Like many of us, Kate Gratson used the pandemic to channel her inner-self. Consequently, her latest album, The Girl You Knew, does most of her speaking for her. Gratson’s process of self-reflection is something that her fans are all too familiar with and on this latest project, she found a way to perfectly encapture all the intimate feelings we’re afraid to share out loud. A veteran of writing on self-actualization and acceptance, it’s apparent that the she has developed an even deeper understanding of herself and lets it all out in her music.
While growing as a person and artist, Gratson has gotten a hold creatively as well, revealing a new sense of control.
Musically and lyrically, “Watch and Wonder,” is all about tension and release, and my main goal was to highlight this when creating the music video. “Watch and Wonder” is my second music video with Isaac Rosenthal on cinematography, and Grant Sorth on editing, but it is the first time I had a distinct, artistic vision in mind
Kate Granson
When listening to Brooklyn-based singer, songwriter, producer and cellist, it isn’t always apparent that she has a firm foundation in both jazz and classical techniques. Her knowledge of both genres almost silently seeps into her music layered with R&B, folk/indie and electronic elements. Combining both contemporary and aged sounds, she often find herself almost painting a picture of timelessness. Her various identities, paired with the layering of samples, mixed with velvety vocals, gritty drums and melodic synths are surely to catapult her career.
Following her formal music education, Gratson would go on to receive a BM in music composition and vocal performance from the State University of New York at Fredonia. It was during this time that her sound and voice as an artist began to take shape. She then returned to New York City to focus on refining her distinctly eclectic feel, attempting to harness the layers that made up her voice. Later returning to her initial mentors, as she began to write and hone her craft, while steadily releasing singles.
At last, she released her debut album, The Girl You Knew. With a growing fanbase and unique sound, it might not be long before Kate Gratson once again becomes the girl we once knew.
On November 6th, Sharkeys Bar and Grill in Liverpool hosted Gemini Syndrome on their tour with support from Otvtlier and Pushing Veronica, there was supposed to be another band called Them Damn Kings but unfortunately they had to back out. If you’ve never been to Sharkey’s, it’s a unique venue as the stage is separate from the bar and restaurant, which thrives in the summertime but the owner has adapted it to be used year round.
The opening act, Pushing Veronica started off the night with lots of energy and got the crowd moving. Ovtlier was the next band up and took the show up a notch with their performance, and stage presence; they are a truly unique band with a hybrid sound, also, a couple of the members are native to the state.
gemini syndromeOvtlier
After having thrilling performances from the other acts, it was time for Gemini Syndrome to take the stage. Gemini Syndrome was formed back in 2010 in Los Angeles, California and has toured with Fiver Finger Death Punch, In This Moment, Avatar, and many more. Just like the other bands, Gemini Syndrome has a unique sound. After the show, they stuck around greeting fans and signing things.
Even though the night was cold, you didn’t feel it between the heat from the heaters, and heat that the bands brought. Would definitely would check out Sharkeys Bar and Grill to see their upcoming lineup of shows.
The American Symphony Orchestra celebrates its return to the stage and its 60th anniversary season in 2021-22 with four full-orchestra programs at Carnegie Hall, Jazz at Lincoln Center’s Frederick P. Rose Hall, and a free opening concert titled Mahler in New York at the Cathedral of St. John the Divine on December 16. The opening program focuses on composers whom Mahler had championed during his years in New York.
Additional highlights comprise the U.S. Premiere of Sergei Taneyev’s massive final work, At the Reading of a Psalm (January 28, 2022); an all-Duke Ellington program—cancelled at the start of the pandemic—featuring jazz pianist Marcus Roberts and his Trio with such works as Black, Brown, and Beige Suite; Sophisticated Lady; and Night Creature for Jazz Band and Orchestra (March 24, 2022); and a free closing program of living American PulitzerPrize-winning composers including Melinda Wagner, Richard Wernick, Shulamit Ran, and a world premiere by Puerto Rican composer Roberto Sierra with legendary electric violinist Tracy Silverman (June 5, 2022). .
Now in its 60th season, the American Symphony Orchestra was founded in 1962 by Leopold Stokowski, with the mission of providing music within the means of everyone. Music Director Leon Botstein expanded that mission when he joined the ASO in 1992, creating thematic concerts that explore music from the perspective of the visual arts, literature, religion, and history, and reviving rarely performed works that audiences would otherwise never have a chance to hear performed live.
Nothing can compare to the thrill of live performances. We are overjoyed at our return to the stage after the restrictions of the past year and to once again be able to play for our beloved audiences in person. To celebrate this especially meaningful event on the occasion of our 60th anniversary season makes it even more significant.
American Symphony Orchestra Music Director Leon Botstein
Leon Botstein provides the musical context for most of the concert programs in lively, 30-minute Conductor’s Notes Q&A sessions. These discussions, animated learning opportunities for both new concertgoers and music connoisseurs alike, begin one hour before each concert and are free for all ticket holders.
Leon Botstein has been music director and principal conductor of the American Symphony Orchestra since 1992. He is also music director of The Orchestra Now, an innovative training orchestra composed of top musicians from around the world. He is co-artistic director of Bard SummerScape and the Bard Music Festival, which take place at the Richard B. Fisher Center for the Performing Arts at Bard College, where he has been president since 1975. He is also conductor laureate of the Jerusalem Symphony Orchestra, where he served as music director from 2003–11. In 2018, he assumed artistic directorship of Campus Grafenegg and Grafenegg Academy in Austria. Mr. Botstein also has an active career as a guest conductor with orchestras around the globe, and has made numerous recordings, as well as being a prolific author and music historian. He is the recipient of numerous honors for his contributions to the music industry. In 2019, The New York Times named Leon Botstein a “champion of overlooked works…who has tirelessly worked to bring to light worthy scores by neglected composers.”
Thursday, December 16, 2021, 8 pm, Cathedral of St. John the Divine, 1047 Amsterdam AveConductor’s Notes Q&A 7 pm. This free 60th anniversary performance opens the ASO season in the glorious Cathedral of St. John the Divine with a survey of some of the composers whom Mahler had championed during his time in New York, including George Whitefield Chadwick, Alphons Diepenbrock, and Henry Hadley. Mahler’s famous Adagio from his Symphony No. 10 will also be performed.Taylor Raven, mezzo-sopranoGeorge Whitefield Chadwick: Melpomene OvertureHenry Hadley: The Culprit Fay, Op. 62Alphons Diepenbrock: Hymne an die NachtGustav Mahler: Adagio from Symphony No. 10
Tickets: The performance is free, reservations are required and can be made online at americansymphony.org. Ticket holders will need to show proof of full vaccination against COVID-19 using a vaccine approved by the World Health Organization (WHO) in order to enter the venue and details can be found here.
Friday, January 28, 2022, 8 pm, Carnegie Hall (Stern Auditorium/Perelman Stage) Conductor’s Notes Q&A 7 pm to be confirmed closer to the date as part of the venue’s guidelines The ASO returns to Carnegie Hall for its Vanguard Series with the U.S. Premiere of Sergei Taneyev’s final work, At the Reading of a Psalm. Conceived as a massive statement of Russian Orthodox faith at the onset of WWI, this large-scale cantata for full orchestra, double chorus, and vocal soloists showcases the dramatic effect of Taneyev’s contrapuntal mastery.Wendy Bryn Harmer, sopranoEve Gigliotti, mezzo-sopranoJoshua Blue, tenorHarold Wilson, bassBard Festival ChoraleFirst Movementi. Chorus (Allegro tempestoso)ii. Double Chorus (Andante sostenuto)iii. Chorus. Triple Fugue (Fuga a tre soggetti, Andante – Allegro molto)Second Movementiv. Chorus (Allegro moderato – Fuga. Allegro tenebroso)v. Quartet (Andante)vi. Quartet and Chorus (Adagio ma non troppo)Third Movementvii. Interlude (Allegro appassionato)viii. Aria (Alto Solo) (Adagio piu tosto largo)ix. Double Chorus (Finale) (Adagio pietoso e molto cantabile-Allegro moderato-Allegro molto)
Tickets: Priced at $25–$65, tickets are available at carnegiehall.org, by calling CarnegieCharge at 212.247.7800, or visiting the box office at 57th St & 7th Ave. Ticket holders will need to follow the venue’s guidelines and show proof of full vaccination against COVID-19 using a vaccine approved by the World Health Organization (WHO) in order to enter the building.
Thursday, March 24, 2022, 8 pm, Carnegie Hall (Stern Auditorium/Perelman Stage)Conductor’s Notes Q&A 7 pm to be confirmed closer to the date as part of the venue’s guidelinesThe American Symphony Orchestra toasts the genre-defying genius of Duke Ellington with an evening including New World A-Comin’ and Three Black Kings for jazz trio and full orchestra with renowned jazz pianist Marcus Roberts. Originally scheduled for March 2020 but canceled due to the pandemic, the concert features Grammy Award-winning jazz vocalist Catherine Russell. Roberts worked with the ASO in United We Play, a short film featuring three world premieres commissioned by ASO and released in December 2020 on the Orchestra’s streaming platform ASO Online.Marcus Roberts Trio Marcus Roberts, piano Rodney Jordan, bass Jason Marsalis, drumsCatherine Russell, vocalistAll-Duke EllingtonBlack, Brown, and Beige Suite (Arr. Maurice Peress)Satin Doll (Arr. Chuck Israels)Harlem (Arr. Luther Henderson & Maurice Peress)Sophisticated Lady (Arr. Morton Gould)New World A Comin’ (Arr. Maurice Peress)Three Black Kings (Completed by Mercer Ellington, Arr. Luther Henderson)Night Creature for Jazz Band and Orchestra (Arr. Luther Henderson, Ed. Gunther Schuller)
Tickets: Priced at $25–$65, tickets go on sale December 22 and are available at carnegiehall.org, by calling CarnegieCharge at 212.247.7800, or visiting the box office at 57th St & 7th Ave. Ticket holders will need to follow the venue’s guidelines and show proof of full vaccination against COVID-19 using a vaccine approved by the World Health Organization (WHO) in order to enter the building.
Sunday, June 5, 2022, 8 pm, Jazz at Lincoln Center’s Frederick P. Rose Hall, Broadway at 60th StreetConductor’s Notes Q&A 7 pmThe ASO offers another free performance to close its 60th anniversary season. In line with the ASO’s long history of championing American artists, the closing concert offers a trio of American Pulitzer Prize-winning living composers including Melinda Wagner and two of her mentors, Richard Wernick and Shulamit Ran. Philadelphia-born Melinda Wagner’s Concerto for Flute, Strings, and Percussion was distinguished for its well-crafted flute solo. Boston native Richard Wernick’s Viola Concerto—written for violist Walter Trampler and Leon Botstein (who conducted the 1987 premiere)—alludes to the well-known Dylan Thomas poem “Do not go gentle into that good night.” Shulamit Ran’s Symphony, commissioned by The Philadelphia Orchestra, also won the Kennedy Center Friedheim Award the same year as her 1991 Pulitzer. The program’s highlight is the world premiere of Roberto Sierra’s newly commissioned Concerto for Electric Violin, which presents a mixture of Sierra’s Latin-influenced ideas and modern compositional techniques through the voice of the electric violin, performed by the renowned electric violinist Tracy Silverman.Tracy Silverman, violinRoberto Sierra: Concerto for Electric Violin (World Premiere)Melinda Wagner: Concerto for Flute, Strings, and Percussion (work awarded with 1999 Pulitzer Prize)Richard Wernick: Viola Concerto (“Do Not Go Gentle…”)Shulamit Ran: Symphony (work awarded with 1991 Pulitzer Prize)
Tickets are free but required. Ticketing and reservation access information will be available in early 2022 at americansymphony.org and jazz.org. Ticket holders will need to follow the venue’s guidelines and show proof of full vaccination against COVID-19 using a vaccine approved by the World Health Organization (WHO) in order to enter the building.
For the sixth episode of Season 47 ofSaturday Night Live, actor Jonathan Majors was joined by four-time musical guest Taylor Swift, fresh off the release ofRed (Taylor’s Version) on Friday.
Swift made her first appearance of the night in a digital short from Please Don’t Destroy, a New York-based comedy trio featuring Ben Marshall, John Higgins, and Martin Herlihy, the latter the son of former SNL writer and Adam Sandler collaborator Tim Herlihy. What seemed to be a music video on a day in the lift of Pete Davidson suddenly turned into “Three Sad Virgins,” with Davidson mocking Marshall, Higgins and Herlihy, joined by Swift partway through.
Swift would only perform one song this evening, the first time in seven years – Prince performed a single tune in 2014 – with the ‘new’ “All Too Well,” an extended update of the same song from Taylor Swift’s Red, released in 2012. The new take on the album was rerecorded to circumvent a dispute with her former label, and received immediate praise in scope and execution.
“All Too Well” featured Swift performing in front of a screen that shows clips from the short film of the same name, which was also released on Friday. Starring Sadie Sink (Stranger Things) and Dylan O’Brien (Teen Wolf) as “Her” and “Him,” the couple moves from romance to break up, due to uncaring behavior from “Him.” “Love is so short, forgetting is so long,” a quote from Pablo Neruda, references Swift’s brief three-month relationship with actor Jake Gyllenhaal.
Clad all in black with a red guitar, Swift performed, “All Too Well” and live scoring the film clips behind her. A rose petal filled stage, with alternating blue and red lighting, lasting an impressive 10 minutes. Swift put her guitar down towards the end, singing passionately for a build up that drifted into falling snow as the performance came to a close.
Jonathan Majors was underutlized this evening, but shone particularly well on “Broadway Benefit,” a Broadway musical spoof where he flexed his singing chops alongside Bowen Yang and Cecily Strong.
Swift and Majors would joyfully bump chests (while wearing masks) during the show closing goodbyes. Next week Shang Chi star Simu Liu with musical guest Saweetie for the Thanksgiving episode of Saturday Night Live.
If you dig the lush cinematic pop of Lana Del Ray but wish it came with more heartbreaking lyricism and some heavy R&B vocal chops to deliver it all, you should check out the music of 22-year-old Brooklyn-based singer-songwriter Cate Hamilton.
Photo by Justin Truglio
The St. Louis native has two soulful EPs to under her belt, Angel Baby (2017) and Five Shots in the Chamber (2019), as well as a new single – the dreamy, throaty, trip hop-flavored ballad, “Traces.” Cate also has a new all-girl backing band which she unveiled in a tight, six-song set November 11th at East Berlin on Avenue A, her first live foray since the COVID-19 quarantine commenced.
Cate’s sound is dense, sensual, soulful, jazzy and even little electronically experimental. It is inspired by a host of classic R&B icons and their modern descendants like Iranian/Swedish singer-songwriter Snoh Aalegra, a Hamilton favorite. In her studio offerings, Cate’s rich lead vocals are front and center, often complemented by her stacked, spiraling and sophisticated harmonies.
Photo by Justin Truglio
Hamilton’s new three-girl band did a wonderful job recreating the symphonic grooves and vocal harmonies Cate marshals in the studio. The band included Mia Madden on keys and vocals, Chloe Seltzer on drum pads and vocals and Bettinacakes on bass. Hamilton handled the lead vocals, on-stage cheerleading/banter and rhythm guitar.
Cate Hamilton and band kicked off the evening with two strong singles from her discography, “Traces” and “Universe.” The latter is a bouncy offering from her debut EP, with a killer chorus and a cool acapella outro. The highlight of the evening was “12 Bar Blues.” This is a new and as of yet unrecorded bluesy lyrical bitchfest propelled by a walking bass and gorgeous three-part harmony. Cate and crew ended their set with two smart covers: Snoh Aalegra’s “Fool for You” and Canadian electronic/jazz hip-hoppers’ BADBADNOTGOOD’s “In Your Eyes.”
Two standout studio tracks not performed that evening but deserving of some serious airplay and acclaim are the James Bond theme like “Sick and Tired” and “Exist.” The former can stand up nexty to Adele and Billie Eilish’s recent cinematic spy offerings, while the latter is a slow groove with minimalist accompaniment, one that really demonstrates this young singer’s superior vocal chops and range.
North Beach Music Festival announced dates and lineup including Pigeons Playing Ping Pong, Spafford, and The Motet. The festivities will take place on December 10-11, 2021 in Miami, Florida.
The festival is being presented by GMP Live which is a concert promoter, festival producer, and talent curator based in Miami. North Beach Music Festival will take place at Miami Beach’s historic open-air art deco amphitheater, the North Beach Bandshell. The North Beach Bandshell is an open-air amphitheater in the heart of Miami Beach’s North Beach neighborhood. It has been managed by the Rhythm Foundation – a Miami Beach-based nonprofit cultural organization – for the City of Miami Beach since 2015 and was built back in1961. The festival will feature some improvisational rock bands, jam bands and funk bands will descend upon the Bandshell, and the adjacent Bandshell Park, for performances over two stages.
The festival has three well known New York based artists coming to perform. Marco Benevento, Aqueous, TAUK, and Karina Rykman will all be performing sets at North Beach Music Festival.
The lineup for Friday, December 10, 2021 features a headlining performance from Pigeons Playing Ping Pong, as well as performances from The Motet, TAUK, Karina Rykman, The Heavy Pets, Electric Kif and Tand.
he lineup for Saturday, December 11, 2021 promises two headlining sets from Spafford—one entirely improvised and another titled “Spafford & Friends”—in addition to performances from Marco Benevento, Aqueous, Ghost-Note, Eric Krasno & The Assembly, Brandon “Taz” Niederaure, the special Brendan Bayliss & Jennifer Hartswick collaboration, as well as Holly Bowling and JUke
Tickets are on sale now with single day GA tickets for $80 for Friday and $90 for Saturday. VIP tickets are $130 for Friday and $140 for Saturday. More information on ticketing and travel packages can be found here.
For information on North Beach Music Festival visit their website here.
Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear new music from Architrave and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Architrave
Synthpop duo Architrave have released their new album, Future Ruins. On the heels of their 2020 lockdown effort This Perfect Day, it deals with the aftermath of quarantine. Many used last year’s shutdown as a time of introspection, leading to all sorts of epiphanies and life changes. Each song grapples with some aspect of the pandemic’s psychological effects, from the news cycle to social distancing. Made up of husband-wife duo Paul Coleman and Jennifer Maher Coleman, Architrave is based in Ballston Spa.
Future Ruins.
Album opener, “Blissed Out” deals with the phenomenon of doomscrolling—obsessively checking bad news, something of an international pastime throughout the pandemic. The lyrics emphasize how unhealthy this practice is, opting to spend time with a loved one instead.
Future Ruins’ next track, “Crown Shyness,” uses the evolutionary patterns of trees as a metaphor for social distancing. At the album’s halfway point, “Loved and Lost” tells the story of a couple who feel like strangers. Its dreamy instrumental evokes sci-fi films like Blade Runner and Tron.
Penultimate track “Slice of Life” details the monotony and boredom of quarantine, searching for something unique as the days bleed together. With its darkwave influences, it would fit right in on Depeche Mode’s Violator.
Transgender Day Of Remembrance, celebrated annually on November 20th, honors transgender individuals who have lost their lives to bigoted violence. Trans people face some of the highest levels of harassment, assault, and violence of any minority group. This year alone, the Human Rights Campaign reports 42 murdered trans people. As political rhetoric criminalizes trans people, legal discrimination traps them, and violence endangers them, too many face roadblocks to their best lives. Even walking down the street trans can be a risk.
In honor of the commemorative day, trans icons Trace Lysette and Chanel Jolé speak to all this and more in a new track with Boston rapper Cazwell, “Taser in my Telfar Bag.” The single places the focus on trans people not as victims, but as empowered individuals society must do better to protect. The trio shared a new video for the track today.
Cazwell, who is queer, materialized the song after learning of a brutal attack on Trans women Eden the Doll, Jaslene White Rose, and Joclyn Flawless in 2020. Amidst a social media outcry of trans women sharing stories of harassment, Cazwell remembered one tweet about keeping a taser in a Telfar bag for protection.
“It just kind of clicked,” Cazwell shared. “That along with the need to protect Trans women while shouting out an ally like Telfar made the song feel current and relevant.”
Chanel Jolé, Cazwell, and Trace Lysette.
Cazwell brought on Lysette and Jolé to drop bars over the addictive beat, built off the zap of a taser. Trace and Chanel shared with Cazwell they feel most unsafe during the day, inspiring a daytime video shoot. The glitzy music video paints them having fun before placing tasers, “one for my purse and one for the Mercedes,” at an aggressor’s neck.
Dolled up in nails, lashes, and the eponymous Telfar bags, Lysette and Jole aren’t to be messed with. The video brings to life a comical skit where Cazwell sells the ladies their electric shocker of choice. Lysette and Jolé are clear about their intentions with the tasers.
“Just give me a taser and I’ll zap his dick quick/ Then use a flashlight to apply my lipstick,” they spit. Cazwell sells them pink tasers pointedly labeled “Police.” Trans women not only face violence on the street, but from law enforcement as well.
“I’ve been the victim of many hate crimes so this is more than just a song for me,” Lysette shared. “This is a statement to all those weirdos who not only hurt Trans women but all women.”
Cover art for “Taser in my Telfar Bag.”
Cazwell hopes the single released ahead of Transgender Day of Remembrance will inspire listeners to donate to Trans Defense Fund LA. The mutual aid group is dedicated to creating remedies (like protective safety kits) to the disproportionate violence Trans women face. Listeners who share proof of donation will receive an exclusive remix of “Taser in my Telfar Bag.” To donate, visit here.
As New York Marathoners raced down Bedford Avenue, runners may have heard the buzz stirring at Brooklyn Bowl a few blocks away. Just days after shocking news that eight out of ten Turkuaz members departed the band, five of them took to the familiar stage in Williamsburg as Brother Maker.
Dodongo
Bowlers packed the edges of an excited crowd as NYC-based band Dodongo took to the stage. The six-piece funk/rock band launched into their five song, hour-long set with two debuts, including a twangy, “Change My Mind,” and a progressive-rock, “Sweet Biter.” Dodongo’s third song was a shoutout to the venue as guitarist Dean Hicks joked that the owners had forced the band (to their dismay) to perform the funk song, “Brooklyn Bowl Theme.” To finish out the set, Dodongo brought the funky crowd favorite, “Sneakin’ Sally Through the Alley,” sandwiched between high-energy jams in their song, “Chase Sequence.”
Dodongo Setlist: Change My Mind*, Sweet Biter*, Brooklyn Bowl Theme*, Chase Sequence -> Sneakin’ Sally Through The Alley *% -> Chase Sequence
* debut % cover, Robert Palmer
Craig Brodhead of Brother Maker with special guest Brittany Beckett
Hailing from New Orleans, Deltaphonic’s return to Brooklyn Bowl two years since their first performance there marks a notable transformation for the group. During the pandemic, Deltaphonic grew from a three piece band to five piece with the addition of Elmo Price on bass and Logan Sellers, which has given the band a more versatile and classic sound, and allowed them to blend more genres and styles. Deltaphonic’s set at Brooklyn Bowl showcased a mix of some of their best new and old material with special focus on some of their newer, unreleased soul songs including, “Angels,” and, “Casablanca.” Deltaphonic hopes to return to NYC in the spring of 2022 to promote their upcoming full album.
Brother Maker, an amalgamation of now-former Turkuaz members, including Craig Brodhead (guitar), Michelangelo Carubba (drums), Chris Brouwers (trumpet, keys), Greg Sanderson (tenor sax), and Taylor Shell (bass), made their debut. As Brodhead noted, with Shell taking a break in San Francisco, West End Blend’s Paulie Phillipone (keyboards, synth bass) filled in for Taylor.
Brooklyn debut of Brother Maker this Sunday at @brooklynbowl joining Deltaphonic and Dodongo. Taylor Shell – our brother – is home in SF getting much needed rest. He IS the bass player of the band, but in the meantime, our homie Paulie Philippone from West End Blend is gonna party with us on stage at the bowl. We will also be featuring some other fantastic special guests. Never miss a Sunday show!
Craig Brodhead, Facebook post
Brother Maker hit the stage with a bluesy funk sound that had the crowd immediately dancing. They played a set full of jazzy funk and psychedelic interludes, playing an instrumental mix of originals and covers before inviting Brittany Beckett on stage to sing Black Sabbath’s, “Sweet Leaf.”
To close out the show, Brother Maker invited Sammi Garett (vocals, also formerly of Turkuaz) and Paul Provesty (guitar, Deltaphonic) on stage to rock the house with a cover of “Magic Man,” by Heart.
Here we are, returning back to normal. The Main Street Music Series is back in person returning to Rose Hall this month and December. Catch them with a series of four Friday night concerts with audiences, with the next show on November 19 featuring Rochester’s Dirty Blanket, James Vandeuson and the Rollin’ Rust, and Roger Decker.
Main Street Series is committed to enriching Cortland’s culture and showing a good time in Downtown. American Vintage Productions returns as the production company, providing sound, live streaming and promotional services for the series.
We’re excited to return to live audience performances after being virtual only last year. This year our concert format will return to normal with three bands at each concert. The openers will perform in Studio AV on the first floor at Rose Hall and the headlining band will be in the concert hall upstairs.
Chris Merkley, MSMS Board President
Rose Hall doors open at 6 p.m. and admission is free. Donations to support the series can be made at the door or online. Not to worry for those wishing to watch from home, the concerts will also be streamed through the AV Live Network.
The remaining concerts in the Main Street Music Series include:
Nov. 19 – Featuring Dirty Blanket with James VanDeuson & The Rollin’ Rust and Roger Decker
Dec. 3 – Featuring The Unknown Woodsmen with Bug Tussle and Dana Twigg
Dec. 17 – Featuring Sophistafunk with People People and Gary Carpentier
