On Sunday, September 4, Buffalo Jazz Festival brings four acts to the area for a full day of live music during Labor Day Weekend.
From noon until 6:30 pm, the West Plaza of the Seneca One Tower in Buffalo will bring audiences live music, food trucks, refreshments, and entertainment for all ages. In the second year of the festival using the venue space, people can enjoy a free community concert.
To open up the Buffalo Jazz Festival, NYC-based John Troy Quartet will perform from 12 noon until 1:15 pm. John Aaron Troy is a saxophonist, multiple woodwind musician, and educator. The artist picked up the saxophone at age 10 and his music is ever-evolving since then.
From 1:45 pm to 3:00 pm, Trigger & the Sermon will take the spotlight. Trigger & the Sermon Organ Jazz Quartet play classical soul-jazz while mixing in unique rhythm and groove. The group has played at multiple venues in the Buffalo area, including at the Four One Six and Duende at Silo City.
Trigger & The Sermon
The Dave Hill Group brings more entertainment to the Buffalo Jazz Festival, with a performance from 3:30 pm to 4:45 pm. Dave Hill Group consists of Jim Linsler (drums), Pat Georger (keys), Tim Sheldon (bass), Colin Brydalski (bass), and Matt Harris on saxophone.
To close out the festival Wendell Rivera Latin Jazz Ensemble will play from 5:15 pm to 6:30 pm. A Buffalo Music Hall of Fame Inductee who has played with the likes of Aretha Franklin, Arthuro Sandovar, and Ben Vereen, the performance is sure to be one to remember.
Wendell Rivera
JazzBuffalo promotes the genre of jazz in the Buffalo area with news, live performances, festivals, events, education, and more. The organization uses music and events to bring the community together and the Buffalo Jazz Festival is one such event. For more information about the organization and ways to get involved, visit the website available here.
Following the release of her latest full-length studio album, “Laurel Hell,” beloved indie musician Mitski returned to New York City the weekend of July 22, 2022 for two sold out nights at Radio City Music Hall. Originally scheduled for March, these and a few other tour dates were postponed due to COVID. Canadian indie folk band the Weather Station opened for Mitski both nights at Radio City.
Mitski performs at Radio City Music Hall, Photography by David Reichmann
The Weather Station mentioned “This show is by far the biggest venue we’ve ever played,” and thanked Mitski for bringing them along. Their signature soothing tones and melodies rang through the historic Manhattan hall. The crowd ate it up, anticipation for Mitski’s set rising as the energy in the room increased by the minute.
The Weather Station performs at Radio City Music Hall, opening for Mitski, Photography by David Reichmann
Mitski’s set began with her hit single, “Love Me More,” a pounding rhythmic anthem of desperation and desire. The crowd screamed as the first notes played, and screamed again when the track concluded.
Mitski at Radio City Music Hall, Photography by David Reichmann
Mitski’s hypnotic and intense dances were inspired by Butoh, a form of Japanese dance theater, and featured exaggerated motions and physical storytelling through dance. The stories of her songs came alive in her dances, especially with her second song of the night, “Working for the Knife.” The Butoh influence also made an appearance in the song’s music video.
Mitski performs “Working for the Knife” at Radio City Music Hall, Photography by David Reichmann
“Working for the Knife” was the first preceding single leading up to the release of “Laurel Hell.” This also marked her first major release since 2018, when she had taken a hiatus following the release of her last full-length album, “Be the Cowboy.” The album would go on to be a huge hit, but in interviews at the time Mitski had expressed discomfort with the massive mainstream attention the album had received, and she announced her hiatus from music at a concert at Central Park in 2019. “Working for the Knife” addresses these issues directly, illustrating the struggle between her artistic desire to create and the overwhelming demands of the music industry and capitalist work culture in general. The song is a hard-hitting and thoughtful meditation on the struggles of artists to stay creative and productive, and her vivid and evocative dance choreography captures just that.
Mitski waves hands with crowd at Radio City, Photography by David Reichmann
Despite saying very little to the audience throughout the evening, Mitski did open up about her experience as a New Yorker towards the end of the show. “I wrote a lot of these songs in New York,” she said. “I was unhappy here. It was so hard. And realized it didn’t have to be so hard, so I moved. But every time I come back, I realize, ‘God damn it, I miss it.’” She added, “You don’t have to be unhappy. You can change it.”
Her massive 23-track setlist included many hits and deep cuts from her six-album catalog. Fans sang along at every opportunity and danced through every moment. Standout tracks included “Washing Machine Heart,” “Nobody,” “Should’ve Been Me,” and “The Only Heartbreaker.” For her encore, she performed “A Pearl,” and left the stage with a bow. The crowd cheered wildly and screamed their love for her. Mitski’s Laurel Hell Tour continues, and you can buy tickets for remaining dates here. Her catalog is available to stream here. And you can listen to the Weather Station here.
Acclaimed indie star Lucy Dacus played Central Park’s SummerStage in New York City as part of the final leg of her ongoing Home Video Tour on Thursday July 21, 2022. She played with support from indie rock band, Hop Along. Lucy last headlined New York in November of 2021 for three sold-out shows at Brooklyn Steel, following the release of her critically acclaimed third studio album, Home Video.
Lucy Dacus at Central Park with bubbles, Photograph by David Reichmann
Dacus also recently joined Phoebe Bridgers onstage at Forest Hills Stadium in June. Known for her lyrical depth and often heartbreaking narratives, Lucy Dacus has become a phenomenon in the indie scene. Her return to New York comes hot on the heels of her Spotify Singles release just a few days before, which included a cover of Cher’s “Believe.”
The day began with sweltering New York City heat and humidity, scattered thunderstorms, and heavy showers in the early afternoon. Fans who had lined up in the early morning endured some rain and heat, but were rewarded with spots near the front of the barricades. As the venue filled up, the crowd’s anticipation rose, frequently cheering at random intervals whenever they felt the need to express their excitement. Security and event staff worked hard to distribute bottled water and spray mist over the crowd to cool them down, which drew yet more cheers.
Event staff misting audience at SummerStage, Photograph by David Reichmann
Hop Along opened the evening, playing their energetic rock set as the sun lowered and the shadows of Central Park lengthened. The heat didn’t seem to slow their performance down, and the night gradually grew less hot as they played. The band played several tracks from their three-album catalog and a cover of Tears for Fears’ “Everybody Wants to Rule the World.”
Hop Along walked off the stage to enthralled applause as golden hour approached. The crowd reveled in the cooling shade as the sun lowered and Lucy’s set approached.
With the last few moments of sunset at hand, Lucy Dacus took the stage to a booming chorus of cheers. In addition to her regular ensemble band, most of the set was accompanied by strings. Lucy mentioned that her older records included tracks with strings, and she was excited to bring them to the show.
Lucy Dacus with her full band and Strings Section playing at Central Park, Photograph by David Reichmann
Lucy’s set had a false start when a crowd member required brief medical attention. She stopped the song and patiently waited. She praised the crowd for giving space for staff to help out and playfully posed for the photographers. After getting a thumbs up from the crowd, she got right back into it, and restarted the opening song.
Lucy Dacus posing for the cameras at Central Park, Photograph by David Reichmann
Lucy Dacus with a burst of bubbles, Photograph by David Reichmann
Lucy’s massive 17-song set included many more fan favorites and charting tracks, such as “I Don’t Wanna Be Funny Anymore” and “Brando.” Several times throughout her set, the air filled with bubbles to punctuate a chorus or hook, which drew huge applause each time. The most diehard fans packed at the front of the audience were showered in bubbles and screaming with joy.
Before Lucy played “Kissing Lessons” she cheerfully asked the audience, “I’ve been surveying, and I was wondering – who here is gay?” The crowd responded with a huge cheer. She laughed and replied, “This is our newest and probably gayest track.”
“Yesterday we put out two songs,” Lucy told the crowd. She then played her Spotify Singles cover of Cher’s “Believe.” “What a bop,” she quipped, to laughter and applause.
String Section for Lucy Dacus on couches, Photograph by David Reichmann
Lucy introduced the last track of her set by saying “Don’t you realize what a big deal this is? It’s so cool.” She thanked each member of her band, including the strings section, and thanked the audience. She closed the set with fan favorite, “Night Shift,” from her acclaimed sophomore record. “Thank you New York City, y’all are the best.” She disappeared backstage for a few moments, and then reappeared to another great wave of cheers. Before beginning her encore, Lucy mentioned that her father was in the audience. “Whenever he’s at one of my shows, I have to play this song.” She then played her cover of Bruce Springstein’s “Dancing in the Dark.”
Lucy’s bandmates took their bows and walked off to cheers, but Lucy remained on stage unaccompanied, a singular spotlight illuminating her. “Last time I was here was in 2019, opening for Mitski,” she told the crowd, remarking on how special it felt to return to Central Park as a headliner. “I’m going to play an unreleased song I wrote yesterday,” she said. “This is just for me. Pretend the show is over.” She then asked the crowd not to record this song. “I like to play new music at my shows, so please don’t record this.” Lucy punctuated her emotional performance by playing this final song unaccompanied under a beam of light, to an absolutely silent audience. They listened intently. The song will surely become a fan favorite upon release, but until then we won’t spoil the surprise by revealing any details.
Lucy Dacus playing an unreleased track solo, Photograph by David Reichmann
“I will remember this forever, thank you so so much. Until next time.” She walked off the stage to a crying, cheering, and screaming crowd in Central Park. The house lights came on and the crowd walked off, scattering through New York back into the warm summer night. Lucy’s catalog can be streamed here, and you can follow her ongoing North American tour here. Hop Along’s catalog can be streamed here as well. Check out our full show gallery by David Reichmann below.
Phish continued their 2022 Summer Tour as they performed their first shows since 2013 at Northwell Health at Jones Beach in Wantagh. The pair of shows were heaters and displayed no lack of jamming prowess or song selection, as fans got a healthy dose of deep jams and surprises over the two days.
The parking lots and beaches were full of fans, with a Lot scene that brought our vendors of food, clothing, art, merchandise, fresh coconuts with rum, and everything else you’d expect to find at a Phish show under the Long Island summer sun.
Night one began with “The Curtain” and featured a deep “Stealing Time From the Faulty Plan” well worth seeking out on LivePhish.com. “Roggae” as the sun set behind the venue hit the spot and gave way to fan favorite “Pebbles and Marbles.” The fiery “Maze” led into a set closing “Squirming Coil,” in perfect time for the sun to completely set and envelop the crowd in darkness (save for Chris Kuroda’s ever-impressive light show).
The second set provided an enormous opening segment with pandemic tune “I Never Needed You Like This Before” leading the way and giving space for “Leaves,” which to some may look like the energy was sapped out of the room but instead developed into the jam of the run, with a beautiful, ethereal mediation ensuing. The segue from “Everything’s Right” into “The Mango Song” was as smooth as they come, and a trio of high energy songs closed the set with “Most Events Aren’t Planned” > “Chalk Dust Torture” > “Julius.” An encore of “Harry Hood” was as fitting as it gets, the band extending the third section of Hood as Fishman hit his ‘Moo’ samples to drive the peak of the jam home.
Night two brought a show-encompassing “Mike’s Groove” that featured an set 1 opener of “Mike’s Song” and a show closing “Weekapaug Groove.” A hefty “Wolfman’s Brother” stood out as the highlight of the first set, along with the second ever performance of the Sci-Fi Soldiers tune “Something Living Here.”
Set 2 never seemed to let up as the energy flowed from “No Men In No Man’s Land” into “Down with Disease” for 25 minutes of fist-pumping, head-nodding grooves. Another Sci-Fi Soldiers tune, “Don’t Doubt Me” was performed for two fans in the front row wearing ‘Genuine Asshole,’ a reference to the song’s lyrics. After “Golden Age” jumped into the mix, the softest landing possible came in the form of the ever rare “Lifeboy”. Before getting back into the “Weekapaug Groove,” “Fluff(head)” came to New York, and an encore of “Slave to the Traffic Light” paid fans safe travels as they headed to the next stops in Raleigh, NC and Columbia, MD.
For those heading to Atlantic City for Phish, Anchor Rock Club has added two free, interactive daytime events to its weekend programming during Phish’s three-night Atlantic City run on Sat. Aug. 6 and Sun. Aug. 7 from 2-4 p.m. The Helping Friendly Podcast (HFPod) is hosting The Disco Biscuits’ Jon Barber on Saturday and Phish lyricist Tom Marshall on Sunday. Fans can catch it streaming live, or register for free with the venue to attend in-person.
Phish – Northwell Health Jones Beach – Tuesday, July 26, 2022
Soundcheck: All of These Dreams, Don’t Doubt Me -> Billie Jean, My Soul
Set 1: The Curtain > Say It To Me S.A.N.T.O.S. > Stealing Time From the Faulty Plan -> NICU, Roggae, Pebbles and Marbles, Bathtub Gin > Maze, The Squirming Coil
Set 2: I Never Needed You Like This Before > Leaves > Everything’s Right -> The Mango Song, Most Events Aren’t Planned > Chalk Dust Torture > Julius
Encore: Harry Hood
Phish – Northwell Health at Jones Beach – Wednesday, July 27, 2022
Soundcheck: My Soul (incomplete)
Set 1: Mike’s Song > Wolfman’s Brother > Ya Mar, 46 Days > It’s Ice > All of These Dreams, Something Living Here > Axilla (Part II) > When the Circus Comes > Run Like an Antelope
Set 2: No Men In No Man’s Land > Down with Disease > Don’t Doubt Me -> Golden Age > Lifeboy > Fluffhead > Weekapaug Groove
‘New NYC supergroup, Fantastic Cat, are a new instrument-swapping rock/alt-country/folk band made of singer/songwriters Anthony D’Amato, Brian Dunne, Don DiLego, and Mike Montali. Their debut album The Very Best Of Fantastic Cat just came out on July 29. Likewise, they’ll also be celebrating at NYC’s Bowery Ballroom with an album release show the same day.
So far, their newest record has been praised by Atwood Magazine, No Depression,The Boot, Bluegrass Situationand more; the singles have been added to multiple 1M+ Spotify playlists including Fresh Finds and All New Indie. The band also have a CBS Saturday session confirmed for the end of July which will air in early/mid-August.
The first single, “C’mon Armageddon”, is an incredible A24-style music video featuring Marc Geller who plays Kier Egan on the hit AppleTV show Severance. Along with this, the music video for the single “The Gig” shows the band playing a gig on The Staten Island Ferry after being told by their sleazebag manager he booked the band on “one of those concert cruises that are all the rage.”
Captured in the wilds of the Pocono Mountains, the album shifts between genres and different decades of music. By mixing electrified 60’s folk and 70’s AM radio gold with 80’s heartland rock and 90’s alt-country, it encompasses a raw feel of longtime friends making music for the sheer joy of it.
“Their music is at once fun, freewheeling, achingly intimate, and beautifully honest. They can joke about themselves and the state of things while tapping into deeply meaningful and relatable emotions… Fantastic Cat’s songs are a reminder that, even in our darkest moments, we can find a little light and love to hold onto.”
Along with the great music the band produces, they have a very fun and humorous vibe in all their videos and photos. Particularly, the photos and videos where they wear the giant cut out cat heads. Fantastic Cat has impressively made its way into the spotlight collectively. Through the four transcend their respective roots, they have emerged as an instrument-swapping, harmony-trading, tear-jerking, wise-cracking rock and roll cooperative far greater than the sum of its parts.
On a hot steamy Hudson Valley night, the Dave Matthews Band summer tour 2022 made a stop at Bethel Woods Center for the Arts. The pavilion and its extended grass area were filled to the max on July 20 with excited fans who were treated to three glorious hours of DMB.
The band behind Dave included: Tim Reynolds on guitar, drummer Carter Beauford, Jeff Coffin on the saxophone, Rashawn Ross was the trumpet play, Stefan Lessard on the bass and Buddy Strong on keyboards. Beauford demonstrated incredible dexterity with his arm movement while on the cymbals while simultaneously keeping a heavy beat with his double drum pedals. Tim Reynolds demonstrated why he has been part of Dave’s crew for years with his guitar prowess. The horn section of Ross and Collins sprinkled jazz grooves taking previously released records in new directions.
If having a talented band was not enough, Dave Matthews Band audio tech Joe Lawlor joined the band on stage for “Cornbread”. As soon as Lawlor plugged in, he cranked out the opening notes of “The Star Spangled Banner”, ala Jimi Hendrix, to pay homage to the hallowed grounds of the Woodstock festival.
With little to no banter from the stage, Matthews would occasionally speak directly to the crowd offering his humble thanks to everyone for spending the evening with them. The set of 21 songs was filled with DMB staples “Crush,” “Funny the Way it is” and “Stay or Leave.” Throwing in a wild card, Dave pulled out Peter Gabriel’s “Sledgehammer,” which proved to be a crowd pleaser.
For the encore, Matthews came out solo to play “Some Devil.” The band then joined him to close out the night with “Ants Marching.”
Originating from NYC, indie-rock group Guards released “All I Have to Do is Dream,” a cover of The Everly Brothers’ 1958 hit. The revitalized track is the latest release off of the Guards’ upcoming covers album, More Cover Songs, out on August 23 via CGR.
Guards takes the popular hit and makes it into a sound completely their own. Beginning with soft percussion before building with subdued vocals, and differing riffs, the band reimagines the track in a brand new way.
The group formed out of NYC in 2010, and consists of Richie Follin, Loren Humphrey, and Kaylie Church. The trio released their first single, “Resolution of One,” in December of 2010 and their first full-length album, In Guards We Trust, in 2013. Guards have been working on new music throughout the pandemic, including the forthcoming cover album, More Cover Songs.
The Everly Brothers are one of our biggest inspirations for melody and straightforward songwriting. This song always seemed way ahead of its time while somehow being of that exact moment. I think the really special artists are the ones that inspire the artists that inspire even more artists to become artists…they are that kind of special artist. The slow songs are always harder to cover because you can’t hide behind the energy, but this cover felt natural and we were able to do some fun things on it.
-Richie Follin
Guards split time recording the album and their most recent single, “All I Have to Do is Dream,” in NY and LA. Adam Thein mixed the record in Austin, Texas. The upcoming album is sure to be a success if this newest release is any indication.
Previously, Guards opened for acts such as Queens of the Stone Age, MGMT, Two Door Cinema Club, Deertick, and played in festivals such as Coachella, Lollapalooza, and Primavera Sound. Take a listen to more of their music, available below.
On Monday July 25th, Rage Against the Machine (RATM) stopped in Buffalo for one of their many stops on their current tour. After an eight-year hiatus, Rage Against the Machine announced in November 2019 that they were reuniting for a world tour, which was initially scheduled to start in 2020, but was ultimately postponed to 2021, and then to 2022, due to the COVID-19 pandemic. The opener of the show was Run the Jewels, an American hip-hop super-duo comprised of EL-P and Killer Mike.
photo credit- Mike Miller
Rage Against the Machine is an American rock band formed in Los Angeles during 1991. RATM consists of vocalist Zack de la Rocha, bassist and backing vocalist Tim Commerford, guitarist Tom Morello, and drummer Brad Wilk.
It has been many years since RATM has played in Buffalo, but on their current tour they just played Toronto, Canada on July 23. A fan jumped on stage and security tackled the guitarist Tom off the stage in error. Luckily for everyone he was ok and able to continue playing shows. Earlier in the tour the singer Zack injured his foot and has had to sit during each performance now. This tour will be visiting 12 countries, 40 cities and 51 shows in total.
photo credit- Mike Miller
The whole night the crowd was filled with energy and singing along to all of their hits. “Testify”, “Killing in the Name Of”, and “Bulls On Parade” were some of the songs the crowd was seen screaming along and head-banging to.
photo credit- Mike Miller
August 8th through the 14th, Rage Against the Machine will be playing as MSG in New York City
Rage Against The Machine – Keybank Center, Buffalo – July 25, 2022
Setlist: Bombtrack, People of the Sun, Bulls on Parade, Bullet in the Head, Testify, Take the Power Back, Wake up, Guerrilla Radio, Close Your Eyes, Down Rodeo, Know Your Enemy. Calm Like a Bomb. Sleep Now in the Fire, War Within a Breath, The Ghost of Tom Joad, Freedom, Township Rebellion, Killing in the Name
On September 10 and 11, AFROPUNK Festival returns with headliners The Roots and Burna Boy. This fall homecoming marks the first time the fest has come back to Brooklyn since 2019.
AFROPUNK began as a single-day event in Brooklyn in 2004 before evolving into a worldwide phenomenon. This year’s lineup brings some of the most exciting artists to Commodore Barry Park for two days of celebration.
The legendary hip-hop band The Roots will headline night one. Their expansive set will cover decades of the bands’ music as they celebrate 30 years together. On the night of the 11th, Burna Boy will close the festival and promote his upcoming album Love, Damini.
Other performers include TDE rhymer Isaiah Rashad, Lucky Daye, Freddie Gibbs, Tierra Whack, Earl Sweatshirt, and many more. AFROPUNK also welcomes Brooklyn-based artists to the lineup, including rapper Rodney Chrome, R&B artist Alex Mali, and hip-hop artist Talia Goddess.
AFROPUNK aims to highlight the diverse talent and depth of the Brooklyn Black music community. Audiences can expect performances from various genres and origins including rock, R&B, AfroBeats, and more.
The festival offers more entertainment than just a place to enjoy live music. Attendees will be able to peruse local foods from NYC chefs and food trucks at AFROPUNK’s Bites ‘n Beats. The Spinthrift Market will also operate, providing event goers with makers and curators from the area.
After hosting festivals around the world, including Miami, Atlanta, Bahia, and Johannesburg, AFROPUNK’s long-awaited return to Brooklyn is sure to be one to remember. More additions to the lineup, as well as more entertainment with added activations, are set to be announced. Stay tuned with the festival on Instagram here, and visit their website for tickets, here.
Phish tour rolled on from Bethel to Hartford on Sunday, July 24, as thousands of fans flocked to Central CT with the mantra ‘Never Miss a Sunday Show’ proving true once again.
The first set began with “Cars Trucks Buses,’ a nod to the Traffic that surrounded the former Meadows Music Theatre. A surprise Big Boat track ‘Breath and Burning’ followed in the two-slot, taking more of a stroll that fans may have expected. The sustained energy from the next four tunes – “The Final Hurrah,” “Free,” “Yarmouth Road,” and “Plasma” – made way for thr highlight of the set, a 17 minute-plus “Sigma Oasis” that before closing with “Limb x Limb” and “Sand.”
Set two was a tale of two halves. The first half of “A Wave of Hope” > “A Song I Heard the Ocean Sing” > “Blaze On” clocked in at a combined 55 minutes, with the first two songs blasting off with heavy Type II improvisation and magnificent drumming from Jon Fishman who propelled the band through the jam. The second half of the set kept the energy going with “The Wedge,” “Farmhouse,” “Backwards Down the Number Line” all of which on paper may seem like a snoozfest but when the heat is set so high, a cool down is in order. Yet the heat was ramped up again to close the set with “Character Zero” and a rare “Tube” > “First Tube” encore.
Phish rolls into Jones Beach on Tuesday and Wednesday for the first time since 2013
