Ricky Montgomery performed to a sold-out crowd at Gramercy Theatre in NYC on Thursday, December 2. The rising indie-pop star put on an incredibly dynamic and entertaining performance for the passionate audience.
From the moment that Montgomery ran on stage up until the end of his three-song encore, the crowd at Gramercy Theatre matched his exuberant energy. The young crowd proudly held up homemade signs and loudly sang along to every song through their masks. When Montgomery instructed them to jump during a song, the floor shook under the force of the audience.
Montgomery hasn’t always had such a positive experience with his music. Taking a year off of music in 2018, the artist nearly called it quits entirely in 2020 after struggling to gain traction with his 2016 debut album. Luckily, TikTok worked its magic for the artist! His 2016 tracks, “Mr Loverman” and “Line Without a Hook” went viral on the platform and catapulted his career overnight. He quickly signed to Warner Records and has been garnering over 10M streams per week across his catalog ever since.
It’s clear that Montgomery is thankful for his career and the opportunity to perform for a dedicated fanbase. The artist met every shout of “I love you” with an acknowledgment and a thanks, even smiling for an extended period of time when a fan asked him to pose for a photo while on stage.
Montgomery has begun releasing new music under Warner Records, with his latest single “Sorry For Me” going viral, yet again. We look forward to watching Montgomery grow his career and release more incredible music.
Alexander 23 played a sold-out show at Webster Hall in New York City on Friday, November 19. Signing to Interscope records in 2019, the artist has quickly garnered a massive audience with his soft pop masterpieces. His debut single, “dirtyaf1s” instantly went viral and catapulted the artist to the top of streaming charts.
His knack for delicately layering airy vocals with unexpected instrumentals has not gone unnoticed. The artist has written and produced for fellow musicians, such as Role Model and mxmtoon. He also co-produced one of 2021’s biggest pop songs, “good 4 u”, performed by Olivia Rodrigo.
Despite the “Oh No, Not A Tour!”tour being his first-ever North American headline run, Alexander 23 commanded the stage with ease. Opening the show with “Cry Over Boys” off of his latest EP, Oh No, Not Again!, he instantly energized his young audience. As the night progressed, he played hits such as “girl”, “IDK You Yet”, and “Come Here and Leave Me Alone”.
Towards the end of his setlist, the artist took a moment to stray away from his releases and played a cover of Katy Perry’s hit single, “Teenage Dream”. The audience roared with approval and sang along so loudly that it became hard to hear Alexander 23’s vocals.
In between songs, the artist profusely expressed his gratitude for being able to make music and tour for a living. The crowd danced and sang along to each and every song, filling the room with the hallmark of a good concert — a light scent of sweat.
Formed in 2014 by lead singer and songwriter Rob Morrison, The Booklights have cultivated a specific breed of futuristic Americana, equal parts orchestral and gritty. In addition to Morrison on guitar and mandolin, the band is made up of Lauren Molina (cello), Rachel Green (fiddle), and Benny Elledge (percussion). Their lofty vocal harmonies conjure up Appalachian psychedelia that speaks to the future of Americana and all facets of the genre.
When not playing with the Booklights, each member of the band can be found acting shows on Broadway, Off-Broadway, TV/film projects, composing scores, doing voiceover work, or playing in separate bands. The talented New York City-based group will release their debut EP, Into a Ball, on August 6 on all streaming and listening platforms.
NYS Music recently joined the members of The Booklights in a lighthearted tell-all to get to know the artists behind a new wave of Americana. The band discussed their multitalented backgrounds, upcoming music, creative process, group direction, and a recent surge of musical inspiration around the globe.
Matthew Perez Gin: The members of this group seem to have extensive backgrounds in acting, theater, comedy, and much more. How do you think this impacts not only the way you create music together but also perform together?
Rob Morrison: The Booklights are a pretty lively bunch, and we’re very instinctual. We know that as actors, it’s really important to follow our artistic impulses, so that carries over into how we make music. It’s not a judgmental group — we have a very encouraging vibe. I wouldn’t consider myself a natural leader, but as the primary songwriter and lead singer, I’m sort of the de facto leader of the band. And to me, that means harnessing the “yes, and” energy we all naturally bring to the table, rather than trying to be too controlling of any aspect of the band. And thankfully, with such funny people onstage with me, I don’t ever have to worry about coming up with good banter while I’m re-tuning my guitar.
Rachel Green: Being performers, we share a common language, respect and understanding. We’ve all had our fair share of amazing (and terrible) experiences as actors and musicians. I think that helps us be grateful for our time together, and makes working together fun and seamless. And we laugh a lot. Also our harmonies are sick. I love harmonies.
Benny Elledge: I think we all have a natural sense of play which helps in the creative process. We definitely all have similar performing backgrounds which makes for a lot of fun when we are together. It also helps because we aren’t afraid to try and fail at different attempts while coming up with parts.
We are all a bunch of funny people. When we make music it’s not just a gathering to make music, but make each other laugh. We enjoy the banter and the collaboration.
Lauren Molina
The Booklights perform live from Rockwood Music Hall
MPG: Who are some of your inspirations and influences?
RM: There are more influences than I can list…I always feel like I’m going to forget somebody important! For the Booklights’ music, one of my biggest inspirations would be Gillian Welch and David Rawlings. Their music is hugely important to me, in not only in terms of how beautiful or haunting it can be, but because of their massive encyclopedic knowledge of folk music forms, the way they’re able to, say, reference a Son House lyric in the middle of their own song, and what that does for the listener…for me, my brain flags the homage, but also feels transported to another time and place. And it makes their music feel timeless. That’s a really powerful effect. Bob Dylan, Neil Young, The Band, John Prine, Bonnie ‘Prince’ Billy, Norman Blake, Lucinda Williams, Gram Parsons, and Townes Van Zandt are other big influences of mine from the world of (arguably) Americana. But I listen to a wide variety of music, a lot of which has shaped our music in more subtle ways. Some of my favorites include Radiohead, Soft Machine, Big Star, Fleetwood Mac, Randy Newman, the Kinks, the Bats, Tom Waits, Creedence Clearwater Revival, and of course the Velvet Underground.
RG: It really runs the gamut. I’m a huge fan of 90s hip hop and R&B, but I’m also classically trained on the violin and did musical theater for years. I love all kinds of soulful voices, from Aretha Franklin to Stevie Nicks. But also playing with bands and teaching myself to play in more of a fiddle style, I learned to really appreciate 70s rock, country and folk. The Band is iconic.
BE: My music tastes span a pretty wide range. As a percussionist, I love so much stuff from Buddy Rich to Neil Peart, Clyde Stubblefield, Carter Beauford. There are so many. I also grew up with drummers in my family, both my dad and brother are drummers as well so it’s always been important to me.
MPG: When you look at the current presence of Americana within the music industry today, where do you see it going in the future? What are you excited about and how do you plan to be a part of it?
RG: Both bands I’ve played with considered themselves some version of Americana. I think Americana is moving in the direction of society’s growth, where diversity is being more and more embraced. As an artist, for years I was told to “concentrate on one thing and get good at it. you’re spinning too many plates.” Nowadays, being a multi-hyphenate is accepted and encouraged. Humans are dynamic – why shouldn’t their music be? Plus, combining multiple influences makes for some really cool music.
RM: I think we’re at a really exciting time in Americana music…one of my favorite bands, Our Native Daughters, dropped one of the best Americana albums ever just a few years ago. And now all of those incredible women in that band (Rhiannon Giddens, Amythyst Kiah, Allison Russell, and Leyla McCalla) continue to release absolutely mind-blowing work, and are really making waves. I think the folk music scene is going through a lot of the same, necessary changes that our country is reckoning with. There have always been amazing artists of color, in every music genre. These traditions have been practiced by a wide variety of people, in some cases for centuries. I think the more inclusive the Americana/folk/country music scenes become, the better that is for everybody, and the better it is for the art form.
BE: I don’t know if I can really speak to the presence of Americana. I am thrilled that artists like The Avett Brothers and Brandi Carlisle have come into the mainstream and people are excited about them. But honestly I’m just excited to be performing in any aspect, especially after this last year.
MPG: Clearly, Americana music has so many different musical facets, origins, and explanations behind it. What is “futuristic Americana” to you and how would you define it?
BE: Um… Rob?
RM: Well, I think “Americana” is a really intriguing term to start with. Imperfect, but intriguing. It’s not “United States of Americana”…it’s not even “North Americana.” So it could be applied to music from so many regions! And I think that’s lovely because so many of these musical forms that we might consider “Americana” are the result of so many groups of people interacting with each other — immigrants settling in a given area, and their music mingling with and being changed by music from other groups of people, either indigenous, or from other immigrant groups. A melting pot. As for “futuristic Americana,” that term was coined by a friend of ours. I gave him an advance copy of the EP, and asked him if any words came to mind to describe our music, because I felt a little too close to the songs to be able to describe them. For me, “futuristic Americana” indicates a willingness to bend tradition, and mix in sounds and textures that your average listener might not associate with folk music. I have a lot of reverence for musical tradition, but none of the songs on the EP are traditional songs. So it’s helpful to be able to dip into “traditional” or familiar sounds when we need to; it’s also helpful to channel Radiohead or Low, and get spaced out and eerie at times.
RG: I think Americana in the past was associated a lot with country, folk, and bluegrass. We definitely have a lot of those influences but also incorporate some cool rock sounds and other ambient and unusual styles and effects.
MPG: The Booklights is such a unique name for a band, can you tell us the story behind it?
BE: Hahahaha! Um……Rob?
RG: That’s you, Rob.
RM: Ha! So, funny story. At our very first live show (Spike Hill in Brooklyn, 2014) I played the first half of the set solo, then invited the band up onstage for the second half. I told the band in advance that I’d christen them with a surprise name at the gig, so when they joined me onstage, I said, “please welcome to the stage: The Booklights!” The response was hilariously underwhelming. But the name stuck! I realize it sounds like the object: a book light. That wasn’t the inspiration, but I don’t mind the connection. The inspiration for me was that feeling of writing a song, by myself, at night, with a candle or small bedside lamp throwing a little pool of light on my notebook, illuminating my ideas one line at a time. Writing is a very private experience for me; it’s almost like the only witness to my process is whatever light source is near me. Definitely not something the average person would deduce from hearing our band name, but I’m okay with that. And on the plus side, there weren’t a slew of pre-existing bands called the Booklights.
MPG: Your songs seem to invoke images, musical realism, and a strong ethos for so many listeners. What do you think is the importance of storytelling in your songs, and how do you go about finding that perfect story-song balance?
RM: There is a delicate balance between story and feeling. I think my approach to songwriting is to usually leave a lot up to the listener to decide; kind of a David Lynch approach to songcraft, if you will. It’s not important to me for everyone who listens to “Waywiser” to have the same idea of what it means. Individual interpretation is so much more exciting! Lyrical details are important. I can’t stand songs that say something like, “I love you, you’re my desire, you’re so hot, you’re like fire.” Oof. What do you love about that person? Can you find a way to say it without literally saying it? “My Woman, the Almanac” is about as straightforward a love song as I’ve written, but it doesn’t come right out and say much about love. There’s a lot of specific imagery, poetry in that song. The language hints at that feeling of romantic love. The listener goes on the journey, with the speaker of the song, and maybe they get something totally different from what I intended when I wrote it. Again, that’s really exciting to me, not a bad thing.
MPG: Your new EP Into A Ball comes out on August 6, would you mind delving into the creative process that went behind developing this, perhaps some of your starting points musically or lyrically?
RM: The Booklights were an active gigging band in 2014 and 2015…I broke my wrist in 2015, we took a little break while I healed, and then we all got pulled in so many directions as artists, so the band was on an unofficial hiatus until the pandemic hit. Like so many people, I lost employment opportunities, and of course we were all quarantining in our apartments, and it was a really hard time. I started looking back at all the projects I’ve been lucky enough to be a part of, and I thought, “gee, why didn’t the Booklights ever record anything? We’ve got so many great songs!” So I started talking with Lauren, Benny, and Rachel about making a record remotely. We tapped the wonderful James Frazee to produce, mix, and master the EP. James is incredible…I had a really great time incorporating his adjustments and ideas, things like adding or removing a chorus, layering in new overdubs that had never existed on a song before, that kind of thing. The whole process was honestly one of the few bright spots of 2020 for me. As for the creative process for the songs themselves, many of them date back to our time as a gigging band, some even before that. “Waywiser” was inspired by a trip to the Ben Franklin Museum (a waywiser is essentially an old-fashioned odometer, which Franklin built), and “My Woman, the Almanac” was written during a solo cabin retreat I took in the Catskills in 2011, inspired by my relationship with Lauren as well as all the nature I was taking in. I had the melody for “Slingshot” in my head for a while, but was having trouble with the lyrics, so Lauren and I collaborated and wound up with a playful song about summer flirtation. “Sweeter on the Vine” doesn’t sound anything like the 1930s blues and novelty songs I was listening to at the time, but it was definitely inspired by the work of folks like Bo Carter, the Memphis Jug Band, and the Dallas String Band. And “All Tomorrow’s Parties” …well that’s just one of my all-time favorite Velvet Underground songs. It works perfectly with the droney, space-folk approach we gave it on the EP.
BE: It was very interesting to record an entire album alone in our apartments without the others being there. And with no “in the moment” directions. But it was a great experience to learn that that was possible.
Rob is the major force behind the music, these songs are his creations. He comes with melody, lyrics, chords and vision, and then trusts us to build the “house” around it. All of our harmonies (instrumentally and vocally)
Rachel Green
MPG: What does this debut EP mean to you and what kind of mark do you aim to leave on fans listening to it?
RM: I’m honestly in awe of the end result. I’m so proud of everybody who came together to make this record. That includes our special guests Jay Julio (viola on “My Woman, the Almanac”) and Hilary Hawke (banjo and backup vocals on “Slingshot”) as well as our incredible visual artist, Elanor Gabriela. Making a record during the pandemic was challenging, but not making a record would’ve been even harder! Into a Ball is an apt title, because the EP rolls together all these genres, sounds, and emotions that we as musicians like to play with, and collects them into one, succinct 5-song statement. Working on the EP was a wonderful escape during a time when I really needed to be somewhere other than in the confines of my apartment; I hope it provides listeners with an aural escape too!
LM: I’m so proud of everyone involved in making this album. I love the songs and how each one takes you to a different place. I hope people feel something when they listen to it.
BE: I’m just really proud of us for getting something done during Covid and more proud of Rob for spearheading it and writing such amazing music and being such a great leader. I’m very happy the world gets to finally hear his music. I think people will really dig his unique style and his take on the “Americana” genre.
I really love how each of our songs tells a different story and has a different sound. I think fans will be taken on a journey, from breezy chillaxin’ to rockin’ out.
Rachel Green
MPG: You have also recently released a music video for the track “My Woman, The Almanac” on the EP, how was that experience for everyone? Can we expect to see more music videos in the future?
RM: Making the music video was such a joy. I want to give major kudos to our team Varya Rootwood (director), Yura Makarov (DP), Mackenzie Jamieson (key PA), David Withrow (wardrobe), and our hosts, the Big Victorian in Chester, NY. That shoot was a leap of faith; a few days earlier, we had lost our director and location, so Varya and Yura were brought on at the last minute. And they absolutely nailed it. I couldn’t have asked for a more professional team. It was also the first time our full band had hung out together in quite a while, so the camaraderie was through the roof! We hope to have another music video in the near future; I’ve been really interested in doing a stop-motion version of “Waywiser.”
LM: Shooting the music video was a blast. It was such a beautiful place with bucolic imagery. We shot it at an old Victorian mansion that had a dilapidated and beautiful feel. It was set upon a green hillside with a red barn and a swing on a tree. Our music fit so perfectly with the setting. It was magical. I hope to make more videos. It’s always fun to put a visual with a song.
RG: Working on the music video was a wonderful experience, from the amazing location to the costumes to the creative team. It was also the first time we got to hang out as a band (and friends) in 6 years! It also gave me a deeper connection to the song and its meaning or what it could mean. It was a truly beautiful day all around.
MPG: Does Into A Ball mark a new aim and direction for the band?
RM: Well, the Booklights had never recorded any of our songs before this EP, so in that way it’s a very new direction for us! We played a lot of shows in 2014-2015, so that was always our focus; putting together exciting sets of live music. It was a very different experience to take each song apart, role by role, or sound by sound, and decide what belonged in a recording, and what songs wanted a little extra juice. In the Booklights’ live shows, I usually play a resonator guitar, acoustic guitar, and mandolin. Having the flexibility to record on our own schedules, in our own homes, opened up a lot of possibilities. At James’ suggestion, I added some electric guitar overdubs to “Waywiser” and “All Tomorrow’s Parties,” tipping my hat a bit to British folk bands of the 70s like Fairport Convention, Pentangle, and Steeleye Span. Lauren layered several cellos on top of each other for “All Tomorrow’s Parties” and Rachel did the same with fiddle for that song. We created all new harmonies; “All Tomorrow’s Parties” had always been a solo vocal song for me, but we went all out with some strange, modal group vocals for the album. And adding wonderful outside musicians like Jay and Hilary also opened things up. It became less about replicating our live shows, and more about sculpting a cohesive, transportive sound for the whole record. So that was a really unique experience, to look at these songs in a whole new way.
LM: I’d say this was definitely a new aim as the debut album. The pandemic brought us back together after not playing for a few years due to people’s schedules. This new music feels like it’s blossoming into the world as it reopens.
This new music feels like it’s blossoming into the world as it reopens.
Lauren Molina
MPG: What is one message you would like to give to your fans and listeners?
BE: We know it’s been a tough year for everyone and this album is a great representation of pushing through and making something good come out of a bad situation. So thank you to everyone for listening! We hope you enjoy it as much as we enjoyed making it!
RG: Do what you love, follow your own path and don’t let anyone tell you otherwise.
LM: Be good. Be kind. Keep others on your mind.
To anyone who listens to this record, I want to say thank you, from the bottom of my heart. We made this EP at a time when I wasn’t sure at all about what the future held, for live musicians, as well as for the world. But we still somehow created something, in spite of all that uncertainty. So, if anyone feels inspired by the music on the EP, that would be the greatest reward.
Rob Morrison
Tracklisting For Into A Ball: EP By The Booklights
New York City announced plans to mandate the COVID-19 vaccine for all indoor events including concerts starting next month. The announcements come to little surprise with the rising COVID-19 outbreaks throughout the country.
Madison Square Garden in NYC.
Mayor Bill de Blasio made the announcement on August 3, 2021 for the vaccine mandate. The customers and workers will be required to wear masks in some NYC establishments including indoor dining, gyms and performances areas in mid September. The mandates will start to roll out on August 16, 2021 and after a transition period, enforcement will begin on September 13, 2021. Mayor Bill de Blasio is also requiring city workers to get vaccinated or to face weekly testing, and he has offered a $100 incentive for the public to get vaccinated in the light of the Delta variant of the virus.
Bowery Ballroom in NYC.
De Blasio spoke at the press conference saying, “It’s time for people to see vaccination as literally necessary to living a good and full and healthy life. Not everyone is going to agree with this, I understand that. But for so many people, this is going to be a lifesaving act, that we are putting a mandate in place that is going to guarantee a much higher level of vaccination in this city. And that is the key to protecting people, and the key to our recovery.”
The city will also be implementing a new app called the “Key to NYC Pass,” which is not a particular document, but rather the strategy of requiring proof of vaccination for workers and customers at indoor dining, gyms, entertainment and performances, including Broadway. People can also prove their vaccine status by a vaccine card or the New York State’s Excelsior Pass. However, providing a negative test result will no longer be enough to enter venues after September 13, 2021.
For more information on NYC’s plan to mandate vaccines for all indoor events read the New York Times article on the mandate here.
New York City’s Hunter Blair Ambrose has released her latest single, “Too Much,” off her upcoming album, Scorpio Season.
Hunter Blair Ambrose is a Pop/R&B artist and songwriter based in New York City. Inspired by dark, synth-pop, chilling Toronto R&B, and the melodic hip hop of the 2010s, Hunter has created a sound shaped by the music that has been the soundtrack to her life. By the age of 17, she had immersed herself in the company of industry giants, working alongside Grammy-award-winning musicians and producers such as Narada Michael Walden and working as an in-house songwriter and studio vocalist Tarpan Studios in San Francisco, CA.
Shortly after the inception of her career, she enrolled in Boston’s Berklee College of Music and quickly emerged as one of the school’s many promising, young talents. Following her departure from Berklee, from 2017 through 2019, Hunter wrote and produced material with her core creative team for her debut EP, Scorpio Rising (April 2020). Her debut album, Scorpio Season, is a tribute to a fall-time “cuffing season” romance gone wrong, exploring themes of heartbreak, self-doubt, psychosis, and self-destruction – all inspired by Hunter’s life experiences.
“Too Much” is a synth-pop summer track written by Hunter and produced by Jason Strong, with mixing and mastering done by Travis Bruce and Randy Merrill. It’s about acceptance in overindulging in your vices to avoid anxiety. It’s a track that highlights the struggles of drinking habits, obsessing over a love interest, the fear of being “too much” for someone, and the frustration with having too much anxiety over all of the above.
I wrote this song to take accountability for my avoidance issues. For a long time, I would ignore my problems by indulging in partying and drinking until I realized it was getting to be too much. This song is about dancing and drinking to avoid your pain which can be a good and bad thing.
Hunter Blair Ambrose
Ambrose continues to steal the spotlight with her growing music presence and has already produced an extensive repertoire to her name. You can check out a timeline of her projects HERE. Also, be sure to catch the latest of Ambrose by following her on Instagram, Tik Tok, Twitter, Facebook, and on Spotify and YouTube below:
New York City’s American Classical Orchestra (ACO) has announced its 2021-2022 season of all-live performances, beginning with a full orchestra Reunion program of Baroque music in Damrosch Park on September 22.
Founded in 1984 as the Orchestra of the Old Fairfield Academy, the ensemble was renamed American Classical Orchestra in 1999. ACO settled in New York City as a permanent home in 2005. It is now the city’s only full-scale orchestra dedicated solely to performing 17th, 18th, and 19th-century music on true-to-period instruments.
Reunion is the title of the 2021 season’s opening event, marking the joyous reunion of the ACO’s musicians, audience, and patrons after over 17 months without concerts. The program presents a selection of popular Baroque music at the newly renovated bandshell of Lincoln Center’s Damrosch Park. The rest of the season’s concerts follow suit with meaningful titles, “Restore,” “Revisit,” “Remember” and “Renew” to commemorate the challenges of the past two years as life returns to normalcy.
Our reuniting onstage should reveal artists who have further honed their craft and intensified their passion for music. We chose timeless masterpieces as a way to celebrate our return to live performance through much-loved works that continue to comfort even after difficult times, to showcase our talented members and soloists, and also to underscore the soothing balm that great music provides to musicians and audiences alike.
Thomas Crawford (ACO’s Artistic Director and Founder)
This season also includes the Orchestra’s new collaboration with public media producer WNET, featuring a filmed performance of Prokofiev’s symphonic children’s tale, Peter and the Wolf. As a part of ACO’s “Classical Music for Kids” program, the film aims to enrich the cultural life of children by introducing them to classical music history at a young age. American Classical Orchestra’s performance of Peter and the Wolf will be available to watch for free on the PBS LearningMedia platform beginning this fall.
American Classical Orchestra offers subscription packages for their upcoming season that are on sale now. Tickets for individual performances will go on sale later this summer. For more information, visit aconyc.org. Visit lincolncenter.org for ACO programs hosted by Lincoln Center.
Read the full 2021-2022 American Classical Orchestra schedule below:
Reunion –Wednesday, September 22 at 7 pm, Damrosch Park at Lincoln Center:
The Central Park mega concert announced on last month, in celebration of New York reopening and pulling back COVID-19 restrictions, now has a lineup. Paul Simon, Jennifer Hudson and Bruce Springsteen will headline the concert. The show is tentatively set for August 21, 2021 on the Great Lawn.
Photo by Rafael Puerto of the Great Lawn at Central Park.
Mayor Bill de Blasio is planning this mega concert that will host multiple acts. Clive Davis has been chosen by the mayor to pull this mega concert together. Davis is a well known 89-year-old producer and music-industry eminence. Davis has quite a career that has spanned over five-decades. He has worked with big names like Janis Joplin, Bruce Springsteen, Aretha Franklin, Alicia Keys and Whitney Houston. He has hosted the Grammy Gala annually since 1976.
It’s going to be one of the greatest Central Park concerts in history. This is something you do not want to miss. This is something for the ages.
Mayor Bill de Blasio
The New York Times had said Davis “is aiming for eight ‘iconic’ stars to perform a three-hour show for 60,000 attendees and a worldwide television audience.” Some details on the event have been released though including it taking place at the Great Lawn, Live Nation will be involved with the production, and the majority of tickets will be free, although there will be some V.I.P. seating. 70% of all tickets will go to those who have received their COVID-19 vaccination.
The Great Lawn at Central Park has hosted lots of famous concerts in it’s time. Some of the big names include Carole King who serenaded 70,000 people there in 1973. Elton John played back in 1980 and the following year Simon & Garfunkel reunited for an estimated 400,000 people. Diana Ross performed in 1983, Luciano Pavarotti in 1993 and the Dave Matthews Band in 2003.
The show is supposed to feel like a homecoming to New York City after the pandemic that has been gripping the world for the last year and a half. In an interview, Mayor Bill de Blasio said that, “This concert is going to be a once in a lifetime opportunity. It’s going to be an amazing lineup. The whole week is going to be like nothing you’ve ever seen before in New York City.”
https://youtu.be/mefvCRU22oY
The concept for the Central Park mega concert came to fruition recently. Davis said that the mayor called him three weeks ago and asked him to present a show in partnership with the city that would celebrate New York’s reopening and emphasize the need to vaccinate more young people.
It is going to be a great moment for the city, marking our rebirth, marking our comeback. We’re very excited, and it’s going to be a historic event, to say the least.
Mayor Bill de Blasio
More details will be shared in coming weeks for the August 21 mega-concert. Stay tuned to NYS Music!
Update July 27, 2021: The full lineup was announced on July 27, 2021 by Mayor Bill de Blasio, Clive Davis, Live Nation/NYCEDC chair Danny Meyer. The free mega-concert will be taking place on the Great Lawn in Central Park on Saturday, August 21. Although Bruce Springsteen, Jennifer Hudson and Paul Simon were hinted as being the headliners previously now the expanded lineup has also been announced and includes big names like Jon Batiste, Andrea Bocelli, Kane Brown, LL COOL J, Elvis Costello, Lucky Daye, Earth, Wind & Fire, Kenny “Babyface” Edmonds, Cynthia Erivo, Jimmy Fallon, Wyclef Jean, Journey, The Killers, Gayle King, Don Lemon, Barry Manilow, The New York Philharmonic, Polo G, Carlos Santana, Patti Smith, and Rob Thomas.
Radio City Music Hall announced plans to reopen with 100% capacity for vaccinated audiences, in response to Governor Andrew Cuomo pulling back on COVID-19 restrictions in his announcement on Monday May 17. New York State is now following the Centers for Disease Control and Prevention’s guidance to allow vaccinated New Yorkers to forgo wearing masks in most indoor settings which changes the game for venues across New York State.
Radio City Music Hall originally opened back in December of 1932 and is known for being one of the staple venues in New York City. It’s home of the Rockettes which are a widely known and respected precision dance company. It currently has a capacity of 6,015 people which means it can now hold performances for vaccinated crowds of that caliper.
James Dolan, owner of Radio City Music Hall accompanied Cuomo during the press conference announcing the roll back on mask restrictions and what that could mean for his venue. All sorts of plans for the venue were mentioned including the 20th anniversary of the Tribeca Film Festival which will take place on July 19th, the city’s NBA playoffs (being held at Madison Square Garden), and Radio City Music Hall offering 100% capacity future shows only for fully vaccinated audiences. The fully vaccinated 100% capacity shows will start to take place after the Tribeca Film Festival comes to a close.
While unsure how the venue will incorporate checking vaccination statuses of ticket holders for upcoming events but Robert Mujica, senior advisor to Cuomo, has said that people could use their CDC vaccination cards, or the Excelsior Pass in either its app form or a printout from the Excelsior Pass website to prove their vaccination status.
For more information visit Radio City Music Hall’s website.
Dawes have announced a fall tour in support of their new album Good Luck with Whatever, beginning in early September 2021.
Good Luck with Whatever is Dawes’ seventh studio LP and was produced by 6x GRAMMY® Award-winner Dave Cobb (Chris Stapleton, Brandi Carlile, Jason Isbell and the 400 Unit) at Nashville’s famed RCA Studio A. The new album received critical acclaim as well as performances on Jimmy Kimmel Live! and the Late Show with Stephen Colbert.
https://www.youtube.com/watch?v=Bzc16xo6pho
Leg 1
SEPTEMBER 9 – Charleston, SC – Charleston Music Hall 10 – Atlanta, GA – The Eastern 13 – Durham, NC – Carolina Theatre 14 – Richmond, VA – The National 15 – Washington, DC – Warner Theatre 17 – New York, NY – Central Park Summerstage 18 – Boston, MA – Orpheum 21 – Toronto, ON – Phoenix Theatre 23 – Pittsburgh, PA – TBD 24 – Harrisburg, PA – Harrisburg University 25 – Grand Rapids, MI – Calvin College 26 – Cincinnati, OH – Taft Theatre 28 – Indianapolis, IN – Egyptian Room 30 – Auburn, AL – Auburn University Amphitheatre
OCTOBER 2 – Nashville, TN – The Ryman
https://www.youtube.com/watch?v=fO802GtaBcw
Leg 2
NOVEMBER 17 – Vancouver, BC – The Vogue 18 – Seattle, WA – Showbox 19 – Portland, OR – Crystal Ballroom 21 – San Luis Obispo, CA – Fremont Theater 22 & 23 – Solana Beach, CA – Belly Up 26 & 27 – Los Angels, CA – Fonda Theatre 28 – San Francisco, CA – Fillmore 30 – Salt Lake City, UT – The Commonwealth
DECEMBER 1 – Fort Collins, CO – TBD 3 – Minneapolis, MN – First Ave 4 – Chicago, IL – The Vic 5 – Milwaukee, WI – Pabst Theatre 7 – Louisville, KY – Headliners 8 – St. Louis, MO – The Pageant 10 – Dallas, TX – McFarlin Memorial Auditorium 11 – Austin, TX – Stubb’s 12 – Houston, TX – Heights Theater
On April 13, Lincoln Center announced that their Josie Robertson Plaza is transforming into “The Green,” allowing New Yorkers to enjoy the space.
The Green is a part of the Stavros Niarchos Foundation-Lincoln Center Agora initiative, Restart Stages, whose mission is to help rebuild the arts sector and the city’s revival by reimagining and reactivating public spaces. It will create 10 outdoor performance and rehearsal spaces, an outdoor performing arts center, and more public venues.
Design by Mimi Lien Rendering by Timothy Leung
In coordination with NY PopsUp, part of Governor Cuomo’s New York Arts Revival, the initiative will go beyond the Lincoln Center. Restart Stages began on April 7, World Health Day with performances for healthcare workers by the New York Philharmonic.
Mimi Lien, set designer and MacArthur Genius grantee, is in charge of the plaza’s reimagination. She wanted to create it into a place of inclusion and inhabitation rather than just an area to walk through to see a performance or get to the Library. Lien envisions The Green as a park space where people can relax and a site of social infrastructure.
Before The Green, the plaza was 14,000 square feet of open concrete. After being redesigned, it will be made of recyclable and biobased SYNLawn grass-like material. It is provided by SYNLawn New Yorkand contains high soy content from U.S Farmers. Hudson Scenic Studio is providing the fabrication. To add to the community aspect of The Green, the New York Public Library for the Performing Arts is providing books for the public to borrow. A small snack bar will be in the northeast corner and there will be pop up performances in the Summer and Fall.
The Green opens on May 10 through September 2021, from 9 a.m to midnight. Due to the pandemic, safety protocols will be in place to follow guidelines.
