Capital District electronic music producer and DJ, Atlas.B, has released First Launch EP today, Friday, June 24. Heavily inspired by ‘60s/’70s funk, soul, and blues music, the 15-minute EP brings a lot of character over the course of the 5 tracks. The EP relies all on the high creativity of the instrumentation and layering of beats, with the occasional sampled phrase here or there.
Originally from Albany, Atlas.B worked on the EP over the course of a few months, with the final project finished with 5 tracks full of addictive rhythms. For his first EP, Atlas.B sampled dozens of vinyl records, overlaying drums, synths, keys, and other instruments which he recorded live from his own studio.
The track “Someday Soon” offers a mix of soul and electronic beats, alongside sampled music, which blends seamlessly together. “Midnight Run” begins with a bass track underlying most of the piece, incorporating keys and building with electronic synthesis as it continues.
Atlas.B first released music in October 2021 and has since played at shows and festivals across the capital region. With performances including Empire Live, Photo City Music Hall, Bowery Ballroom, and Funk N Waffles, the DJ’s live sets embody all of the music that influences and inspires him.
Fans of artists like Pretty Lights, Griz, Gramatik, Manic Focus, and Marvel Years may find their next favorite artist with Atlas.B’s First Launch EP out on June 24.
Marco Benevento and family held applause for the positive at the cozy single day music festival Follow the Arrow, held at Arrowood Farms Micro Brewery and Distillery in Accord, NY. The full embrace of creative expression combined with an organized yet relaxed atmosphere made for an ideal pre-solstice celebration.
Marco Benevento and Friends – photo by Em Walis
Deciphering The Map
The landscape for live music is changing. Many that have remained sheltered are beginning to emerge. Bigger festivals lure us in with extensive setlists at locations worthy of wanderlust. Despite the inviting notion of clear air and open spaces, logistics like shuttles and multiple stages converge with the perception of crowd density might all just be too much for some at this time. The push and pull of compulsory desire for experience, the reality of life circumstance and anchors which prevent last minute flights. The consolation prize of a livestream. Like many loves in life, our relationship with music we have had and what the evolution might look like can get complicated.
So many rails, so little time – photo by Em Walis
Which Way?
Wouldn’t it be nice to have an oracle appear to gently guide in the direction towards a more positive relationship with live music? A figure that shares family values and the importance of grounding might be the answer. There has got to be some all-knowing upbeat individual that knows where to enjoy music that does not require a post-binge sense of shame for kicking responsibilities to the curb in order to experience that one night of euphoric, attention consumption of music; the paralysis of decision.
Marco Benevento – photo by Em Walis
This Way!
Cue Marco Benevento: artist, musician, family man and Hudson Valley resident arriving like cavalry to the rescue on Saturday, June 18. His inaugural “Follow The Arrow” [FTA] festival could not have been more aptly named. Meaning in the name dives far beyond the venue being located at Accord’s Arrowood Farms. Those that followed the arrow were guided to an oasis filled with reminders of all that is valued.
Hudson Valley Kid – photo by Em Walis
Arrowood Farms provided a pseudo-lagoon in the form of a beautiful field filled with delicious beverages brewed and distilled on site. Attendees wearing merchandise featuring geese and goats blended perfectly with the actual chicken coup to the left of the stage quite well. Despite the production of intoxicants, the survival instinct never kicked in that anyone was behaving out of line or taking things too far. One stage, one corral. Security presented with an upbeat, passionate attitude without sacrificing professionalism or sense of safety provided. This presence combined with the ability to see the entire production within one field of view allowed for families to attend with young kids worry-free.
Hudson Valley Serenity
The weather happened to fall on what is jokingly referred to as one of the four days in the year where the Hudson Valley is the best place on earth to enjoy a day outside.
Karina’s hair moving in rhythm with the trees – photo by Em Walis
Karina Rykman brought the energy to the point where it seemed the breeze-swept trees behind the stage rocked out as hard as the crowd.
Cheers for the sun – photo by Em Walis
Dark clouds and afternoon sun mesmerizingly dipped in and out of the crowd at rhythms mimicking the swaying upbeat ambiance pulsing from the stage with Antibalas.
Sunset bubbles – photo by Em Walis
Nature’s light show built up to a colorful golden sunset during Marco’s set. Illuminated bubbles glowed as they floated gently during their precious and short lifespan. These micro crystal balls provided a reminder of how delicate these precious moments are, and those we experience them with can be.
Coat game strong – photo by Em Walis
Royal Potato Family
The well-established culture surrounding FTA and the Royal Potato Family (RPF) record label lived in the details. Expressive up-cycled fashions worn; accessorized by jewelry that held a story. Excellent coats appeared as the temperatures dropped.
Family values by Em Walis
The Benevento family band hosted three generations. While The Slip played, the drummers son could be seen with drumsticks standing behind his dad, rocking out. Most importantly, as the day progressed, chosen family members made appearances on stage, as well as converged in the crowd.
Hudson Valley Kids Pt. 2 – photo by Em Walis
Quintessential “Hudson Valley kids” held a space in such a way that can only exist when New York City influences a worldview , outlook and attitude earlier than most. The atmosphere was family friendly without sacrifice of artistry or musicality. FTA was a place to celebrate values and emphasize the importance of self expression for generations to come.
Happy to support by Em Walis
Joyful Tokens
Merchandise sold included records, CDs, cassette tapes. Shirts screen printed and produced at home by Marco’s wife were the big hit. The only top obviously showing Marco’s name is one that started boldly, “Who The Fuck Is Marco Benevento?” This spoke to the low key tip of the hat that will occur out in the world between those that know. In true pseudo-sibling satirical spirit, harpist Mikaela Davis proudly displayed her “Who the Pluck is Mikaela Davis?” shirt right next to Marco’s after her beautiful set entranced us all.
One for my head – photo by Em Walis
The love and support not only felt, but shown by attendees spoke volumes for the relationship RPF has with those involved. The merchandise was reasonably priced and attendees were cleaning house by acquiring three and four shirts at a time, returning for more later and after the show being sure to leave with a stack of records. It was clear that everyone not only wanted to support, but celebrate.
A little helop from friends – photo by Em Walis
Arrow Explorations
Target identified. Aim set. Redirecting an arrow after it has been released would be a tall order. Non-negotiable direction. The relief that comes when deliberation ends and movement begins. Occasionally presenting as a cairn or colored dot on trees and stones, arrows act as trail markers and remind us that we are on the correct path. Arrows scribbled on top of class notes or in books provide emphasis on the important and worthy to be logged as memory. When arrows appear, a sense of calm washes over because scrutiny and sifting of all information can be skipped, time saved and getting to the point of it all arrives quickly.
Moments in time by Em Walis
Bubbles Filled With A Moment In Time
Arguably, and in true RPF spirit, the bubble machine was the ultimate target of the arrow Marco had us follow. To take a moment and appreciate the child-like joy that emerged in attendees of all ages from such a simple sphere held the power to make all of the distress experienced over the last segment in time disappear with a single pop.
Bring the light by Em Walis
Marco Benevento Setlist: At The Show, Dropkick, At The End Or The Beginning, Send It On A Rocket, Intro: The Story Of Fred Short ->Seven Twenty Two ->Walking With Tyrone, The Shape I’m In (The Band), Such A Night, The Real Morning Party, Right Down The Line, The Catskills Stole My Heart, Limbs Of A Pine
George Clinton & Parliament Funkadelic embarked on their One Nation Under A Groove tour on Wednesday, June 15 in Central Park’s Summerstage. Bands including Dopapod, The Motet, & Pimps of Joytime performed ahead of the legendary funk band, a part of Blue Note Jazz festival.
Dopapod played an incredible yet much shorter set than the excited fans were used to, but regardless it was a super tight set and the band all seemed hyped for their stacked summer tour.
Shira Elias stole the show when she joined in with The Motet and The Horn Section, all of them former members of Turkuaz, with Elias’ vocals and stage presence nothing short of amazing. As the show went on, the funk meter increased until it was finally time for P Funk who brought an intensely funky, fun, and freaky time.
Capital Region punk/metal industrial rock legends The Clay People busted out of the underground over the weekend, playing their first hometown gig in years on Friday, June 17th at Albany’s Empire Live. The enduring icons not only gave fans a preview of their forthcoming studio album, Cult Hypnotica, but also used the occasion to debut their very own comic book.
The Clay People performing at Empire Underground on 6-17-22.
From modest beginnings in the underground Industrial Darkwave scene, to the breakout release of their self-titled major label debut, it has been a long, strange journey for these Albany rockers. Born from the unique creative bond of Daniel Dinsmore, Brian McGarvey and Daniel Neet, The Clay People first started making music together in 1989. In the decades that followed, the band would add guitarist Jared Weed and bass player Eric Braymer and go on to share the stage with internationally known touring acts such as Stained, Static X, Clutch, Rob Zombie, Disturbed, Filter and Stabbing Westward to name a few. In 2020, the band seemingly rose from the dead and released Demon Hero and Other Extraordinary Phantasmagoric Anomalies & Fables, a bold and massive sounding album that sent a clear message: this band is far from finished.
Daniel Neet performing with The Clay People at Empire Underground on 6-17-22.
In fact, 2022 is shaping up to be one of The Clay People’s most prolific years in quite some time. Having spent the pandemic unleashing their trapped energy and recording a deep library of new tracks, the band just put the finishing touches on their latest studio album, the highly anticipated Cult Hypnotica, which is set to drop on July 1st with supporting dates expected to be announced shortly thereafter. To help get the hype train going a bit, The Clay People decided to treat some of their oldest and most dedicated fans to a taste of the new material during a hometown throwdown performance at the new, yet familiar Empire Underground in downtown Albany, a venue highly reminiscent of the former Northern Lights in Clifton Park where TCP played some of their most legendary shows.
The Clay People debut their very own comic book “Colossus”in Albany, NY 6/17/22.
Opening the performance with a bit of a mash-up cover of Lo Fidelity Allstars “Battle Flag,” it wasn’t long before the bedlam picked up proper with “Colossus,” the song that inspired the band’s new comic book of the same name. The comic, which was collaboratively produced by Top Cow Productions, Inc and Epitome Studios, was one sale for the first time at the bands merch table. After a squealing version of “NoW,” The Clay People then busted out a song everyone in attendance seemed to know, “Plug” off their 1998 breakthrough self-titled album.
You can’t give in Living in this guilt of sin Losing your grip What can you make of it? Are you a part of it? You can’t give in
Lyrics from “Plug”
Spending much of the show perched on top of the front row barricade, frontman Daniel Neet’s stage presence was powerful and commanding. Dressed all in black, wearing sunglasses and resembling the late Layne Staley (Alice in Chains) a bit, Neet’s unique voice effortlessly shifted from gravely baritone, to spoken word, to all out fits of shouting rage. Still sounding great after all these years, Neet poured everything he had into this performance and with enough vigor of a man half his age.
The Clay People performing at Empire Underground on 6-17-22.
After “Plug,” The Clay People would then debut a series of songs off their upcoming album, including “Turn Me On,”” Cult Hypnotic,” “Drugs,” She Loves,” and ” Destroy All Humans,” before returning to the TCP staples like “X-Ploding Head” and “Pariah” which had the whole crowd banging their heads in unison and shouting “I don’t want to die here.” After working their way through “Strange Day,” the band would then play the most commercially successful song in their catalog, 1998’s irresistible riff heavy classic anthem, “Awake” and finally bring the performance to a close with one of their oldest songs, “Stone.”
A little older and wiser, but just as intense. While their sound has evolved over the years, The Clay People have always stayed true to their heavy punk roots and despite the odds, have managed to stay relevant for more than thirty years. Outlasting most of the bands they came up with and with a new album right around the corner, it almost feels as if The Clay People have found the fountain of youth. With the type of physically demanding music they play and their equally demanding stage show, you have to wonder how long these guys can perform at this type of level. When contemplating that very question, vocalist Dan Neet simply grinned and said, “Like a cockroach. You can’t get rid of me. We’ll keep going until we’re dead.” Cult Hypnotica comes out on July 1st.
The Clay People | June 17, 2022 | Albany, NY | Empire Underground
Setlist: Battle Flag (intro), Colossus, NoW, Plug, Turn Me On, Cult Hypnotic, Drugs, She Loves, Destroy All Humans, X-ploding Head, Strange Day, Pariah, Awake, Stone
Check out the full gallery of photos from the show and fan recorded video of “X-ploding Head,” “Awake” and “Stone,” below from NYS Music Photographer Zak Radick
Today we look back at perhaps the most memorable and influential music festival of the 21st century, the first Bonnaroo. Held June 21-23, 2002 in Manchester, TN, Bonnaroo has helped pave the way for the success of the modern day music festival. The original 2002 edition skewed jam band-heavy when compared to the contemporary version, but the communal vibes and appreciation for live music that the festival has fostered over the years have only gotten stronger. Discover how the first Bonnaroo Music and Art festival came to fruition, the memorable musical offerings that weekend, and how the festival laid the groundwork for successful music festivals in the years and decades that followed.
photo by Pete Mason
Origins
Bonnaroo, in name alone, is steeped in musical culture. The word derives from the French words “bonne,” meaning “good,” and “rue” which means “street.” This was done out of respect for the music tradition of New Orleans, a spirit the founders of Bonnaroo were looking to carry over into their next venture. And even more fittingly, “bonnaroo” also serves as Creole slang for a “really good time,” the very essence of any successful music festival.
Not only that, Angola Prison was located on Bonnaroo Avenue. To be on that street, and not in prison, was naturally, a good thing. The cajun expression “desitively bonnaroo” came to mean “better than the best,” originating among the inmates of the South Louisiana prison, for if you were on that street and not in the prison, it was “desitively bonnaroo.”
Not only that, Angola Prison was located on Bonnaroo Avenue. To be on that street, and not in prison, was naturally, a good thing. The cajun expression “desitively bonnaroo” came to mean “better than the best,” originating among the inmates of the South Louisiana prison, for if you were on that street and not in the prison, it was “desitively bonnaroo.”
The closing of Knoxville’s World’s Fair Park in 1999 unknowingly got the ball rolling for the creation of Bonnaroo. The park had been the yearly home of the Hot Summer Nights music festival until construction forced concerts to no longer be held there. Festival founders AC Entertainment were forced to pivot and look elsewhere and from there the seeds of Bonnaroo were hatched.
The closing of the World’s Fair Park for concerts precipitated getting creative and trying to find, ‘OK, if we can’t do this anymore, how can we still participate in the summer outdoor concert business,’ and it was from that that Bonnaroo was ultimately launched.
Ashley Capps, co-founder AC Entertainment
Bonnaroo seemed like a natural name for the massive new venture on a giant farm in Manchester, TN. Not only for the aforementioned translations, but the term itself wasn’t completely foreign either after being introduced to pop culture through Dr. John’s 1974 release Desitively Bonnaroo.
Superfly, who produced shows during New Orleans Jazz Fest in the late 90s, had experience in staging 28 shows over 8 nights at various New Orleans venues, typically late-night and catering to jam band fans. Superfly founders Kerry Black, Rick Farman, Richard Goodstone and Jonathan Mayers had attended Glastonbury and Coachella Festivals in years prior, and used these experiences to frame their vision for Bonnaroo Music and Art Festival.
The Superfly team brought in Coran Capshaw, who managed Phish and Dave Matthews Band, among others, to assist with financing, and worked with regional promoter Ashley Capps (AC Entertainment), based out of Knoxville. Working together, Superfly, Capshaw and AC Entertainment combined resources and dove in feet first, creating America’s most successful multi-day camping music festival since the original Woodstock.
Farman spoke to Relix in April 2002 noting that the first task was to establish bonafides to the fans:
The first thing that I think is important to let everybody know is that we have an extremely experienced and professional crew behind this event. I know many people know Superfly from the events we’ve done at Jazz Fest and other things. And I know people know AC for the events he’s done. But what I really wish to emphasize is that we have hired the best people in the camping festival business to help us put on this event. We have a lot of experience between AC and us in putting on concerts and concert promotion but we certainly understand that our experience is limited in putting on an event of this size.
Our basic plan has been to make the learning curve zero. Most of the people that we’ve hired were also key players in putting on the big Phish events- everything from our project manager, site coordinator, vending consultant, production manager, parking company, business manager, the head of security and the different security companies that were hiring. We’re going to have Clean Vibes out there, which I think people know through many events, including the big Phish events. So in terms of the quality of the people putting on the event and the quality of the facilities, its really going to be top notch.
The location the team would choose was found in Central Tennessee, in the small Coffee County town of Manchester. Located an hour drive southeast of Nashville, the town of less than 9,000 at the time had previously served as host to at least one previous music festival, Itchykoo.
Named for the Small Faces song “Itchykoo Park,” the festival was held only once, from August 12-15, 1999, featuring 40 bands over four days and nights. The event sold 20,000 tickets, but the event did not repeat, something apparent before the weekend concluded, with event staff reportedly departing mid-shift when it became clear their work would not be paid.
The classic rock-centric festival featured Dave Mason, Survivor, Rick Springfield, Blue Oyster Cult, Sammy Hagar, Joan Jett and the Blackhearts, Iron Butterfly, Leon Russell, Davy Jones and Mickey Dolenz (performing separately), Starship and the Wilson sisters from Heart. The lineup, while ambitious, did not have a true headliner, but instead a list of classic rock bands with no clear connection between the artists.
Itchycoo not returning to Manchester for additional installments, coupled with World’s Fair Park closing for construction, made the perfect conditions for Bonnaroo to arrive in 2002. Of course, the two festivals would have a similar sounding name, and an ambitious first year endeavor like Bonnaroo needed to establish their brand as distinct from the predecessor, at least to all who were aware of Itchykoo. With a name that signified a ‘good time,’ was the name of a street in New Orleans as well as a Dr. John album, confusion with the 1999 festival was not a factor.
The location in Manchester, a 700-acre farm with access roads left over from Itchykoo gave it perfect location next to I-24, something that was a necessity for any major music festival to ensure easy access for arriving fans. The farm was purchased in 2007, and a permanent power source was added shortly after, so as not to use the TVA hookup that accounted for 70% of all power, with the rest coming from generators.
On March 13, 2002, with little advertising, tickets for Bonnaroo went on sale, at an initial cost of $100, eventually sold for as much as $170. Tickets were sold exclusively through the Bonnaroo website, with 10,000 tickets sold the first day. Within the first week, 70,000 tickets were sold, and the festival announced a sell out on March 24. Within 11 days, and mostly by word-of-mouth, Bonnaroo had sold out their first year with a lineup and vision that fans agreed with.
There was of course another failed festival in 1999 that also had an impact on Bonnaroo, and music festivals in general. Woodstock 99, which quite publicly showed Baby Boomer greed meeting Gen X angst, in full view on MTV. While Itchykoo failed due to lack of headlining acts and lack of funding, Woodstock tarnished a brand permanently, with founder Michael Lang unable to celebrate the 50th anniversary of Woodstock with a festival 20 years later.
Buffalo-based band Fernway released their debut album Autocrave on June 17, and will hold an album release show on June 25 at Town Ballroom in Buffalo.
Photo Credit: Matt Sledziewski
Fernway formed as a band in 2017 and consists of RJ DeMarco (vocals/guitar), Brett Robertson and Jonah Wrest (guitar), Tanner DeMarco (drums), and Alec Dube (bass). The band has diverse influences, from Stand Atlanic, The Band Camino, COIN, and Bo Burnham, among others, no member of the band listens to exactly the same music.
The new album includes 29 minutes of new music across 9 tracks. Produced and engineered by lead singer RJ DeMarco, the album’s refreshing sound blends pop-rock, alternative emo, and elements of jazz.
Autocrave as an album acknowledges the immense impact technology has on our society as a whole. A large focus of the project is on mental health and regaining control over your own happiness.
Even the album artwork’s underlying messages focus on concepts of the addictive forms of technology and the way it can interrupt human connections. Created by Aaron Gordon and Quinn Gundel, the artwork was one of the most important parts of the album creation process.
The artwork of the record is a representation of how the advancement of technology has consumed each and everything around us. The red lips represent technological consumption and domination of all that is around us while the white represents the vast unknown.
Aaron Gordon and Quinn Gundel
Many of the tracks come from deeply personal experiences of the band, including the track “Compass Free” which was born out of guitarist Brett Robertson’s struggles and is now one of the band member’s favorites. Of the album, the band shares that they “hope these songs comfort you while you learn to navigate the ever-changing terrain of the world we live in.”
In the months leading up to the album release, Fernway has had 3 successful single releases and a great Spring tour across the Northeast region. In March, the band opened up for The Dangerous Summer and Cory Wells at Buffalo’s Rec Room.
Fernway will celebrate the recent release at the Town Ballroom’s new Oxford Pennant Stage. The stage was built with a specific focus to showcase local and up-and-coming touring acts. The tickets for the release show on June 25 can be found here, and Fernway will also be joined by close friends Marquee Grand, Ghostpool, and Amateur Hockey Club.
Following the celebration of the album, Fernway will be touring this summer with 10 shows across 6 different states. The Rock and roll band Imposters will join them on the road for 4 of the shows.
Listen to Autocrave, out now on streaming services. Fernway also updates their playlist, “Spread The Love”, every two weeks, which showcases artists they wish to bring more exposure to.
Fernway Summer Tour Dates
July 6 – Mercury Lounge – New York, New York
July 7 – Balmville Grange – Newburgh, New York*
July 8 – Soundbank – Phoenixville, Pennsylvania*
July 9 – House Of Independents – Asbury Park, New Jersey*
July 10 – Barca City – New Brunswick, New Jersey*
July 13 – Local 506 – Chapel Hill, North Carolina
July 14 -The Milestone – Charlotte, North Carolina
July 15 – House Space – Charlotte, North Carolina
July 16 -TBD – Nashville, Tennessee
July 17 – Legends Bar and Venue – Cincinnati, Ohio
Paul McCartney put on an epic show at Metlife Stadium on Thursday, June 16, just two days before his 80th birthday. The Beatles legend was joined by two New Jersey legends to help celebrate. First Bruce Springsteen joined Paul to sing his hit “Glory Days” as well as “I Wanna Be Your Man.” He also came out during the encore to trade guitar solos with Paul’s longtime touring guitar players Rusty Anderson and Brian Ray on “The End.” Jon Bon Jovi also made an appearance to wish Paul a happy 80th and lead the crowd in “Happy Birthday to You.”
Bruce Springsteen and Paul McCartney at Metlife Stadium
Another highlight, besides Bruce Springsteen and Bon Jovi unexpectedly showing up, was when Paul McCartney played a duet of “I’ve Got A Feeling” with footage of John Lennon isolated from the recent Get Back documentary. This show was the last stop on his Got Back Tour and it was a marathon. Paul played for 3 hours without leaving the stage and performed 40 songs. Other songs on the setlist included more Beatles hits like “Getting Better” and “Love Me Do” as well as “Blackbird” and “Get Back.”
Paul McCartney at Metlife Stadium
Paul sounded great and seemed to sound even better as the night went on. When asked on PaulMcCartney.com if he enjoyed being back out on the road after such a long break because of the pandemic, he said Yes! It’s always a bit of hard work trying to get back up to speed again, but the audiences make it so enjoyable that it doesn’t feel like work. So yeah, we’re all having a good time.
Before the show, some lucky fans got a glimpse of Paul as he arrived via police escort into Metlife Stadium. He passed by slowly with the window down waving to his fans, some waiting for hours just to see him for a few seconds, but it was totally worth it! It was amazing to see people of all ages, including kids from this generation, holding up signs to greet him and even getting emotional after he passed. V.I.P. ticket holders also got to attend a 13 song sound check that included many songs not on the actual setlist.
V.I.P. Soundcheck Setlist: Instrumental Jam, Matchbox, Honey Hush, Coming Up, I Wanna Be Your Man, Women and Wives, Let Em In, Every Night, Mrs. Vanderbilt, Ram On, Midnight Special, New, Lady Madonna
Setlist: Can’t Buy Me Love, Junior’s Farm, Letting Go, Got To Get You Into My Life, Come On to Me, Let Me Roll It, Getting Better, Let Em In, My Valentine, Nineteen Hundred and Eighty-Five, Maybe I’m Amazed, I’ve Just Seen a Face, In Spite of All the Danger, Love Me Do, Dance Tonight, Blackbird, Here Today, New, Lady Madonna, Fuh You, Jet, Being for the Benefit of Mr Kite!, Something, Ob-La-Di,Ob-La-Da, You Never Give Me Your Money, She Came in Through the Bathroom Window, Get Back, Band on the Run, Glory Days (With Bruce), I Wanna Be Your Man (With Bruce), Let It Be, Live and Let Die, Hey Jude,
Encore: I’ve Got A Feeling, Happy Birthday to You With Bon Jovi), Birthday, Helter Skelter, Golden Slumbers, Carry That Weight, The End
Tune-Yards made their way to Bushwick’s Brooklyn Steel last Wednesday, June 15th, in support of their excellent fifth LP, Sketchy. The album was released back in March of 2021 and like most bands today, this is the first opportunity for Tune-Yards to tour behind the record.
The band has released all five of their albums on 4AD records dating back to 2009. Singer and multi-instrumentalist Merrill Garbus took time at the end of the show to personally thank the label for being the backbone of their career.
Tune-Yards is the musical project of Merrill Garbus and Nate Brenner and is an eclectic mix of art-pop, worldbeat, lo-fi, and vocal play. Garbus has a history as a puppeteer, and this method of visceral expression comes out in her performance style. Most of the songs have intricate vocal loops and patterns, all of which are recorded and performed live while Garbus bounces around the stage, engaging the fans. She also paraded various signs around stage, serving as introductions for her banter between songs.
Tune-Yards made it a point early in the show at Brooklyn Steel to remind the audience that we are all living on Native American land and that fact must be constantly acknowledged. There was also a long interlude later in the show (noted on the setlist as “extinction memorial”) where Garbus instructed the audience on the plight of the Bramble Cay melomys. The rodent, native to islands off the coast of Australia, is confirmed to be the first mammal to go extinct due to climate change. The rising sea level surrounding the low-lying islands destroyed their habitat and led to the rodent’s extinction.
The music of Tune-Yards is impossibly difficult to categorize. The band performs live as a trio, but with all the vocal and synth looping, once the songs are structured live they feel larger than life. Garbus’ vocal abilities are captivating and have always been a fundamental component of the music. Sketchy track “Hypnotized” is a prime example and has been a mainstay in this tour’s setlists. Garbus delivers a bit of vocal play over a sparse, but deliberate drum beat to open the track, before an array of art-pop synths and a chunky bass line fill in the groove. The band also featured the track “Gangsta” from their second LP, Whokill. The song has been one of Tune-Yards’ most succesful, appearing in TV shows Letterkenny, Orange Is The New Black, Weeds, and The Good Wife.
Tune-Yards’ tour concluded over the weekend, with a final show on Saturday, June 18th, at Union Transfer in Philadelphia. The band spent a lot of time throughout the show thanking the people that have been supporting and enabling them to create their music. Garbus is also a new mother, and she relished in that as her baby was off-stage sharing in the moment. Garbus lamented that she felt that Tune-Yards would never be able to tour again after the pandemic, admitting that these shows were also a celebration of their miniature victory over COVID. Head over to the band’s website to see a handful of one-off shows they have scheduled, and see NYS Music’s full photo gallery from Brooklyn Steel below.
Phoebe Bridgers played three nights in Brooklyn and Queens the week of June 14, 2022 to conclude the US leg of her Reunion Tour with support from Muna. The first two sold out shows at the Lena Horne Bandshell at Prospect Park in Brooklyn saw fans camping out overnight to grab a spot as close to the front as possible. The final show of her North American tour was at Forest Hill Stadium on June 16, which she called, “the biggest show I’ve ever played.”
Phoebe Bridgers playing Prospect Park, Photograph by David Reichmann
When the Prospect Park dates first went on sale earlier this year, the two shows sold out almost immediately. Phoebe quickly announced a third date at Forest Hills Stadium in Queens, teasing a secret “special guest” to be announced the day of show. Fans speculated wildly for weeks leading up to the event, and it was finally revealed as Boygenius alum and friend of Phoebe, Lucy Dacus. Lucy and her band came out after opener Muna’s set.
Lucy Dacus playing Forest Hills Stadium, Photograph by David Reichmann
For the first two dates at Prospect Park, some fans lined up as early as 4:30AM and camped out overnight to secure their spot. Prospect Park was the perfect setting for a relaxing afternoon (or entire day, for some) in the park. The line wrapped around the block and wove its way through the park. The scene featured fans reading, eating lunches, and relaxing with friends on picnic blankets.
Fans waiting in line at Prospect Park, Photograph by David Reichmann
Phoebe Bridgers fans are known for their intense dedication to her music, with some of her most diehard of fans reportedly passing out at several points during her shows due to overwhelming excitement. Many in attendance adorned Phoebe Bridgers tees, tote bags, handmade signs, and tattoos, showing their devotion to the multiple Grammy Award nominated artist. Although waiting hours for an event can sometimes devolve into an impatient and tense scene, this queue featured only smiles and eager anticipation for what promised to be an unforgettable experience.
Fans waiting in line at Prospect Park, Photograph by David Reichmann
Having been only the second act signed to Phoebe’s label, Saddest Factory Records, in early 2019, Muna quickly rose in popularity before being announced as the supporting act for Phoebe’s 2022 Reunion Tour. Muna’s lyrics and public statements quickly led to their become a symbol of queer acceptance. The members of the band publicly identify as queer, and their songs explicitly handle themes of acceptanece and inclusiveness in the queer community. Both Muna and Phoebe have become strong and vocal allies for LGBTQ+ rights movements. The band wished fans a happy Pride Month several times. Fans waved rainbow flags and screamed every time she mentioned gay, trans, or queer rights issues.
Muna playing at Prospect Park, Photograph by David Reichmann
Muna opened each of the three nights with a powerhouse set, their signature uplifting beats, and an entranced audience who sang along with every track. Some fan favorites included, “Number One Fan” and “I Know a Place.” Katie mentioned Muna would be releasing a new album, releasing the week following the show, and they included a song from the album in their set.
Muna playing at Prospect Park, Photograph by David Reichmann
Throughout Muna’s set each night, Phoebe could be spotted beside the stage dancing and beaming as Muna worked the audience into an elated state. Each night they ended their set by inviting Phoebe onstage to join them for their single, “Silk Chiffon.” The audience seemed to have been waiting for this, and frontwoman Katie Gavin even joked, “I think you know what song this is.” The audience danced, sang, and screamed each word.
Muna and Phoebe Bridgers singing “Silk Chiffon” at Prospect Park, Photograph by David Reichmann
Phoebe had teased a secret special guest for the final night of her US tour at Forest Hills Stadium. Although rumors had spread regarding which artist would be featured, Lucy Dacus was announced as the guest on the day of the show. She and her full band came onstage after Muna’s set to play a packed setlist including top tracks, “Brando,” “Night Shift,” and “Hot & Heavy,” which was recently featured as a music video at Tribeca Film Festival.
Lucy Dacus playing at Forest Hills Stadium, Photograph by David Reichmann
Lucy shed some tears during her performance of “Thumbs,” a tragic and sorrowful song telling the story of observing a lover’s interaction with an estranged father. The song features difficult themes, and many in the audience wiped tears and sobbed as she played. The entire crowd screamed the lyric, “You don’t owe him shit” as the verse played. Lucy joked at the end of the song, “Wow, we’re crying already. It’s been a while since this has happened.” The crowd not only chuckled, but their cheers surged in loving support of Lucy. Phoebe observed Lucy’s set from the sidestage, smiling, crying, and laughing along with the audience.
Phoebe Bridgers observing from sidestage at Forest Hills Stadium, Photograph by David Reichmann
Lucy invited Phoebe and Muna onstage with their bandmates for a singalong rendition of “Going Going Gone.” Throughout the song, Phoebe held onto and danced with her pug Maxine. Some fans held handmade signs made out just for Maxine, and several pointed and cheered specifically for the dog. Maxine certainly had her day in the spotlight.
Lucy Dacus playing “Going Going Gone” with Phoebe Bridgers at Forest Hills Stadium, Photograph by David Reichmann
Phoebe took the stage each night to immense applause. The instant her silhouette began to shine through the backlight, the crowd starting cheering and screaming in delight. Phoebe’s staging, lighting, and set-lists for each of the three nights featured pristine production and popup-storybook-themed visuals to match the story and progression of each track.
Phoebe Bridgers taking the stage at Prospect Park, Photograph by David Reichmann
At a few points on the first and third nights, one or two crowd members experienced brief medical emergencies. Phoebe immediately paused the show, called for EMTs to assist, and waited until she got a thumbs up from those affected before continuing the show. She also paused several times each night between songs to instruct staff to pass out water bottles, asking, “Does anyone need water? Can we pass around a case of water for anyone who needs it?”
During her Forest Hills Stadium show Phoebe told the crowd, “this is officially the biggest show I’ve ever played.” Because this was the last show on her US tour, she thanked her crew from a printed list. She joked that the list was “arranged by astrological sign.” She went through each sign, occasionally joking about which signs were most common among her crew, and thanked every member of her crew by name, including her truck drivers, managers, techs, and her dog’s nanny.
Phoebe Bridgers thanking her crew at Forest Hills Stadium, Photograph by David Reichmann
She ended each night with an encore performance of a fan request. On the second night at Prospect Park, she ended the show with a solo acoustic rendition of Boygenius track, “Me and My Dog.”
Phoebe Bridgers at Prospect Park silhouetted by moon, Photograph by David Reichmann
At the Forest Hills Stadium show, Lucy joined Phoebe onstage to play “Graceland Too” and ”I Know the End.” During the latter song, Phoebe encouraged fans to “lose their voices” if they can, during the climax of the song. Phoebe, Lucy, and the entire stadium screamed at the top of their lungs to cap off Phoebe’s epic set. She thanked the crowd, Lucy, and Muna, and walked offstage to thunderous applause.
Phoebe Bridgers and Lucy Dacus playing “I Know the End” at Forest Hills Stadium, Photograph by David Reichmann
After a brief break, she came back onstage for her encore. Unaccompanied by her bandmates, Phoebe played a solo acoustic rendition of “Waiting Room.” She told the crowd, “I wrote this as a teenager. I used to think it was corny, but now I feel like it’s just sincere.” The crowd cheered and listened intently to what would be the final performance for Phoebe’s incredible US tour and three night run in New York.
Phoebe Bridgers playing at Prospect Park, Photograph by David Reichmann
Phoebe’s World tour is now underway, starting with dates in the UK and Europe. Her critically acclaimed full-length record, “Punisher,” celebrated two years since its release the following day of the Forest Hills show. You can listen to Phoebe Bridgers’ catalog here, as well as Lucy Dacus’s music here. Muna’s new album will be available to stream here upon its release on June 24, 2022. Check out our full gallery below.
Muna and Phoebe Bridgers singing “Silk Chiffon” at Prospect ParkLucy Dacus playing surprise set at Forest Hills Stadiu,Lucy Dacus singing Going Going Gone with Phoebe Bridgers and MunaPhoebe Bridgers with dog Maxine singing with Lucy DacusPhoebe Bridgers sidestage watching Lucy Dacus performFans waiting in line at Prospect ParkFans queueing up at Forest Hills StadiumPhoebe Bridgers MerchandiseFans holding signsFans dancing at sunsetFans interacting with artistPhoebe walking onstage at Prospect ParkPhotography by David Reichmann
The 1980s were the heydey of hair metal and hard rock, and as the genre found its audience, the Monsters of Rock concert tour was formed, bringing together the best international lineup of metal acts the world has ever seen. And for one day in June of 1988, five bands would put on a show for the ages in Western New York.
Originating in England in 1980, the first Monsters of Rock lineup and one-day festival was promoted by Paul Loasby and Maurice Jones, and included British and international bands for 35,000 fans at Donington Park race track in Leicestershire in the Midlands region of England. Originally conceived as a one-off event, the idea evolved into a touring festival in 1981 for 15 years in a row, only taking a break in 1989 and 1993. Loasby recalled the formation of that first year in England to The Guardian:
We hoped we would get 50,000 [people]. We wanted to break even at 30,000. However, because it was done the way it was we were not in control of some of the aspects – such as the cost of the police. But also, the “fuck factor” as you’d call it, is the miscellaneous. It rained and it rained and it rained [beforehand], so suddenly your trackway [temporary road] costs and your straw costs rise. We ended up with just under 36,000. A quick piece of maths showed that we’d lost money, but it wasn’t horrible.
Paul Loasby on the first Monsters of Rock show
Arriving at Rich Stadium in Orchard Park on June 19, the 1988 Monsters of Rock Tour featured Van Halen, Scorpions, Dokken, Metallica and Kingdom Come, marking the only time the epic international metal concert tour made its way through the Empire State.
Van Halen + Metallica = Vantallica
Headlining the show was Van Halen, who were hot on the heels of promoting their album OU812, and used the Monsters of Rock Tour to form the first section of their OU812 tour. Thus, the name of the festival this year was Van Halen’s Monsters of Rock.
Van Halen Summer ’88 Concert Shirt
The 23-city tour criss-crossed America over May, June and July of 1988, gaining the moniker “the most extravagent rock show ever” with the five bands performing over nine hours of music to more than 2 million fans who were expected across the North American tour.
“It’s like the NBA playoffs everynight, except we dont use balls, we use guitars,” said bassist Michael Anthony in talking to The Today Show. Sammy Hagar added “NBA playoffs, title fight, every night. there’s so much music its probably really tough on the people the next day,” mimicking the headache they might have the next day, then adding in “a week later, that was the greatest thing I ever did.”
Being a large scale event with multiple acts, there was a long gap between many dates while the band’s gear was transported and set up. A total of 50 tractor trailers carrying 75 tons of sound equiptment traveled between each venue, adding to tour dates that were spaced out as seen below.
May 27-29
East Troy, WI
Alpine Valley Music Theatre
June 4
Miami
Orange Bowl
June 5
Tampa
Tampa Stadium
June 10
Washington D.C.
RFK Stadium
June 11
Philadelphia
JFK Stadium
June 12
Boston
Sullivan Stadium
June 15
Pittsburgh
Three Rivers Stadium
June 17-18
Detroit
Pontaic Silverdome
June 19
Buffalo
Rich Stadium
June 22-23
Akron
Rubber Bowl
June 25
Portland
Oxford Plains Speedway
June 26-27
East Rutherford
Giants Stadium
July 2
Houston
Rice Stadium
July 3
Dallas
Cotton Bowl
July 6
Indianapolis
Hoosier Dome
July 9
Memphis
Memorial Stadium
July 10
Kansas City
Arrowhead Stadium
July 13
Minneapolis
Metrodome
July 16
San Francisco
Candlestick Park
July 20
Spokane
Joe Albi Stadium
July 23-24
Los Angeles
Los Angeles Memorial Coliseum
July 27
Seattle
Kingdome
July 30
Denver
Mile High Stadium
Monsters of Rock 1988 was the third time then up-and-coming heavy metal band Metallica would tour on the lineup, and the second year in a row. The 1988 shows gave early hype for their eventual classic album …And Justice For All, leading to “Harvester of Sorrow” making appearances in the setlist throughout the tour. This also marked the first tour since bass player Cliff Burton passed away in September 1986. Listen to Audio of their Buffalo set here.
Dokken was another notable band to join the show, although an attendee notes there were tensions between lead singer Don Dokken and guitarist George Lynch, leading to a short and uninspired set. Veteran German rock band Scorpions were a major European rock artist at the time, and their fans felt the love throughout the show.
Over time, the Monsters of Rock tour would decline, due in part to two fans dying during a Guns N’ Roses set later in 1988, with crowds that pushed 100,000 and muddy/wet conditions being contributing factors. This led to the festival being cancelled for 1989, with a two day festival, Moscow Music Peace Festival held in Russia, featuring Bon Jovi, Ozzy Osbourne, Mötley Crüe and Scorpions. When Monsters of Rock returns in 1990, the crowd size was limited to 75.000.
Kingdom Come setlist: Get It On, What Love Can Be
Metallica setlist: The Ecstasy of Gold, Creeping Death, For Whom the Bell Tolls, Welcome Home (Sanitarium), Harvester of Sorrow, Whiplash, Fade to Black, Seek & Destroy, Master of Puppets, Last Caress, Am I Evil?, Battery
Dokken setlist: Without Warning, Tooth and Nail, Just Got Lucky, Burning Like a Flame, Into the Fire, Heaven Sent, It’s Not Love, Guitar Solo, Mr. Scary, Dream Warriors, Alone Again, Turn on the Action
Scorpions setlist: Blackout, Big City Nights, Rhythm of Love, Bad Boys Running Wild, Make It Real, Coast to Coast, Still Loving You, Don’t Stop at the Top, Can’t Live Without You, Coming Home, The Zoo, No One Like You, Rock You Like a Hurricane, Dynamite
Van Halen setlist: A.F.U. (Naturally Wired), Summer Nights, There’s Only One Way to Rock, Panama, Bass Solo, Runnin’ With the Devil, Why Can’t This Be Love, Mine All Mine, Drum Solo, You Really Got Me, Sucker in a 3 Piece, When It’s Love, Eagles Fly, I Can’t Drive 55, Best of Both Worlds, Guitar Solo, Black and Blue, Ain’t Talkin’ ’bout Love, Superstition, Rock and Roll
