On Aug. 3, Connecticut-based rock band Goose released the ninth episode in their short film series, Day of Show. The newest episode focuses on the band’s debut show at NYC’s iconic Radio City Music Hall on June 24-25.
Goose Live at Radio City Music Hall. (L-R): Trevor Weekz (bass), Ben Atkind (drums), Rick Mitarotonda (vocals, guitar), Jeff Arevalo (vocals, percussion) Peter Anspach (vocals, guitar, keys). Photo: Adam Berta
The jam band Goose consists of Rick Mitarotonda (vocals, guitar), Peter Anspach (vocals, keys, guitar), Trevor Weekz (bass), Ben Atkind (drums), and Jeff Arevalo (vocals, percussion, drums). Their sound fuses multiple genres and their most recent release, Dripfield, combines pop and psychedelic elements into one. Goose recorded the full album in Woodstock with production by D. James Goodwin at The Isokon.
The new Day of Show, episode highlights the band’s first show at Radio City Music Hall as they celebrate the release of their critically acclaimed album. Directed by Bryan Murphy, viewers can watch Goose in intimate behind-the-scenes footage during their sold-out shows at the venue. Featuring the band, crew, close friends and family, and fans watching the band perform some of their best work, the just over 20-minute video is a must-see.
Goose’s performances at Radio City Music Hall included one acoustic and two electric sets, with sit-ins from Phish frontman Trey Anastasio, Father John Misty, Stuart Bogie, Dave Nelson, and Dripfield’s producer D. James Goodwin. The video gives all a chance to take in the legendary Radio City Music Hall during one of the band’s most exciting moments.
Trey Anastasio (R ) and Rick Mitartonda (L) – Photo: Michael Nuchereno
With previous performances at landmark festivals such as Bonnaroo Music and Arts Festival, High Sierra Music Festival, Peach Music Festival, and Newport Folk Festival, the band is currently having a career-defining season. Fans of Goose’s music, and short film, can catch the group at more performances this summer. To see the upcoming tour dates, and the full short film release, see below. Tickets can be found at Goose’s website.
DRIPFIELD FALL TOUR 2022:
8/12 – Columbia, MD – The Chrysalis Amphitheater
8/13 – Columbia, MD – The Chrysalis Amphitheater
8/16 – Dillon, CO – Dillon Amphitheater (SOLD OUT)
8/17 – Dillon, CO – Dillon Amphitheater (SOLD OUT)
8/18 – Morrison, CO – Red Rocks Amphitheatre (SOLD OUT)
8/20 – Las Vegas, NV – Brooklyn Bowl
8/21 – Los Angeles, CA – Greek Theatre
8/23 – Stateline, NV – South Shore Room at Harrah’s Lake Tahoe (SOLD OUT)
On July 26, Brooklyn-based alternative artist, producer, and performer, Hannah Sumner premiered the first video from her new monthly series, titled Plus One.
The series includes live in-studio duets with different instruments highlighted in each. The first video, “Moments,” features bassist Adam Neely. Neely contributes great sound which intertwines wonderfully with Sumner’s beautiful voice. The video, carefully shot by Studio 42 Productions, is simplistic in nature. Just featuring the two artists, a microphone, and bass with dim lighting, the video allows all the focus to be on the music and the talent behind it.
Every month, Hannah Sumner will release more Plus One videos featuring various artists and instrumentation. Listeners can expect to hear harp from Jacqueline Kerrod, guitar from Shubh Saran, drums from Josh Bailey, cello from Justin Abrams, and piano from Christian Li alongside Sumner’s vocals.
Earlier this past year, Sumner received a grant and residency from Nancy Manocherian’s The Cell Theatre. The Cell Theatre, founded in 2006, is a not-for-profit in Chelsea that helps artists from all career stages with creative works. The Plus One video series was born out of this experience and will be pressed to vinyl and available digitally. The Cell and Martin Finkle produced the series and Studio 42 recorded the shots.
Sumner has previously released works such as the single “Only You,” and two EPs: To The Almost and Guesthouse. The singer and songwriter has made quite the name for herself in the New York community, with performances at Barclays Center and National Sawdust.
Fans of the “Moments” video with Adam Neely can expect more video releases in the next coming month with some amazing talent. Stay tuned for the release of the next Plus One video, and take a listen to the first one, available below.
The Grateful Dead played SPAC only four times in their career and today marks the anniversary of the third show which, for better or worse, may be the most memorable one of them all. Unfortunately, the show is remembered more for being responsible for getting the Dead banned from SPAC for the next three years. Reportedly, more than 40,000 fans attended this show, with Deadheads traveling from all over, creating Woodstock-like traffic conditions in Upstate New York and the Saratoga area.
This crowd size might be suitable for a stadium show, but instead created a venue that was 17,000 people over capacity, producing a chain reaction of safety issues that could have easily endangered the massive crowd. The SPAC balcony for this show was a veritable zoo, packed beyond belief as a result of people rushing in and passes reportedly being dropped down from above. Things are so out of hand a first set PSA urging people to stop hanging from there needs to be done. The band would serve its time and return in grand fashion three years later, but not before one more rowdy show that features a bevy of live Dead standards and traditional blues covers.
The show kicks off in a rather atypical fashion with a cover of the recently revived “In The Midnight Hour.” The Dead had dusted off this Wilson Pickett cover and refashioned it into an opener for a brief span in 1985. After some quick vocal sparring between Bob Weir and Brent Mydland, the band quickly launches into a much more familiar first set sight in “Bertha.” Jerry Garcia rips off the first of many effortless guitar solos and SPAC is officially all systems go.
“Little Red Rooster” follows and produces a sturdy blues jam, this time with Mydland going back and forth with Garcia on organ and guitar, respectively, that does a nice slow build in intensity. Afterwards, both Weir and bassist Phil Lesh essentially stop the show to admonish some fans who are hanging from the balcony railings and urge them to get back into their seats. Fittingly, the Dead then waste no time and jump right into a cover about an outlaw of another kind in “Stagger Lee.”
A pristine “El Paso” with some truly dulcet tones provided from Mydland’s electric piano then follows before Garcia begins to strum the opening chords to “Crazy Fingers.” A spirited Jerry powers through the vocals and delivers a string of delicate runs on the guitar with even more blissful background soundscapes emanating from Mydland’s rig. After a brief, exploratory jam the music then finds itself turning into a full-fledged “Supplication” jam, although no lyrics are ever sung. For some reason, the song was no longer paired with its traditional tag-team partner in “Lazy Lightnin’,” which the band stopped playing in 1984, and would only be a played a handful of times more in their career. The jam eventually loses steam and eventually dissolves seamlessly into “High Time.”
The Dead then wrap up the first set at SPAC with one of their newer live staples in a rousing “Hell In A Bucket” replete with more aggressive guitar play from Garcia and the boisterous vocal stylings of Bob Weir. The set then closes with a cover from way back when in a short and sweet “Don’t Ease Me In.”
The second set starts on a high note right from the gates and literally doesn’t come to a stop with a set full of nothing but segues. It begins with a “Feel Like A Stranger” that produces a riveting jam that seems to be picking up steam before Garcia seems to shift gears a little quicker than the rest of the band and steers it right into the beginning of “Eyes Of The World.” This lays down the foundation for another series of instrumental jams, spearheaded by Garcia’s frenetic runs up and down the fretboard.
The music then somehow finds its way to an early second set “Goin’ Down The Road Feeling Bad” that’s supercharged and seemingly played at a quicker than normal pace. After some brief indecision, and a possible nudge into “Not Fade Away,” the Dead instead veer into the ever prescient “Women Are Smarter.”
The band then yields the floor to the Rhythm Devils, drummers Bill Kreutzmann and Mickey Hart, for some percussive and psychedelic relief with the traditional “Drums” > “Space” sequence. From the depths of “Space,” some familiar chords begin to emerge and the Dead launch into a “Truckin’” with the “New York’s got the ways and means line” getting a serious round of applause from the SPAC faithful. Instead of stretching this out a bit, the night’s ongoing theme of blues covers then carries on with a take of Howlin’ Wolf’s “Spoonful” with Weir ably manning the vocals.
The short, bluesy jam lends itself perfectly to the intro to “Black Peter” as the Grateful Dead keep the second set’s train of songs going without nary a stop. The Dead then unleash the last three covers from their musical holster to wrap up the evening’s festivities, starting with a set closing “Turn On Your Lovelight” that produces one more brief, boisterous jam with Weir singing the vocals that the legendary Pigpen used to make his own in a different time.
The encore selections could very well serve as a subliminal message to the overflowing crowd that helped make this the last Grateful Dead show at SPAC for three years as well as a nod to the upcoming ban. Chuck Berry’s “Johnny B. Goode” was the first choice, perhaps an indirect message for the Dead faithful to respect the rules and capacity figures for venues going forward. A fitting closer in Bob Dylan’s “It’s All Over Now, Baby Blue” then closes out this show and begins the three-year wait for the Dead’s return to Saratoga.
Grateful Dead Saratoga Performing Arts Center – Saratoga, NY 6/27/85
Set 1: In The Midnight Hour, Bertha, Little Red Rooster, Stagger Lee, El Paso, Crazy Fingers > Supplication Jam > High Time, Hell In A Bucket > Don’t Ease Me In
Set 2: Feel Like A Stranger > Eyes Of The World > Goin’ Down The Road Feeling Bad > Man Smart (Woman Smarter) > Drums > Space > Truckin’ > Spoonful > Black Peter > Turn On Your Lovelight
Today we look back at perhaps the most memorable and influential music festival of the 21st century, the first Bonnaroo. Held June 21-23, 2002 in Manchester, TN, Bonnaroo has helped pave the way for the success of the modern day music festival. The original 2002 edition skewed jam band-heavy when compared to the contemporary version, but the communal vibes and appreciation for live music that the festival has fostered over the years have only gotten stronger. Discover how the first Bonnaroo Music and Art festival came to fruition, the memorable musical offerings that weekend, and how the festival laid the groundwork for successful music festivals in the years and decades that followed.
photo by Pete Mason
Origins
Bonnaroo, in name alone, is steeped in musical culture. The word derives from the French words “bonne,” meaning “good,” and “rue” which means “street.” This was done out of respect for the music tradition of New Orleans, a spirit the founders of Bonnaroo were looking to carry over into their next venture. And even more fittingly, “bonnaroo” also serves as Creole slang for a “really good time,” the very essence of any successful music festival.
Not only that, Angola Prison was located on Bonnaroo Avenue. To be on that street, and not in prison, was naturally, a good thing. The cajun expression “desitively bonnaroo” came to mean “better than the best,” originating among the inmates of the South Louisiana prison, for if you were on that street and not in the prison, it was “desitively bonnaroo.”
Not only that, Angola Prison was located on Bonnaroo Avenue. To be on that street, and not in prison, was naturally, a good thing. The cajun expression “desitively bonnaroo” came to mean “better than the best,” originating among the inmates of the South Louisiana prison, for if you were on that street and not in the prison, it was “desitively bonnaroo.”
The closing of Knoxville’s World’s Fair Park in 1999 unknowingly got the ball rolling for the creation of Bonnaroo. The park had been the yearly home of the Hot Summer Nights music festival until construction forced concerts to no longer be held there. Festival founders AC Entertainment were forced to pivot and look elsewhere and from there the seeds of Bonnaroo were hatched.
The closing of the World’s Fair Park for concerts precipitated getting creative and trying to find, ‘OK, if we can’t do this anymore, how can we still participate in the summer outdoor concert business,’ and it was from that that Bonnaroo was ultimately launched.
Ashley Capps, co-founder AC Entertainment
Bonnaroo seemed like a natural name for the massive new venture on a giant farm in Manchester, TN. Not only for the aforementioned translations, but the term itself wasn’t completely foreign either after being introduced to pop culture through Dr. John’s 1974 release Desitively Bonnaroo.
Superfly, who produced shows during New Orleans Jazz Fest in the late 90s, had experience in staging 28 shows over 8 nights at various New Orleans venues, typically late-night and catering to jam band fans. Superfly founders Kerry Black, Rick Farman, Richard Goodstone and Jonathan Mayers had attended Glastonbury and Coachella Festivals in years prior, and used these experiences to frame their vision for Bonnaroo Music and Art Festival.
The Superfly team brought in Coran Capshaw, who managed Phish and Dave Matthews Band, among others, to assist with financing, and worked with regional promoter Ashley Capps (AC Entertainment), based out of Knoxville. Working together, Superfly, Capshaw and AC Entertainment combined resources and dove in feet first, creating America’s most successful multi-day camping music festival since the original Woodstock.
Farman spoke to Relix in April 2002 noting that the first task was to establish bonafides to the fans:
The first thing that I think is important to let everybody know is that we have an extremely experienced and professional crew behind this event. I know many people know Superfly from the events we’ve done at Jazz Fest and other things. And I know people know AC for the events he’s done. But what I really wish to emphasize is that we have hired the best people in the camping festival business to help us put on this event. We have a lot of experience between AC and us in putting on concerts and concert promotion but we certainly understand that our experience is limited in putting on an event of this size.
Our basic plan has been to make the learning curve zero. Most of the people that we’ve hired were also key players in putting on the big Phish events- everything from our project manager, site coordinator, vending consultant, production manager, parking company, business manager, the head of security and the different security companies that were hiring. We’re going to have Clean Vibes out there, which I think people know through many events, including the big Phish events. So in terms of the quality of the people putting on the event and the quality of the facilities, its really going to be top notch.
The location the team would choose was found in Central Tennessee, in the small Coffee County town of Manchester. Located an hour drive southeast of Nashville, the town of less than 9,000 at the time had previously served as host to at least one previous music festival, Itchykoo.
Named for the Small Faces song “Itchykoo Park,” the festival was held only once, from August 12-15, 1999, featuring 40 bands over four days and nights. The event sold 20,000 tickets, but the event did not repeat, something apparent before the weekend concluded, with event staff reportedly departing mid-shift when it became clear their work would not be paid.
The classic rock-centric festival featured Dave Mason, Survivor, Rick Springfield, Blue Oyster Cult, Sammy Hagar, Joan Jett and the Blackhearts, Iron Butterfly, Leon Russell, Davy Jones and Mickey Dolenz (performing separately), Starship and the Wilson sisters from Heart. The lineup, while ambitious, did not have a true headliner, but instead a list of classic rock bands with no clear connection between the artists.
Itchycoo not returning to Manchester for additional installments, coupled with World’s Fair Park closing for construction, made the perfect conditions for Bonnaroo to arrive in 2002. Of course, the two festivals would have a similar sounding name, and an ambitious first year endeavor like Bonnaroo needed to establish their brand as distinct from the predecessor, at least to all who were aware of Itchykoo. With a name that signified a ‘good time,’ was the name of a street in New Orleans as well as a Dr. John album, confusion with the 1999 festival was not a factor.
The location in Manchester, a 700-acre farm with access roads left over from Itchykoo gave it perfect location next to I-24, something that was a necessity for any major music festival to ensure easy access for arriving fans. The farm was purchased in 2007, and a permanent power source was added shortly after, so as not to use the TVA hookup that accounted for 70% of all power, with the rest coming from generators.
On March 13, 2002, with little advertising, tickets for Bonnaroo went on sale, at an initial cost of $100, eventually sold for as much as $170. Tickets were sold exclusively through the Bonnaroo website, with 10,000 tickets sold the first day. Within the first week, 70,000 tickets were sold, and the festival announced a sell out on March 24. Within 11 days, and mostly by word-of-mouth, Bonnaroo had sold out their first year with a lineup and vision that fans agreed with.
There was of course another failed festival in 1999 that also had an impact on Bonnaroo, and music festivals in general. Woodstock 99, which quite publicly showed Baby Boomer greed meeting Gen X angst, in full view on MTV. While Itchykoo failed due to lack of headlining acts and lack of funding, Woodstock tarnished a brand permanently, with founder Michael Lang unable to celebrate the 50th anniversary of Woodstock with a festival 20 years later.
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, Scotchka, Phantom Suns, Witch Culture 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.
Phantom Suns – “Probably Wrong”
From Burlington, Phantom Suns perform riffy and melodic Alternative Rock, and released their last album, Cordyceps in July 2021. On EQXposure you’ll hear “Probably Wrong,” a new tune from the group consisting of Seth Gundersen, Chris Mathieu, Chris Knauer, and Tristan Baribeau.
SCOTCHKA – “Corinthians”
From Albany, Scotchka is a rock band blending emo, pop punk, and alternative influences for an energetic, introspective style. The band includes Dominick Murdock (Rhythm Guitar, Vocals), Brian Fahey (Drums, Juul Master), Maiya Campbell (Lead Guitar, Backing Aux), and Jacob Hite (Bass, Producer)
Witch Culture – “You”
Witch Culture is a rock band based out of Nashville. Their music can best be described as intimate and emotional, yet energetic. “You” was released on released June 10, 2022 and the band includes Dan McGarr (Vocals/ Guitars), Aaron Messina (guitar), Joe Moran (bass), and Ryan Bedlack (drums)
The Adirondack Independent Music Festival will once again take place in Lake George at the unofficial end of summer on Labor Day weekend. The festival will return to the Charles R. Wood Festival Commons and take place Friday, September 2 through Sunday, September 4.
Pink Talking Fish
This year’s headliners are moe. who are playing four sets over two nights and Pigeons Playing Ping Pong who will play two sets as well, returning to the festival for the first time since 2019.
In addition to lots of great music, the festival will also feature a variety of food and craft vendors as well a great view of the fireworks at Lake George on Saturday evening. $175 General Admission Weekend (3-day) tickets are on sale now at the Adirondack Music Festival website. There is also a special VIP option available, which includes admission to all three days, a meal each night, free snacks, half-priced adult beverages, $2 water / soft drinks, a private viewing area (with private bar) and access to private bathrooms.
Also featured on this year’s bill are Dopapod, Pink Talking Fish, Badfish: A Tribute to Sublime, Ryan Montbleau Band, lespecial, Dogs in a Pile, Neighbor, Hayley Jane & The Primates and Freekbass & The Bump Assembly (featuring former members of Turkuaz).
Music in the Festival Commons will begin at 1pm on Friday and 12:00pm on Saturday and Sunday and run continuously across two side-by-side stages until 11pm each night. The event is open to attendees of all ages and children 12 and under are free.
Saturday Night Live closed the books on Season 47 on May 21, with host and native New Yorker Natasha Lyonne with musical guest Japanese Breakfast. The season finale of SNL also brought out a handful of cast departures, including Kate McKinnon, Aidy Bryant, Kyle Mooney and Pete Davidson.
The cold open featured Kate McKinnon as recurring character Colleen Rafferty, recounting an alien abduction alongside Cecily Strong and Lyonne to Pentagon officials. McKinnon took this sketch as her swan song, bidding farewell as she boarded a spaceship, saying “Thanks for letting me stay awhile.”
During Lyonne’s monologue, she mentioned her New York born and bred roots – raised in Great Neck, grew up on the Upper East Side – and mentioning how she has been working with SNL cast and alums for years, including Amy Poehler on Russian Doll. She was joined on stage briefly by SNL alums and friends Fred Armisen and Maya Rudolph who did their impressions of Lyonne, who herself has a Rodney Dangerfield style of delivery.
For Japanese Breakfast’s first song, Michelle Zauner went with the rhythmic single “Be Sweet” off her 2021 album Jubilee, as neon bulbs hung down from the ceiling.
https://www.youtube.com/watch?v=TKvj4vs7ftc
Weekend Update featured a pair of farewells, with Aidy Bryant saying goodbye next to her frequent sketch and song partner, Bowen Yang, and Pete Davidson, who reflected on his career at SNL and thanked Lorne for giving him a chance. Unfortunately left out of the sendoff mix was Kyle Mooney, who created numerous digital shorts and memorable characters over his 9-year SNL career.
Davidson was also featured in the cut for time sketch “Forgot About Lorne,” a parody of Dr. Dre’s “Forgot about Dre” with Eminem cutting the pre-recorded sketch short to tell Pete to stop these parodies and not do them again.
“Paprika” was the second song from Japanese Breakfast, with Zauner wearing a multi-layered white dress while she struck a gong encircles with flowers. as yellow lightbulbs hung down from the ceiling.
https://www.youtube.com/watch?v=s3mHfQgQY1M
Zauner also appeared in the final sketch of the night, joining McKinnon and Bryant for a singalong of Joni Mitchell’s “The Circle Game” in “Women’s Commercial”
https://www.youtube.com/watch?v=WnOGSFV7154
The season finale of SNL was a night of send offs and put a bow on an average season of the NBC franchise. Look back on all our coverage ofSaturday Night Live this season here and share your favorite musical guest and sketches in the comments below.
NYC band Restless World Music have recently released their new single “Second by Second.” The group is no stranger to melodic beats and emotionally driven lyrics, as they blend different musical styles and carefully-chosen words into a restless whole.
“These days I’m rebuilding my life / You could say I’m refilling my life” – how many have thought or said that over the past few years? So many self-empowerment songs make it all seem so easy – this song isn’t one of them.
For many on the road from doubt and despair to self-appreciation, one’s “gotta fight for every inch” and “Second by Second” makes the joy at the end of the journey, and this song, so much sweeter. “Second by Second” features stellar female vocals over an atmospheric fusion of trap, pop and a touch of jazz.
The lyric video for “Second by Second” builds on the song’s themes of rebuilding oneself after a crisis, and moving from doubting yourself to new heights of self-confidence. Produced by Restless World Music using Adobe After Effects software and a rich selection of 1080p video clips, the video delivers a cinematic feel that enhances the mood and meaning of the song.
Restless World Music’s songs have earned awards from the Great American Song Contest four times and have been recognized twice as top-five songs of the month in online music magazine SongwriterUniverse.com.
The penultimate episode in Season 47 of Saturday Night Live featured two SNL first timers – Selena Gomez as host, and Syracuse native Post Malone as musical guest.
Gomez did serve as musical guest on January 23, 2016, and used her monologue to discuss her TV show past, including her time on Barney & Friends, and discussed her current show, Only Murders in the Building, featuring SNL-vetaran Steve Martin and SNL-alum Martin Short.
Steve Martin would appear in a pre-taped “Unventor Documentary” sketch as Archie Gizmo, the inventor of the whoopie cushion. He tells the origin story of the gag gift, with Dina Beans (Aidy Bryant) as the muse he fell in love with.
https://www.youtube.com/watch?v=TOKAWhFdYNM
For Post Malone’s first song, the dark stage was backlit by white spotlights, the singer on stage alone dressed head to toe in leather to perform “Cooped Up.” Partway through he was joined by Roddy Ricch, who featured on the remix of “Wow” in 2019. The new song dropped this past week, with lyrics that note how Malone gave Ricch a big opportunity: “And Posty took me on my first damn tour date/ He had me rockin’ every night, sold out arenas/ I’m project n—a, I never thought I would see s–t/ I tried to tell you, you prolly wouldn’t believe us.” “Cooped Up” appears on Twelve CaratToothache, set to be released on June 3.
https://www.youtube.com/watch?v=RSdHZale2cA
Post Malone would show up twice in sketches – first as the conscience/shoulder-angel of Chris Redd in showed up in the sketch “Intuition,” and later in the final sketch of the night “Baby Monitor” as a baby in a crib.
Post Malone’s second song, “A Love Hate Letter To Alcohol,” also appears on the upcoming album. Fleet Foxes along with LA-based singer-songwriter Adam Melchor served as backup to Malone, all clad in black. Malone was revealed on one knee and wearing a calf-length dress along with white button down and black suspenders.
https://www.youtube.com/watch?v=DNzvsXsQaMU
Saturday Night Live returns for the Season 47 finale on Saturday, May 21 with host Natasha Lyonne and musical guest Japanese Breakfast.
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 for EQXposure and to hear new music from, Kirsty Rock, Seize Atlantis, E.R.I.E., and a world premiere from Joe Mansmen and the Midnight Revival, 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.
E.R.I.E. – “Can’t Stop Runnin’”
E.R.I.E. came on to the Albany, NY scene in 2020, the week a global pandemic began to rear its ugly head. What began as a passion project developed while singer/songwriter TJ Foster was unexpectedly laid up in a hospital bed for three days, has turned into a fully-formed quartet, winning over audiences with their catchy songs and energetic live performances.
Seize Atlantis – “Atlas Shrugged”
Formed in 2019, NYS Music March Madness 2022 Final Four artist Seize Atlantis is an Alternative Rock Band located in Upstate NY that plays a variety of genres, including originals and covers. The band includes James Mullen – Lead Vocals/Guitar, Mike Dardas – Bass/Vocals, Luc Bourgault – Lead Guitar, and Cody Platt – Drums.
Kirsty Rock – “Green Is”
Most notably know for her soaring vocals with internationally renowned reggae super group, Easy Star All-Stars, Kirsty Rock comes with her own distinctive, soulful & earthy reggae sound. Inspired by a deep love of Vermont, Rock brings us on a sonic and visual journey. Rock can also be heard on Dub Side of the Moon, Radiodread, Sgt. Peppers Lonely Hearts Dub Band, First Light & Thrillah.
