Take a disco: dark, sweaty, neon pink and electric blue, speakers so loud you can taste it, glitter makeup dripping down your face, sequins scratching your skin, thick air, your platform pumps sticking to the dance floor. Now rip the black-out curtains off windows, knock down the walls — sunlight streams in, grass tickles your ankles, clothes hang loose, you can breathe deeply, clearly. That’s Say She She’s new album Prism. It’s sunlight at the rave, clear vocals over deep funk. Rhythm you want to spread out to, bass that feels like a cool breeze.
Say She She, a seven-piece band led by three female leads, is reminding Brooklyn how to dance Le Freak. The band’s name is a nod to Nile Rogers’ “C’est chic!” lyric, with a modern feminine twist. Et aussi chic is the kismet meeting of Piya Malik, Nya Gazelle Brown and Sabrina Mileo Cunningham, the singers at the heart of Say She She. From disparate sides of Brooklyn, the three ran into each other at a house party in Harlem, as one does, and realized their musical chemistry into a full project soon after.
Malik, a former backing singer for Chicano Batman, is partisan to Turkish funk and Hindi riffs. Brown’s concentration was in R&B, and she was trained in classical and jazz vocals from childhood. Cunningham is partial to 80s eclectic progressive groups like Rotary Connection and Tom Tom Club. These three distinct backgrounds merged to create the singular sound of Say She She; a sound, though only inaugurated this year with their first single “Forget Me Not,” that already feels assured in their first album, Prism, releasing Oct. 7.
If there’s a female gaze, such as in the way films like “The Virgin Suicides” and “Portrait of a Lady on Fire” depict love, there’s a female sound in how Say She She describes love and loving in Prism. Their voices are tender and earnest, delicate yet serious; in “Don’t Wait,” even a break-up song is full with solace and healing, wondering about and wanting the best for their ex’s next lover. And all this is set to a rhythmic beat on a funky bassline, making the hips shift, the feet move.
With nature imagery and dreamy vocals, every song on the album evokes the divine feminine. But “Fortune Teller” dives deepest, the layered vocals touching on a host of feminine tropes in the chorus:
“I’m not a fortune teller, I can’t read your mind / I’m not a healer, can’t stop you from going blind / I’m not a fortress, but I will try to protect you.”
Tropes aren’t real life. Sometimes these traditionally feminine roles are aspirations – for people of any genders. Ultimately, we can’t tell the future or heal each others’ wounds. But by interspersing the chorus with beautiful imagery of “the space between the midnight sky,” and “stars that whisper in the night” it feels like all those capabilities might just be possible for anybody and everybody, if only here on the dance floor.
“Better Man,” the album’s closing song, also aims to realize that kind of cosmic love. It’s one of the slower songs on the album, employing strings, muted production and voices layered in complex harmonies. Say She She describes finding a “better man” with the natural imagery of waves rolling in and swimming upstream. Paired with the occasional electronic sparkle, it’s a song Mother Nature would want to dance to.
On Monday October 3rd, Tedeschi Trucks Band played their landmark 50th show at The Beacon Theatre with Hot Tuna opening as a special surprise guest. Jorma Kaukonen and Jack Cassady also joined the band later in the evening for a performance of Janis Joplin’s “Turtle Blues” as well as Bob Dylan’s “Don’t Think Twice, It’s All Right.”
There was speculation online by fans earlier in the week as to who the “special guest” was going to be. It remained a well kept secret until the moment it was announced at the start of the show. The crowd erupted as Hot Tuna made their way to the stage as the unannounced opening act for Tedeschi and Trucks. They played an acoustic nine song set filled with covers as well as some original Tuna songs.
The first two songs of their set, “Don’t You Leave Me Here (Dime For Beer)” and “Hesitation Blues” were featured on their debut self-titled live album from 1970. That was followed by Reverend Gary Davis’s “Let Us Get Together Right Down Here” and a Richard M. Jones cover of “Trouble in Mind.” Other songs included a cover of Jefferson Airplane’s “Good Shepherd” and “Day to Day Out the Window Blues” before ending their set with Jesse Fuller’s “San Francisco Bay Blues.”
Tedeschi Trucks took the stage around 8:45 and started their set with “Don’t Let Me Slide” from their 2011 debut album Revelator. This also happens to be the first song they ever played at The Beacon Theatre when they performed their first show there in 2011. The second song of their set was “All That I Need” from the band’s second album Made Up Mind released in 2013. They continued with “Laugh About It” and “Signs” before digging into their I Am the Moon: I. Crescent set.
I Am the Moon is the Tedeschi Trucks Band’s newest project. It is a series of four new albums along with four corresponding films made during the Covid lockdown. They have been working the albums into their shows during this current Beacon run. Thursday’s show featured I Am the Moon: III. The Fall while Friday’s show included I Am the Moon: IV. Farewell. Saturday’s crowd got to hear I Am the Moon: II. Ascension saving I Am the Moon: I. Crescent for their 50th Beacon show on Monday night.
Mike Mattison sang lead vocals on “Fall In” which then led into the title track of the project. After that was “Circles ‘Round the Sun” featuring Kebbi Williams on saxophone. For the final song of the album, “Pasaquan” most of the band left the stage leaving just Derek, keyboardist Gabe Dixon, bassist Brandon Boone and the two drummers Tyler Greenwell and Isaac Eady for this captivating twenty two minute rendition of the song.
Another highlight of the show was a cover of “Keep On Growing” by Derek and the Dominos. It was only fitting that an Allman Brothers song be included in this special Beacon show. Derek and Susan absolutely killed it on a “Whipping Post” before leaving the stage to a standing ovation. The encore featured two songs from I Am the Moon IV. Farewell, “Another Day” and “Soul Sweet Song.” The band then honored Leon Russell ending the show with a cover of “Space Captain” from Matthew Moore.
There are still a few more Beacon shows left. After that, they are doing shows in Denmark, Norway and the UK. You can see the rest of their upcoming tour dates here.
Setlist: Don’t Let Me Slide, All That I Need, Laugh About It, Signs, High Times, Hear My Dear, Fall In, I Am the Moon, Circles ‘Round the Sun, Pasaquan, Turtle Blues, Don’t Think Twice, It’s All Right, Made Up Mind, Keep on Growing, The Storm, Whipping Post, Another Day, Soul Sweet Song, Space Captain
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
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
Europe-native and New York City-based musical artist and busker, Robert Leslie, had his alternative folk debut recently released during last month on August 5th. Compiled are 12 tracks produced by Perry Margouleff (who also worked with Maroon 5 and Paul Rogers) that express the beautiful moments captured in day-to-day life through bridging the gap between current changes and a reflection of the past, as phrased by Leslie, speaking about the album.
Album Cover [Credit: Emmanuel Rosario]
The LP features names behind the instrumental elements of the music, who’ve worked with established names in the music industry, such as Tony Garnier behind bass who collaborated with Bob Dylan, Paul Simon and Tom Waits, Jake Sinclair, behind the Wurlitzer, Mellotron piano, who’s worked with Weezer! and Panic at the Disco, and Scarlet Rivera, who played the violin and has worked with Bob Dylan.
Artist Studio Shoot
The record rings of soothing tunes conveyed with slow guitar notes paired with bass booms and overlapping looming synths which carve echoes resonating with the vibration of rings spreading from a rock thrown in still water. Taking an approach using a poetic lens in his lyricism, Robert Leslie divulges on takes about aspects of life and love, carrying emotional overtones of nostalgia blended with wonderance on this debut influenced with sounds from UK psychedelic folk.
