The Felice Brothers hosted The Felice County Fair on Saturday, October 1. Set on a crisp, fall day at the picturesque Arrowood Farms Brewery in Accord, NY, the event featured a day of musical acts and collaborations.
The Felice Brothers @ The Felice County Fair
The fair served as a sort of homecoming celebration for The Felice Brothers, who hail from nearby Palenville, NY. The band, made up of siblings Ian (vocals and guitar) and James Felice (vocals, keyboard, accordion), also includes Jesske Hume (bass guitar) and William Lawrence (drums) was concluding a long tour in support of their latest album, From Dreams to Dust (2021).
The day of music kicked off with a solo acoustic set by Will Lawrence. Lawrence delivered a quick solo set, featuring acoustic ballads off his first solo album, Through the Hollow Hills. Lawrence, who played the acoustic guitar and kick drum, was an appropriate act to start the day.
Al Olender @ The Felice County Fair
Up next was Al Olender, who dazzled the crowd with her powerful vocals and charismatic stage presence. Flanked by a full band, Olender was also joined by James Felice for several songs. Quite simply, Olender sings about life. She delivered passionate and honest lyrics to songs dealing with the realities of a harsh break up, the death of a close family member, and life during a pandemic. By the end of her set, the crowd was fully engaged.
The music continued with individual sets by Haley Heynderickx, Evan Stephens Hall (Pine Grove), and Hooray For the Riff Raff. As the day progressed, the collaborations became more plentiful. The Felice Brothers served as the backing band for songs with Stephens Hall and Hurray for the Riff Raff. Conor Oberst joined the fun, playing the kazoo with Stephens Hall. Even Ian Felice’s son joined on stage at one point, banging a toy drum.
Ian Felice @ The Felice County Fair
Finally, it was time for The Felice Brothers. As the band took the stage, James Felice proudly proclaimed the festival had sold out. It was a well-deserved accomplishment for a band that has earned a loyal and devoted following after almost two decades of touring. The band launched into their opening track, the catchy “Jazz on the Autobahn.” Crowd participation was at high at this point, as the audience joined in, singing and dancing along with the band.
Brothers Simone and Ian Felice embrace @ The Felice County Fair
On a day filled with special moments, perhaps the crowning moment occurred halfway through The Felice Brothers set when the band brought Simone Felice to the stage. Simone, a founding member, left the band in 2009 due to medical issues. It was clearly evident on the brothers’ faces how special this moment was. With Simone in tow, the band closed their set with several early-era Felice Brothers favorites, including “The Devil is Real” and “Whiskey in my Whiskey” before closing their set with “White Limo.”
Conor Oberst @ The Felice County Fair
The night was not over yet, as the fair closed with headliner Conor Oberst. Oberst, most known for his work with Bright Eyes, filled his set with tracks from his various solo albums. He was backed again by The Felice Brothers, who have served as Oberst’s backing band for serval tours, as well as his most recent solo offering, Salutations (2016). As the set neared a close, Oberst summoned all of the day’s performers to the stage, before closing with the Bill Withers classic “Lean On Me.” It was a fitting end to a wonderful day of music and collaboration.
With THE ISLANDER: My Life in Music and Beyond (Simon & Schuster/Gallery Books), Island Records’ founder Chris Blackwell secures his status as one of the most insightful, ballsy and successful label owners in the history of the rough-and-tumble record business. The swashbuckling, swing-for-the-fences Blackwell’s M.O. was finding and patiently nurturing musicians of true originality, artists who were often overlooked by larger labels due to their distinctive edge. This was the very thing that Island tirelessly exploited to turn them into stars, ones who both delighted critics and sometimes moved tens of millions of albums. Bob Marley, U2, Steve Winwood, Traffic, Cat Stevens, The B-52s, Nick Drake, Free, King Crimson, Roxy Music, Tom Waits, Robert Palmer, The Tom Tom Club, Brian Eno, Sparks, Grace Jones and The Cranberries are just the tip of Blackwell and Island’s roster of finds. The man would not only go on to create an indelible mark over six decades of modern music but extend it into the worlds of films, technology and high-end hospitality.
Blackwell’s story begins and ends in Jamaica. He is the son of rich Brits who came to the island shortly after his birth, the fortunate heirs to a 300-year-old food concern, Crosse & Blackwell. His wealthy family was at the center of a star-studded expat community in Jamaica at that time. It included Hollywood actor Errol Flynn, songwriter Noel Coward and, most notably, Ian Fleming. Fleming wrote all of his James Bond novels at his famed home GoldenEye, one that Blackwell now owns and runs as an exclusive resort. His mother Blanche was a muse for Fleming and the basis for two of his most memorable Bond paramours, Pussy Galore and Honeychilde Ryder. Blackwell would head back to England for school in his teens. It was there that he would become fascinated with the burgeoning popular music scene.
It is in Jamaica, however, where Blackwell begins to enter the music business. His first job is as a “selector” who would supply R&B records he bought in his international travels to Britain and New York City to the island’s far-flung jukeboxes and mobile “Sound System” djs like the legendary Coxsone Dodd and Tom the Great Sebastian. After a few misses in record production in Jamaica, Blackwell’s first big success come with the signing of 15-year-old singer Millie Smalls. Blackwell would become her guardian and take her to England where she would score a huge international hit with the ska-flavored “My Boy Lollipop.”
Blackwell’s long foray into rock would begin with the discovery of teenage Steve Winwood and the string of hits with his first band, The Spencer Davis Group. Island would then go on to champion Winwood’s next venture, Traffic. It was Blackwell who came up with the idea of getting them away from the city and up to a country cottage to create the music for their first album. Bands have been doing the “going to the country” thing ever since, thanks to Blackwell and Traffic.
While he didn’t sign them, it is Blackwell, through his then number-two Guy Stevens, who we have to thank for connecting aspiring poet/lyricist named Keith Reid with composer/singer/pianist Gary Brooker. Together, they who would go on to create Procol Harum and “A Whiter Shade of Pale,” perhaps the greatest orch-pop anthem of the Summer of Love. A great section of Blackwell’s memoir deals with the some now immortal names in British folk – Nick Drake, Fairport Convention and John Martyn – artists Blackwell inherited when he purchased Joe Boyd’s Witchseason label. His description of the powder keg when the alcohol-loving Martyn and eccentric Jamaica dub master/producer Lee “Scratch” Perry worked together are worth the price of the book alone. So, too, are the stories from his long-running relationship with Cat Stevens. It was Blackwell who helped turn this failing lightweight pop idol into one of the most influential singer-songwriters of the ‘70s. He also dealt with the artist’s unexpected retirement and named change spurred by his new found devotion to Islam in the early ‘80s.
Through the two recording studios he founded, London’s Basing Street Studios and Compass Point in Nassau, Chris Blackwell was a party to a huge cache of hits that didn’t, unfortunately, come out on his label, from the Talking Heads “Remain in Light” to AC/DC’s “Back In Black.”
Of course, the heart of this book is the story of his two most successful artists, Bob Marley and U2.
Blackwell would go on to give the former the cash to make his first album with a simple handshake. The label owner was with Marley every step of the way on his long climb to stardom, something which was only cemented with the release of Marley’s 1975 live album. Blackwell also dishes the sad facts of Marley’s death and his belief that the reggae great could’ve lived if he promptly dealt with his cancer at diagnosis. And, naturally, one of the true joys of his life is witnessing the impact Marley continues to have as a symbol of freedom to oppressed people throughout the world.
And just like The Beatles, U2 were pretty much turned down by every record company when Blackwell was finally strongarmed by his staff to sign the Irish rockers. As with many of his artists, Blackwell’s hands-off approach in the studio helped the band find and refine its voice, until it became the biggest in the world with the release of its 25-million selling 1987 album, “The Joshua Tree.”
Some of the best parts of the book are about the less-known scenes, such as his partnership with NYC-based ZE Records. This was the label behind early ‘80s “No Wave” bands/artists like James White and the Blacks, Teenage Jesus and the Jerks, Suicide, Mars, Was (Not Was) and Kid Creole and the Coconuts. With his label Mango Records, Blackwell was perhaps the most important catalyst for the global spread of reggae by artists like Burning Spear, Max Romeo, Sly & Robbie and Lee Perry. And with the Bill Laswell-led Axiom Records, Blackwell played a part in unleashing some of the most adventurous and uncompromising music coming out of Greenpoint Studios in Brooklyn. Axiom was the label behind albums by Praxis and Material and the noise guitar great Sonny Sharrock’s classic, “Ask The Ages.”
Blackwell’s memoir also provides the details on his move into films with the release of the reggae classic, The Harder They Come and his founding of Palm Pictures, which gave the world acclaimed films like The Basketball Diaries and Sex and Lucia. Also detailed is his early move into technology with the ultimately failed webcasting service, Sputnik 7. In 1989, Blackwell would sell his stake in Island to Polygram and leave the record business for good in 1997. He would go on to make savvy investments in Miami Beach real estate, which he would have to sell in one of his inevitable cash crunches (due to Sputnik 7’s flop). He would ultimately settle on running a collection of distinctive hotels and villas in Jamaica which he continues to operate today under the banner Island Outpost. Fun fact: Sting wrote “Every Breath You Take” while staying at Blackwell’s GoldenEye, the same place Apple founder Steve Jobs celebrated his 29th birthday.
Unlike some record company founder bios, Chris Blackwell humbly shares the credit for much of his success with his associates, chief among them producer and A&R man Guy Stevens. Blackwell also gives unvarnished views of his failures, like Sputnik 7, some promising singings that went south and his missed singing opportunities like Procol Harum and much of the early British punk scene.
For all the amazing achievements packed into its pages, Blackwell’s memoir is eminently readable, a tale imparted with the casual flow of a first-rate raconteur. It’s an absorbing recounting of one of the most remarkable lives, and longest winning streaks, in the fickle and constantly evolving world of popular music.
Back in April of 2019 former Pink Floyd drummer Nick Mason appeared at The Beacon Theatre in NYC with a saucerful of pre-Dark Side of the Moon songs from the Pink Floyd catalogue. That show (and the rest of that tour) proved the longevity of Syd Barret’s time with the band and resonated so well that Nick Mason’s Saucerful of Secrets returned to the road, recently stopping at The Capitol Theatre in Port Chester on Monday, Sept. 26.
The show was originally set for January 2022 but was postponed due to pandemic uncertainties at the time; it was certainly worth the wait. But an even longer gap of time was present. Pink Floyd had played at The Cap on April 22, 1970, the last time Mason was at the venue. At the time, Pink Floyd was not having the best luck with touring the United States as their stop in New Orleans less than a month later resulted in the remainder of their US tour being cancelled. It wasn’t until the 1973 release of Dark Side of the Moon when Pink Floyd was discovered by a majority of their fans, and it was this premise that prompted the idea for bringing the band’s earlier works to a wider audience.
The introductory bass guitar notes of “One of These Days” excited the audience and established a pillow of winds that carried that feeling through the whole show. The quality of the sound far surpassed what would come from a cover band and was an authentic breath of new life to the early Pink Floyd songs. After all, Nick Mason has been the only continuous Pink Floyd member since he co-founded the band; bassist Guy Pratt is the son-in-law of late PF keyboardist Richard Wright and toured with David Gilmour’s backing band; keyboardist Dom Beken had collaborated with Richard Wright; guitarist Lee Harris suggested the idea for the project to Pratt; and guitarist Gary Kemp had great enthusiasm about joining the band.
The Capitol Theatre’s intimate space and its excellent acoustics topped off the decadent slice of progressive rock history brought back to life. As opposed to arena shows where one might feel disconnected from the band, every note played engaged the crowd. From every spot in the room it was easy to tell and feel the happiness and energy of the band members, especially with Pratt and Kemp playing off each other with their presence and Mason frequently displaying a humble smile from behind the kit.
Particular treats from the show included “Set the Controls for the Heart of the Sun,” “Echoes,” and “Astronomy Domine.” The entire setlist was enjoyable, although many more early Pink Floyd songs would also fit the bill (if time allowed). Ending the evening as a nod to Syd Barrett’s character was the quirky song “Bike.”
If you missed Nick Mason’s Saucerful of Secrets at The Cap (or want to see it again), the tour will be stopping at The Beacon Theatre on Wednesday Oct. 12, rescheduled from January 2022.
Setlist:
Set 1: One of These Days, Arnold Layne, Fearless, Obscured by Clouds, When You’re In, Candy and a Currant Bun, Vegetable Man, If, Atom Heart Mother, If (Reprise), Remember a Day, Set the Controls for the Heart of the Sun Set 2: Astronomy Domine, The Nile Song, Burning Bridges, Childhood’s End, Lucifer Sam, Echoes Encore: See Emily Play, A Saucerful of Secrets, Bike
Chris Mazuera, a regular in the “Lofi Beats To Study To,” Spotify playlist, is getting a little less late-night cram and a little more late-night kickback in his newest single, “Roots.” Mazuera released four singles in advance of his upcoming album Let’s Take A Trip, with “Roots” as the closer on that album.
“I wanted to close out the album in a strong way,” Mazuera said. “So I mixed as many of my influences as I could in this track: rock, jazz, hip-hop, psychedelic, blues, classical.”
Chris Mazuera calls the sound on the upcoming album a more coherent mixture of all his influences from across genres, and he’s proud that the sound is more identifiable with himself as an artist. It’s uplifting, energetic, and has a funky bassline. The song comes in just over two minutes, but it’s the kind of song you could hit repeat on a couple of times.
What sets “Roots” apart from his past hits like “First Snow” and “Abundance,” is his departure from comfortable repetitive and symmetrical rhythms and harmonies to more ambitious beat switches and guitar solos. Mazeura said this is a call back to his “roots” in New York City when he first moved to the city from Miami and would busk in Grand Central Station, playing blues solos for hours and hours.
Since moving to NYC he has familiarized himself with the industry through partnerships with local hip-hop and lo-fi producers. In 2018 he released his first album Monstera, since he’s released over seven albums and EPs, composed of both solo projects and collaborations, in addition to several singles.
“Roots” is streaming across platforms now and you can pre-save the album, which is coming out on Dec. 2 here.
Ali McGuirk delivered a pared-down but powerful performance at The Linda Performing Arts Studio in Albany on Oct 1. The theater was pleasantly packed and ready for a throaty earful from McGuirk.
Ali McGuirk performed solo with only a couple of guitars as “friends.” Her partner in performance couldn’t make it. Even so, McGuirk is a compelling and entertaining presence on stage with just guitars accompanying her! Her soulful voice and a jazzy and sparse guitar playing style connect well with her audience.
McGuirk’s set was filled with songs off her recently released a full-length album entitled Til It’s Gone. The album was recorded in Los Angeles with a gaggle of studio musicians, including Little Feat guitarist Fred Tackett. Highlights included “Ex-Boyfriends”and the title track “Til It’s Gone.” The audience was rapt and appreciative of the solo performance McGuirk delivered.
Upstate NY’ers can catch Ali McGuirk in neighboring VT at South Burlington’s Higher Ground on October 14. Her new album Til It’s Gone is available on all streaming platforms.
Setlist: All Back, Leave Me, Milk, Evelyn, Empty Vase, Work, Let It Be You, When I see You / Til It’s Gone, Exorcist, Anti Love Song, Ex-Boyfriends
UK prog-rock band Porcupine Tree came to the historic Radio City Music Hall on Friday September 16, their first show back in NYC following the band’s 12-year hiatus. In fact, it was almost twelve years since they last played the NYC area at Radio City on Sept. 24, 2010. Given Porcupine Tree’s long hiatus and new music being teased during the pandemic, a great deal of anticipation was built up among the crowd going into the show.
Porcupine Tree began as a solo project of Steven Wilson who eventually moved it to a full band setting in the early 90s. After touring in support of the band’s 10th studio album The Incident in 2010, Wilson shifted gears to work on solo recordings, leaving the band’s future in question. The June 2022 release of Closure/Continuation excited fans with the chance to see Porcupine Tree on this current summer/fall tour, though there is still uncertainty if this is the band wrapping up on a high note, or a sign of more great things to come.
The band’s long two-set show was filled with fan favorites with the entirety of their new album scattered throughout both sets. Set one kicked off with a favorite, “Blackest Eyes,” before diving into three from Closure/Continuation which Wilson joked afterward about being the challenging part of the set. The second set featured the title track off the band’s 2006 album Fear of a Blank Planet and the extended “Anesthetize,” which unfortunately for the many folks donning Rush shirts did not feature Alex Lifeson on stage (Lifeson had contributed guitar lines on the studio recording). The show wrapped up with a pleasantly long encore ending with “Trains,” which Wilson commented that he had wished that would have been the single from In Absentia even though it wound up becoming one of Porcupine Tree’s most popular songs.
The core of Porcupine Tree is Steven Wilson, Richard Barbieri, and Gavin Harrison, with original bass player Colin Edwin not returning. For the Closure/Continuation tour Porcupine tree enlisted touring band members Randy McStine from NYC and Nate Navarro from Boston.
From start to finish, there were no lulls in the band’s performance. Compared to Porcupine Tree’s live shows in the late 2000s the band was just as engaged with each other, the music, and the audience as back then.There seemed to be a collective electricity among the audience fueled by the legacy that Porcupine Tree left for themselves before their hiatus. With the band’s future still unclear, hopefully it will fall on the “Continuation” part of the Closure/Continuation album title.
Porcupine Tree Setlist
Set 1: Blackest Eyes, Harridan, Of the New Day, Rats Return, Even Less, Drown With Me, Dignity, The Sound of Muzak, Last Chance to Evacuate Planet Earth Before It Is Recycled, Chimera’s Wreck Set 2: Fear of a Blank Planet, Buying New Soul, Walk the Plank, Sentimental, Herd Culling, Anesthetize, Sleep Together Encore: Collapse the Light Into Earth, Halo, Trains
Happy Birthday to one of Harlem’s most influential public figures, A$AP Rocky. The Grammy nominee was born on October 3, 1988 and since has made his mark globally as a fashion icon, trendsetter as well as a versatile rapper. Before reaching double digits, he began rapping, however it was not until 2007 when Rocky’s professional career took off as a member of A$AP Mob. In the years to come, he cemented himself within the music and fashion industries forever.
In 2011, Rocky released his first mixtape LIVE.LOVE.A$AP and from then on out, the sky was the limit. If people did not know of the talent within Rocky’s words and his delivery, then they knew from that very moment. His psychedelic album changed the game as he broke away from traditional New York rap. His hit songs “Peso” and “Purple Swag” had everyone talking about who Rocky is and wondering what’s next on his agenda.
In 2012, he made his first guest appearance on the Jimmy Fallon Show, to reveal his talents to an ever-growing fanbase, where he performed his newly released top single “Goldie”. All within the same year, he extended his discography with another hit song, featuring the legendary Drake, 2 Chainz, and Kendrick Lamar, on “F**kin’ Problems”. There was no surprise when both topped the charts and went platinum.
As his debut studio album, LONG.LIVE.A$AP dropped, Rocky, was accoladed with being an essential component of today’s rap game. On this album, he released the record “Fashion Killa”, which accentuated his capability to intertwine rap with fashion so effortlessly. His debut, along with his sophomore album AT. LONG. LASt. A$AP, reached No. 1 on the Billboard 200 album charts.
Although Rocky stayed true to himself, he undoubtedly improved throughout the longevity of his career. Unlike others within the music industry, Rocky allocated his time to maintaining his status as a fashion muse, alongside his rapping career. In 2014 he appeared in the DKNY Spring campaign, as well as the Dior Homme’s fall campaign in 2016. Additionally, collaborations with Guess, Under Amour, J.W. Anderson, Calvin Klein and more revolutionized the way rappers, especially from New York were perceived. His cultural influence on the music and fashion industries were nothing less than monumental.
As for now, Rocky is cherishing a new beginning with his iconic girlfriend, legendary artist, businesswoman and creative genius, Rihanna, a description which only scratches the surface of how powerful she is. The two first collaborated together in 2012 on her single “Cockiness”, whereas he later joined her during Rihanna’s Diamonds World Tour. In Rocky’s hit song “Fashion Killa”, Rihanna was featured as the “It girl” and the rest was history. Today, Rocky welcomes his first child with whom he describes as the “love of my life.” He recently released his debut directional video called “D.M.B.” featuring Rihanna, which showcases “a ghetto love tale”.
Although Rocky is a new father, his career is from over. In fact, his upcoming album is almost ready to be introduced to the world, as he wraps up his visuals for it. Back in 2018, Rocky released his third studio album Testing, but now he has declared to be pushing himself to the limit with his latest masterpiece.
Going from that industrial, subversive sound from Testing and then graduating with a more polished sound…I just like where it is.
Asap Rocky
As a significant representative of this generation’s hip hop artists, his elevated style will always live on. His creative ability to synthesize rap history, while staying true to his own unique sound is what led him to the success he has today. Once again Happy Birthday to A$AP Rocky, and may his impact forever live on.
Saturday Night Live returned for Season 48 at Studio 8H of Rockefeller Center, bringing in four new SNL featured cast members, along with host Miles Teller and musical guest, Kendrick Lamar.
Opening with a deeply self-referential Manningcast sketch, featuring host Miles Teller as Peyton Manning and repertory player Andrew Dismukes as Eli Manning, the pair began to break down the upcoming changes to SNL this season, with a cameo from actor Jon Hamm as well. Referencing cast members who departed and facing criticism during a transition year head on, the breakdown of the cold open as the cold open was underway was a fresh idea for SNL and a bellwether for the season to come.
With a fresh SNL font and new cast intros segment, the start of Season 48 also marked the 20th season for Kenan Thompson, as well as the 20th season for the Grand Central Terminal set, each debuting during Season 29 in 2003. Teller, star of this summer’s Top Gun: Maverick, shared his excitement for making it to the SNL stage, having been a fan since he was a kid. Teller shared childhood videos of he and his sister as Spartan Cheerleaders – with Teller as Cheri Oteri and his sister as Will Ferrell. This is a trend seen among hosts recently as they celebrate making it the long transition from SNL fan to SNL host, such as Oscar Isaaclast season.
Miles Teller SNL monologue
For the first performance on the night, Kendrick Lamar performed two songs – “Rich Spirit” and “N95” – from his fourth album, Mr. Morale And The Big Steppers. Using a minimalist approach to the performance, Lamar performed alone in a blue-hued box room with a single pedestal fan facing him, while his shadow was prominently featured to his right. After a minute, the shadow began dancing as he shifted into the speedier “N95” with spotlight and strobes highlighting the solo artist confined to this white room, similar to his stage set up on his recently ended North American leg of his ‘Big Steppers” tour.
A stunning performance, text flashing on the white walls during “N95” included “Lil L got his passport,” “4 peez Kee riches,” “The homie Jason Keaton wrote two books in prison,” “The Edges Envy in the Eyes,” and “Yea we still playing industry politics.”
These referenced, respectively, Compton rapper and friend of Lamar, Lil L; 4 Peez who grew up on Piru Street, two streets down from the location of the Good kid Maad city house; rapper Kee Riches who was shot and killed last week; and Jason Keaton, who earned college degrees and wrote two books while incarcerated for 15 years, and who is also referenced in the 2009 K.Dot song “Jason Keaton and Uncle Bobby.”
https://www.youtube.com/watch?v=x1ursSZ0NCw
For his second performance, Kendrick was once again in a white box, this time with a bed, lamp, table and chair, where British rapper Sampha was rocking. Lamar dove in with Sampha joining in on “Early mornin’ wake ups, practicin’ on day-offs. Tough love, bottled up, no chaser, neat, no chaser.” Throughout the performance, the walls closed in on Kendrick and Sampha, as they rapped and reflected upon an upbringing with limited emotional outlets amid home invasions and daddy issues.
https://www.youtube.com/watch?v=04qA4krEub8
Tonight also marked the fifth appearance on SNL for Kendrick Lamar, starting with his 2013 debut where he performed “Swimming Pools (Drank)” and “Poetic Justice,” then returned in 2014 to play “i” and “Pay For It” off To Pimp a Butterfly, alongside Jay Rock and Chantal Kreviazuk. Lamar has also joined other musicians on SNL, including Imagine Dragons on “Radioactive” in 2014 and Anderson .Paak in 2018 on “Tints”.
Closing out the night, Teller wore an NYU shirt, celebrating his roots at the NYU Tisch School of Arts where he received a BFA in Drama in 2009.
Not seen this evening was longtime cast member Cecily Strong, who is in Los Angeles performing in The Search for Signs of Intelligent Life. Expect Strong to return to SNL in November.
Next week, SNL will be hosted by Irish actor Brendan Gleeson, star of The Banshees of Inisherin, with musical guest is Willow, daughter of Will Smith.
Westchester rock trio, Shining Faces, released their debut single, “Worthless” on Wednesday, September 28. The music group with origins in the Upper Westchester County area transitioned their involvement in the rock scene in New York City.
Shining Faces
A unique feature of the band’s start-up counts their spawnage from the upstate-based Pow! Burger joint. The collaboration between the burger restaurant and the rock band helps to carry the representation of the DIY cultural aspect of the Upper Westchester community.
‘Worthless’ debut single cover art
The members comprising the band are vocalist, guitarist and songwriter Clinton Meekel, bass player Kevin Giachetto, drummer Austin Flynn and guitarist Nick Trujillo. The artists opened about their experience working at the independently-established Pow! Burger joint, their music career and the connection between the workplace they were previously employed at and the punk and surf rock performances made in the Metropolitan area that are supported by former co-workers from the Pow! Burger.
Heather Occhino: How did the band meet?
Clinton Meekel: So, Austin, Nick, and I met while working at Pow! Burger. Nick and Austin actually had a project together called “Block Tape”, and the three of us had a project together called “Anklebiterz”. Kevin and I had played drums a lot together growing up with Kevin’s brother, Justin. I had put out some stuff solo during COVID, but I really wanted to be able to play live. I put together a trio with Austin and our other friend, Sean. When we moved to the city, Austin moved over to drums, we added Kevin on bass, and Nick is our newest addition on a second guitar.
HO: What inspired the band members to pursue making music?
CM: I always grew up around music. My dad repairs guitars and collects records and just has a really extensive knowledge on all kinds of eclectic rock and punk music. I started playing when I was five years old and haven’t stopped since.
HO: What was the group’s reason for relocating to New York City?
CM: Basically, I moved here to finish college. It’s new and there’s a lot of awesome stuff happening down here musically. I used to drive down here all the time to go to shows and it’s really cool to be living in the midst of all of it.
HO: What influenced Shining Faces to add more contemporary-based punk-rock influences to traditional songs, such as Joe Cocker’s “The Letter” and Hound Dog Taylor’s “Give Me Back My Wig”?
CM: I had listened to those songs a lot growing up, and I wanted to pay homage to those musicians. There’s something timeless about those songs in particular, and I love being able to take something old and mess around with it and make it fresh. Those songs translate really well live too, because people recognize the songs but maybe have forgotten about them. Then it creates an opportunity to bond with people over those songs too. People come up to us after shows and bring up The Letter, and it’s just really great to get to talk with new people about songs that we all love.
HO: When Pow! Burger was established, did the then-employees plan on choosing a direction toward music?
CM: It was totally by chance that so many of the people who work there, who I now consider very close friends, were also interested in making music. But it definitely became a commonality for all of us there. There aren’t really any venues in Yorktown or record stores, so it’s hard to find any sort of musical community. I’m lucky that all my time at work could be spent with guys who do care about music and have a taste that aligns with mine.
My friend from Pow! Leapfrog Jones actually opened for us a few weeks ago at the Bowery Electric, and I just saw him play the other day at another venue. We all just kind of had bands on the side, but everyone is really supportive. Even the owner Dave, he comes to our shows. And Yorktown isn’t close, but he’s invested in our success. It’s honestly not very often you see a business owner who actually cares about the success and security of their employees beyond the workplace, so we’re all really lucky. And just to have this community of people who have our backs and are rooting for us.
HO: What was the transition like leaving Pow! Burger and moving to the city?
CM: It’s a little bit crazy actually. We’re all friends, so I see the guys from Pow! all the time. They all make their way down to the city for our shows. I think some more of them might even move out here too, and I love having them on bills with us or vice versa. I remember overhearing someone after a show say, “What is this restaurant they all work at?” Because basically the entire staff was in the audience. It’s pretty awesome to see.
HO: As mentioned in the biography about Shining Faces, their aim is to find “authenticity in a world in a world where our lives are becoming increasingly commodified”. In which ways is this sentiment expressed in their musical work/artistic expression?
CM: Punk has always been about rebellion. I’m really inspired by guys like Iggy Pop, the Sex Pistols. Punk has always been a vessel for counterculture. I think we and most other people in our generation feel like we’re getting screwed. We’re losing faith in our institutions. There’s so much pressure, especially with social media to make yourself marketable. To make every bit of yourself something that can become profitable. It’s easy to feel helpless. And we’re angry. So our aim is really just to create and give a raw reaction to what is happening in the world. We’re young and people want to dismiss us but we’re the ones who will grow up in the world that policies being passed right now are shaping.
HO: What ultimate message/(s) does the band want to spread to their listening base?
CM: I think what we wanna get out there, especially with “Worthless” is just to not let the world get you down and cling to your passions. What we kind of pose in this song is am I worthless? In a world where everyone is supposed to be doing a million things at once, how valuable am I beyond what profit I can produce? Or is all of that worthless and the bits of the humanity within us are what is actually significant? We’re kind of grappling with things like “what is all of this for?” It’s a question that only yields more questions, but we’re going to keep asking.
On Sept. 28 Jimmy Eat World came to Albany to say “Something Loud” to the people at Empire Live Albany.
Jimmy Eat World is a rock band from Mesa, AZ that formed in 1993. Their most notable album, Bleed American, had jump-started them to fame with their most well-known song “The Middle.” Jimmy Eat World has been all over the alternative rock realm with songs that could be categorized as pop-punk, emo-pop, and punk-rock to just name a few. Their ability to continue to shift across rock has kept them relevant to fans young and old for the last 20+ years.
The show opened with a last-minute addition rock band, Frankie and his Fingers from Kingston. They formed in 2004 when lead vocalist Frank McGinnis and guitarist Ryan Stoutenburgh found each other in college. Their latest album, Universal Hurt, dropped in March of 2021. They have an upcoming show in Woodstock on October 2nd.
Frankie and his Fingers opened to a growing crowd of mid-20s-late 30-year-olds. They played their hearts out for about 30 minutes with warm applause from the crowd. Frank McGinnis’ energy on stage was very reflective of how excited the band was to be their opening for such a big name. After their set, the band waited by the merch station to greet fans and answer questions.
By the time Jimmy Eat World took the stage, there was no standing room left. They opened strong with lead vocalists Jim Adkins taking hold of the mic and singing “Futures.” Throughout the set, the stage was consistently backlit with blinding lights that shined on beat with many of the intricate guitar strums. The crowd, who many probably have been following since 1995, sang the chorus of “Work” with Adkins and many other songs throughout their time on stage.
Towards the end of an hour and half long set, Adkins prefaced their latest single and tour title “Something Loud” as a song about finding yourself in rock. An idea that has probably fueled Jimmy Eat World to continue to find new sounds in their music.
They thanked their fans for coming and welcoming them back to New York. They closed with their hit, “The Middle.” The Something Loud tour continues in Ocean City, MD on Oct. 1, and a rescheduled show in Burlington, VT on Oct. 3.
Jimmy Eat World Setlist: Intro/Futures, Pain, Bleed American, Big Casino, I Will Steal You Back, Praise, Congratulations, Let It Happen, Work, Blister, Sunday, Hear You Me, Sure and Certain, Rockstar, Something Loud, Denver, Sweetness, The Middle
