not be ready, but we have enough states and enough artists willing to play the open slots if we get to that level in the right markets,” Rapino said.
With more artists than ever wanting to tour and fans eager to make up for lost time, all signs point to even more concerts ahead. Thank you to all of our @LiveNation employees for their endless resilience and creativity – none of this would be possible without you pic.twitter.com/gdiapVYSyk
For individuals wishing to use the Excelsior Pass, their information will be completely confidential and protect any personal health information. They will have a variety of passes to choose from for their own comfortability.
On February 26th, singer-songwriter, producer, and guitarist Marc Ribler released “Shattered,” a single from his upcoming solo album The Whole World Awaits You, set to release in June of this year.
Ribler’s unique ability to balance emotion and logic enables him to infuse his music with raw passion laced with a clear-headed understanding of the complexities of life.
“Shattered,” channels the heartbreak rock sound of Tom Petty, but has its own unique twist. Ribler’s guitar playing is outstanding on this track, as well as his vocals. The lyrics are catchy and will have you singing along by the end of the song.
Ribler, music director for Stevie Van Zandt, has written and produced over 40 songs for major label recording artists throughout the world and his songs have charted in Billboard’s Hot 100, with Top 10 hits in Canada and abroad.
He has played with many of the great over the years, including Bruce Springsteen, Carole King, Paul McCartney, Darlene Love, and Elvis Costello to name just a few.
Additionally, he’s written popular jingles for brands like Trojan Condoms, Office Dept, V8 Juices, Bell South, Activia Yogurt and Green Mountain Coffee.
Reflecting on the beginning of his love of music, Ribler recalls, “One of my first memories was at age 5 waking up to the radio alarm clock with WABC pouring out tunes like Donovan’s “Mellow Yellow,” Tommy James’ “Crimson and Clover,” The Beatles’ haunting “She’s Leaving Home” and The Byrds’ rendition of “Mr. Tambourine Man.”
“Those pop ditties melded deep into the fabric of my very being, with great hooks that the artists seemed to be singing straight to my soul.”
“Shattered” and The Whole World Awaits You is co-produced and arranged by Marc Ribler and Stevie Van Zandt and mixed by Ribler.
NYC-based trio Consider the Source released the video for their in-studio performance covering “Exit Music (For A Film)” by Radiohead.
Consider the Source “Exit Music (For A Film) performance
Consider the Source is an instrumental band that formed in 2004. Over time the band members changed but the current members are the guitarist Gabriel Marin, the bassist John Ferrera and drummer Jeff Mann. Over the course of their career, they’ve released several studio albums. Their music style ranges as they receive inspiration from various bands and have studied genres from all over the world.
The band covered Radiohead for the first time years ago. They took on the challenge of performing instrumental arrangements of their songs on sets of shows and festivals, and even a tour with Papadosio. Consider The Source first did a studio performance of Radiohead’s “Paranoid Android” and received a positive reaction. With the mixture of the feedback and feeling like the song matched their sound, the trio decided to go further into covering the notorious rock band.
On March 2 they released their video covering the song “Exit Music (For a Film)” that was originally made for the 1996 rendition of Romeo and Juliet and also appeared on the album OK Computer. They all used their instrumental skills to resemble the compositions within the single. Marin was on the double-neck guitar to imitate the vocals, Ferrera played the bass and the organ and Mann was on the drums and acoustic guitar.
This isn’t the only project the trio has in store for this week. Consider the Source announced that they’re having a free live-streamed concert on March 6. They are performing music from their own catalog on Saturday from the Ardmore Music Hall and giving away a Nate Mclennen poster. The performance consists of two sets and airs at 8 p.m. from Ardmore Music Hall’s website.
It has been four years since the members of Melt came together as a band. Co-founders Veronica Stewart-Frommer (Vocals) and Eric Gabriel (Vocals, Keys) both NYC natives, started playing music together in High School. They and some of their friends entered a local battle of the bands competition and won. They took the prize money from that competition and used it to produce the band’s first song“Sour Candy” which was released as a single in 2017.
Melt is a septet, which is comprised of an additional five members: Marlo Shankweiler (Guitar), Josh Greenzeig (Drums), Coulou (Trumpet), Lucas Saur (Bass), and Nick Sare (Saxophone). Melt’s successful debut single propelled the band into the limelight with the strategic utilization of social media and substantial exposure on various internet streaming services. “Sour Candy” holds the distinction of having over 5 million streams on Spotify since it’s initial release. Between this heavy exposure and the band’s high energy live performances, Melt has been successful in establishing themselves securely in the rough and tumble NYC music scene.
Melt has a reached another important milestone with the February release of their Debut EP West Side Highway, which includes six tracks of previously unreleased music. Recorded at the Bunker Studio in Brooklyn, West Side Highway reflects a new level of maturity that Melt has been successful in developing as a band. “Coming into the studio with the goal of creating a longer work, we thought more intently on how each track worked with one another and used the opportunity to weave together the wide set of influences helping to shape a seven-person band,” said Josh Greenzeig (Drums).
“We used the EP format to create a snapshot of what that moment in time was for us, cementing elements of our sound that we love and finding new ones worth exploring.”
West Side Highway starts out with opening track “Don’t Want Me,” a moody number that details a love affair that has gone bad and is still painfully lingering in it’s final death throes. The masterful guitar instrumentation by Shankweiler and the melancholic vocal by Stewart-Frommer both work in concert to create a setting of sad desperation with a longing to be released. It was a great way to start the record and one that was interesting in it’s selection. It set the meditative tone of the EP which is soothing, comforting, and introspective in it’s entirety. This on going theme is again illustrated with third track, the EP’s title track, “West Side Highway,” which can be considered a love letter to pandemic ravaged NYC. This thought evoking number features a wonderfully muted trumpet solo by Coulou that is enhanced with Gabriel’s creative keyboard playing. his type of musical craftmanship results in another gem of a track on the record.
We were able to get some time with Melt co-founders Veronica Stewart-Frommer (Vocals) and Eric Gabriel (Vocals, Keys) in order to discuss the band and it’s debute EP – West Side Highway.
Tim Bopp: How did the band Melt form and what were the circumstances that caused the genesis of the band.
Eric Gabriel: Veronica and I went to High School together and towards the end of high school we had some more time to kind of start playing with people around the city and that was really the first iteration.
Veronica Stewart-Frommer: The first call we made was Marlo who is our guitar player.
TB: How did you come up with the band name Melt?
VS-F: The funny thing about that is that we actually had the song even before we had the name for the band. Suddenly we were sitting with this single and we were like, “Alright and we kind of want to put this out there but we don’t have a name.” So we went down this very long list of random names. The night before we were going to release “Sour Candy” we actually made a Facebook page called Big Deli Chain. We were like, “That is it! That is the name! We are going to be Big Deli Chain (laughing).” At some point between 2AM and 4AM that night I was just like this band can’t be named Big Deli Chain and we changed it to Melt. It was so random.
TB: How has the Pandemic Affected the band and the new EP West Side Highway?
VS-F: The EP really is a product of the Pandemic. In a lot of ways, it feels like an entirely new Melt. This was such a unique time for us. Something that is interesting about us is that during the year we are all either doing our day jobs or even in school. A lot of us are still in college. So we do this kind of funky long distance band thing where we unite for these crazy weekend shows and then go our separate ways. In a lot of ways due to the Pandemic, if we wanted to work, we had to live together for multiple weeks in order to justify moving anywhere. It was kind of the first time since four years ago when the band started that we were able to settle down and really be together for weeks on end and write and hang out. We are such a live band that our songs are usually tested over months and years at live shows and they are based on what the audience reacts to and how we are feeling at the show but there was none of that this time.
EG: We have mostly been thought of as a live band. On most of our singles we typically try to document that energy that we all love about playing together at a live show. This EP we kind of wanted to go into a different direction. I think it is much more chilled out and doesn’t really have as much of that live band sound. The individual tracks we kind of wanted to take a different approach in the crafting of the songs.
TB: What are some of your musical influences?
VS-F: Part of what makes up the Melt sound is that we are seven people and some of us went to school for Jazz music and some of us studied political science and were raised on the Beatles and Bob Dylan. A lot of us have been into the Jam scene. That is actually how I met Marlo, through Phish and the Grateful Dead. I think we are kind of all over the map on that. Obviously as a singer I really adore a lot of artists like Aretha Franklin, Etta James, Otis Redding. That is where I fell in love with that genre and that type of singing. We are really all over the place. Right now a lot of us are into Phoebe Bridgers and the more Indie scene. I think that comes through on this EP.
EG: I grew up with a ton of Bruce Springsteen. More recently I listen to more folk music like Adrianne Lenker and also bands like the National. That kind of music.
TB: So, are you two the predominant the songwriters for Melt?
VS-F: Typically, that is how it has been. In the past, Eric and I usually write the lyrics to the songs that we sing, but we edit with each other and with other members of the band. Usually, it will either be one of the two of us will start a song and then bring it to the band. It evolves into a completely different direction from there. For this EP, since we were all together and couldn’t perform live, we wound up focusing a lot more on the production side of things as a band. Our bass player Lucas is really skilled at recording and in engineering production. He played a huge role in creating the foundation for the songs on the EP. We experimented a lot on this record this time around.
EG: This time around we started with Josh the drummer literally laying down songs, sometime just on his own. Then we would add the bass track and then that leads us into the guitar and usually vocals at the end. We really just build it up.
VS-F: We don’t know which way we like better. Maybe in the future we will go back in and play everything as if we are playing live. I think part of the beauty of Melt is that we are so young, so we don’t feel tied to any of our ways and we like to try out new things and see how it goes.
TB: How long did it take a band like Melt to complete the West Side Highway EP?
VS-F: Start to finish it was like two months. We were really lucky to be able to record the EP at the Bunker Studios in Brooklyn. We had a really wonderful producer and engineer named Aaron Nevezie who mixed some of the tracks as well.
EG: Some songs were written earlier, like Hours I wrote about a year ago.
TB: What does the future have in store for Melt?
Eric: We cannot wait to start playing shows again. We are really looking forward to playing out. The last real show Melt played was at the Sinclair in Cambridge last February. It felt like that at that show we all came together and we were fully on it. Our trumpet player Aaron even stage dived at the end of the “Sour Candy” solo that night.
VS-F: That show was awesome. It wasn’t the biggest room we have played, but just the layout of the place was great. It went straight back so you could see everyone and there was great energy that night. I also think the Knitting Factory show we played in Brooklyn. That was the first time we played “Waves.” Before a show we are always saying to the band don’t go too fast let’s keep the energy contained. Once we get out there it is just like an explosion and we are always playing at 100%. We don’t have many moments during a set where we just drop back and take a moment to breathe. In the bridge in “Waves” there is a moment where everyone drops out and it is just me and Eric. That was really a special moment. I always think about that moment when I picture live music coming back. It was the first time that we had ever played the song and I think the audience was psyched to hear a new song and it was kind of a sentimental little moment. It was really cool.
Key Tracks: Don’t Want Me, West Side Highway, Waves
Amityville Music Hall released a compilation album on Friday, February 26 to benefit its Long Island music venue.
Twenty-eight artists are included on the compilation, including John Nolan (Taking Back Sunday, Straylight Run), Jade Lilitri of Oso Oso, Johnny Booth, Sainthood Reps, Brian Byrne (Envy On The Coast, Violent Joy), Somerset Thrower, Rare Futures, and Wreath Of Tongues.
The album will be a mix of covers, originals, and stripped-down songs, available for a $15 donation on Long Island Emo’s bandcamp page starting on February 26th.
Amityville Music Hall has been a beloved hub for rock music in Long Island for many, many years. It has been the starting point for many bands that end up growing larger, but their nascence is from the Long Island scene. These small venues are critical to musicians and music lovers. As the pandemic continues, these venues need support in order to come back when it is safe in the future.
Go support AMH here:
Live music acts and DJ’s. Craft beers on tap. Daily events and specials. Available to rent for private events.Additional InformationLive music acts and DJ’s. Craft beers on tap. Weekly bar events and specials. Catering hall for private events.
Saturday Night Live welcomed Nick Jonas for 15th episode of Season46. Tonight’s cold open featured cast members feigning medical conditions in order to receive the COVID-19 vaccine. Kate McKinnon continued her portrayal of Dr. Anthony Fauci, with Aidy Bryant as Senator Ted Cruz and Pete Davidson as Governor Andrew Cuomo. Despite criticisms of SNL having a liberal bias, both politicians were teased equally, with more than a nursing home joke thrown in Cuomo’s direction.
Gearing up for his first solo album since the success of the Jonas Brothers’ 2019 comeback, Nick Jonas had double duty as host and musical guest. In addition to new songs “Spaceman” and “This Is Heaven” he appeared in several skits throughout the night, playing Prince Charming and a Mirror fitness coach.
Besides promoting his new music, Nick is also set to return for his sophomore season as a coach on The Voice. In a Dionne Warwick Talk Show skit opposite Ego Nwodim, she told him, “I’ve heard you’re the most boring coach, even though one of the other coaches is John Legend.”
In his opening monologue, Nick paid homage to Broadway theatre, still shuttered nearly a year later, by singing “Drink With Me” from Les Misérables. Back in 2010, Nick played Marius in the London production of Les Mis at the O2 Arena. He also gave a shout-out to older brother and bandmate Kevin, who was in the audience, as well as his home state of New Jersey.
https://www.youtube.com/watch?v=wCy5Gb9NYN0
Nick’s first song was his new single, “Spaceman.” With themes of isolation and disillusionment, the song references mask-wearing and the rising pandemic death toll, tying them up with an outer space metaphor. “And the numbers are high but we keep going down / ‘Cause we ain’t supposed to live with nobody around,” the chorus says.
https://www.youtube.com/watch?v=12akdhW8OEs
He closed out the night by debuting “This Is Heaven,” which sounds suspiciously like his 2014 hit “Jealous.”
https://www.youtube.com/watch?v=7p9TzfI6WGM
SNLreturns on March 27, with former cast member Maya Rudolph hosting and Jack Harlow as the musical guest.
Ryan Dugré is a New York-based multi-instrumentalist and composer. originally from Holyoke, MA. On February 19, the artist released his nostalgic LP Three Rivers.
Photo Credit: Annette Wong
Beginning in 2019, Dugré wrote the album’s instrumental pieces. Dugré’s work established shadowy undertones and an introspective melody. His utilization of guitar at the forefront of his work built the calmness of Three Rivers. He also supported this sound with piano, synth, strings, and sparse percussion.
The song-writing process behind Three Rivers was relatively fast-paced. Dugré developed an exercise where he created a new piece of music each day. He did this in order to build a routine of writing and creativity. The work he had to compose daily consisted of an improvisation, loose sketch, or a fully orchestrated piece.
Three Rivers Album Artwork
Dugré’s techniques allowed him to be vulnerable with his many colleagues who performed on the album alongside him. Three Rivers was re-recorded in October 2019 in Brooklyn with engineer Adam Sachs. This LP featured string arrangements from Ian Mcllelan Davis and contributions from Brett Lanier, Sean Mullins, Adam Dotson, and Will Graefe. Also, Leo Abrahams mixed the album.
The artist initially forced himself to commit to ideas without leaving time for second-guessing. He strived for an honest depiction of his original thoughts. Despite Dugré’s fast-paced process, he was able to develop intimate pieces throughout his work. Each track encapsulates the musician’s cinematic guitar-led instrumentals. He builds a simplistic mastery that is especially evident on his solo guitar track “Glace Bay.”
Over the past year, I have spent time looking through what records I could find about my ancestors. It has always intrigued me to try to picture what their lives were like. Hearing about their struggles and the relative poverty they endured puts things into perspective for me. Glace Bay is where my great-grandfather Edward Macmillan was born. It’s a coal mining town on the eastern tip of Cape Breton, Nova Scotia. His father died in the mines in 1897 when he was three, leaving him as the eventual provider of the family. This piece is named in his memory.
Previously, Dugré has shared his elegant music at Le Festival d’été de Québec, Bonnaroo, and Haldern Pop Fest. He even has performed at NPR’s Tiny Desk Concert Series and on BBC 6 Radio. Dugré is on the rise, and his new LP is nothing short of this. Make sure to check out Three Rivers available now on major platforms.
