Category: Regions

  • Interview: Zola Opens up About Misogyny in New Single

    18-year-old singer-songwriter Zola releases her new single “Not Like Other Girls” today, March 12. Building her fanbase in the New England area, the young artist blends indie, pop, and R&B. Zola integrates her raw and honest lyrics within her work also.

    Zola

    Zola’s music is oriented around her vulnerability. The way in which she can unapologetically be herself is what resonates with many fans. Although, at such a young age, Zola has had to face hardships within the music industry. Zola shares with NYS Music:

    I think, especially being a woman in the industry, there’s a completely different set of expectations placed on us than on our male counterparts. Women in music constantly have to reinvent themselves in order to stay relevant and, in general, face way more judgment on whether or not we’re ‘basic.’ If you’re basic, that has a sort of negative connotation, but if you’re ‘alternative’ you’re trying too hard. It’s an impossible battle to win.

    Zola

    This “frustration and relationship between judgment and identity” had a major influence on how she wrote the new song. Being a young woman in this industry places a microscope on one’s work. Zola takes this scrutiny, though with an enlightening and mature perspective. She aims to fit no one’s narrative but rather create her own.

    Zola

    Calling Out Misogyny

    “Not Like Other Girls” sets a haunting tone with penetrating piano keys, moody guitar chords, and a synthesizer. Layered over this is Zola’s riveting vocals that effortlessly glide with the beat. When constructing this single, Zola shared that she first began with the lyrics and then built the additional instrumental sounds around that. As this single is very personal to Zola, she wanted the song’s tone to be reflective of the meaning.

    The song deals with “finding the courage to stand up for one’s self.” This phrase ‘not like other girls’ is inherently misogynistic because it instinctively devalues other girls. Zola purposefully utilizes this phrase in order to bring attention to this popularized but damaging mindset.

    The ‘Not Like Other Girls’ trope is very interesting and complicated, and there is definitely a growing discussion about how the whole concept is rooted in misogyny. The whole thing started out as women trying to remove themselves from femininity, in order to set themselves apart and prove superior to other women. Oftentimes it’s even just a ploy for male attention. I think in order to break down this harmful trope and mindset we need to educate people on what it actually means, and have conversations with other women about it. Being into popular things isn’t bad, and being into unpopular things doesn’t make you better. Everyone should be able to like what they like, but if I see a girl with a superiority complex, I’m not going to think twice about calling her out.

    Zola
    Zola

    Breaking Down Barriers and Building Connections

    Zola values the importance of her individuality and has expressed that freely in her work. Being personal with her fans has built a relatability that is hard to find. Her new single is one of many that encapsulates her artistry and vulnerability.

    I’m just a very vulnerable person, so my music and what I write directly represents who I am. I’m driven by everything; life experiences, relationships, hardships. Life’s too short to not be vulnerable, because what’s the point if you don’t let yourself feel, isn’t that what music is all about? I like to think so.

    Zola

    Check out “Not Like Other Girls” out now on major platforms.

  • Stream Joe Bonamassa Live at Austin City Limits on April 1st

    Guitarist Joe Bonamassa announces a one-night-only livestream concert at the iconic venue, Austin City Limits on April 1st, at 9PM EST.

    The livestream, broadcasting worldwide, will raise money for musicians and artists in need. Bonamassa is returning to his blues-rock roots with a power trio performance and a setlist curated by his fans.

    Joe Bonamassa Austin City Limits

    Joe Bonamassa is bringing his blues-signature sound to the homes of fans all across the world, even though he is known as “always being on the road.” His set will include members Anton Fig from Late Night David Letterman and Steve Mackey on bass. It will be a rare power trio!

    Austin was one of the first cities in which Joe Bonamassa played as a three-piece, with Austin City Limits, a national landmark music venue, having been awarded “Best New Major Concert Venue” by Pollstar. Over the years, the venue has been home to legendary artists such as B.B. King, Santana, Peter Frampton, Paul McCartney, and Bonamassa himself, as well as many other artists. Bonamassa’s energy will take over the stage, making his own impact on musical history.

    The setlist will be curated by his fans, selecting from his 24 #1 albums. The cuts chosen from his extensive catalog will delight his fans and charm new ones with his virtuosic guitar playing and incredible energy.

    To enjoy this captivating event, you can purchase tickets here . Tickets start at $30 and increase for deluxe packages, including merchandise and passes to his other on-demand live performances. There will also be a VIP package where members will have their photos and names featured in the live stream credits as a virtual audience member.

    Bonamassa is a two-time Grammy nominated artist and hailed as one of the greatest blues guitarists of all time. Joe recently received his 24th #1 album on the Billboard Blues Chart with the studio album Royal Tea, a nod to his British heroes, recorded at the legendary Abbey Road Studios.

    His musical programs Fueling Musicians and Keeping the Blues Alive foundation have raised hundreds of thousands of dollars for struggling artists over the past year. To learn more about Joe Bonamassa, visit jbonamassa.com.

  • 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

  • Madison VanDenburg kicks off Music in Motion Season 2 this Friday

    On Friday, March 12, Madison VanDenburg will kick off NYS Music in Motion Season 2, when she sits down with our host, rocker Frank Palangi.

    Sponsored by Helping Friendly Salve, the series brings together seasoned musicians who hail from the Empire State or have made New York their home, alongside Palangi, a Warren County native.

    music in motion

    Guests for Season 2 of NYS Music in Motion include American Idol’s Madison VanDenburg, Scott Hannay, The Voice’s Moriah Formica, Donny Frauenhofer, Sirsy and Lowell Wurster.

    Tune in starting on Friday, March 12 and every other Friday for each installment of Music in Motion on the NYS Music YouTube, IGTV and Facebook page. New for Season 2, you can catch all episodes on the JamCast Network.

    Palangi will have a sit down conversation with each artist, with a first season lineup that includes the following musicians from across New York. A homegrown indie rock recording artist, singer, songwriter, and guitarist, Palangi fuels his positive ambition naturally by serving up a feeding frenzy of edge heavy guitars, with a side of deep, gritty vocals. With a no-quit mentality, Palangi draws on influences from 80s & 90s rock, including post-grunge and heavy metal.

    NYS Music in Motion Season 2 Schedule

    March 12 – Madison VanDenburg
    March 26 – Scott Hannay
    April 9 – Moriah Formica
    April 23 – Donny Frauenhofer
    May 7 Sirsy
    May 21 – Lowell Wurster

  • 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

  • The Supper Club Returns to The Hollow Bar + Kitchen in April

    On March 10, tickets for The Supper Club at the Hollow Bar + Kitchen in Downtown Albany go on sale, ahead of the series’ return in April.

    the supper club the hollow

    Michael and Dora Philip opened The Hollow Bar + Kitchen in 2013 and its unique setup and great location caused it to gain notoriety. The establishment received four stars for its restaurant and has gained notoriety for live music held throughout the week.

    When the pandemic hit, The Hollow faced a shift in business and was shut down for five months. It reopened in August 2020 with indoor and outdoor dining at reduced capacity. While the restaurant was able to open, its other half, live music, was still missing and it took a toll.

    The Supper Club shows were originally launched in October 2020 by Guthrie/Bell Productions The shows gave local artists an opportunity to perform and it also gave a boost to the establishment. The first performance was from local musician Girl Blue on Oct 9, 2020, and continued for four more Fridays. The audience is socially distanced and the Hollow abided by guidelines to ensure safety for every show. However, they took a break in November after coronavirus infections increased.

    Following the winter hiatus from the surge, the Supper Club at the Hollow Bar + Kitchen resumes this April and May. The tickets go on sale on Wednesday, March 10 with a full lineup for April. The shows begin on April 2 with Justin Henricks, Beau Sausser and Bill Carbone. The rest of the performances for the month consist of local artists. The performers for May will be announced soon.

    Tickets are sold for tables of two or four guests. For a table for two the price is $30 and a table of four is $60. The price for the tickets is for the performance only, guests are able to order food and drinks from the menu. However, according to NYS regulations, attendees must order food if they order alcohol. Every show consists of seatings from 6-6:30pm, a short first set at 6:30pm, a time to eat from 7-8pm and a longer set at the end from 8-9:30pm. The tickets are sold through Eventbrite and serve as the reservations because no tables will be sold at the door.

    Attendees must adhere to all social distancing guidelines and masks are required when not seated at your table. Reservations are required through a ticket purchase; no tables will be sold at the door the night of the show so staff can properly plan for the number of guests.

    The Supper Club at The Hollow schedule

    April 2: Justin Henricks, Beau Sasser and Bill Carbone – Tickets

    April 9: Murky Currents feat. Tom and Max of the Ominous Seapods – Tickets

    April 16: Laura Paigo with Nick Ferrandino & Jeff Sohn – Tickets

    April 23: Girl Blue – Tickets

    April 30: Erin Harkes – Tickets

    May 7: MP3: Al Schnier , Vinnie Amico and Tom Pirozzi SOLD OUT

    May 14: Knot Dead Duo Tickets

    May 21: The Age Tickets

  • Diving into Rochester’s Underground Music Scene with Ben Rossi of Friday In America

    In episode 113, Ben chats with Ben Rossi from Friday In America, a Rochester band mixing rock, Americana, folk and hip-hop. As the band says, “If Abraham Lincoln was a band he’d be Friday In America.”

    Friday in America has a range of influences spanning from The Band to The Roots, with the result a menagerie of music styles – from the heavy rock and funk arrangements of songs like “Hitman” to the stripped-down folk of “Water.”

    Friday In America ben rossi

    In 2011, the band released their first full length album Cut the Brakes, and had the track “Water” featured in the closing scene of the AFI-Fest award-winning film The Hammer, which told the true story of deaf UFC fighter Matt Hamill.

    The album’s rock and folk arrangements have garnered comparisons to artists like Jack Johnson and Bruce Springsteen, and have received regular rotation on shows like Scott Regan’s “Open Tunings” (NPR). The band’s love of all music and their ability to write and play across numerous mediums makes for a unique concert experience. They have opened for acts like Max Creek, Ekoostik Hookah, and the Ryan Montbleau Band, and are constantly fusing their disparate influences in a groove-oriented framework.

    Timestamp:

    00:31: “Hitman” by Friday In America

    06:04: Conversation with Ben Albert and Ben Rossi

    37:00: ” Renaissance” by Friday In America

    41:29: Conversation Continued

    1:00:19: “Six And Counting” by Friday In America

    1:06:22: Conversation Conclusion

    1:37:44: “Driftin” by Friday In America featuring Amanda Lee Peers

    At Rochester Groovecast, the mantra “We’re Fans First!” harnesses the belief that the best businesses are built by fans. The podcast is deeply dedicated to playing an active role in the culture of its local scene.

    The brainchild of Rochester native, Ben Albert, was created in 2016 to serve as a portfolio of the city, and nowadays, the entire region.

    The podcast believes in the artistic brilliance abundant in Rochester, NY, and the surrounding regions. Ben seeks to play a pivotal role in our community by helping give Rochester a well-earned voice. He has seen first hand the abundance of talent, character, creativity, innovation, and beauty the Flower City has continuously offered.

    Keep In Touch with Friday In America.

    Download their albums FOR FREE!

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