Making their first visit to Albany since October 2017, Spafford returned to the Capital Region with a vengeance on Thursday, June 16. Headlining week two of Albany’s beloved Alive at 5 concert series, organizers could not have booked a more appropriate act for “Jam Night” than the Arizona improv quartet; a band that’s bolstered their reputation in recent years by occasionally surprising audiences with unannounced single-song shows.
Despite a tornado warning in areas of Western New York, mother nature played nice and so did the band. Indeed the jams at Jennings Landing on this night went long and strong and judging by the look on many of the first timers in the crowd, it was as if the music was hitting them over the head like a sonic sledgehammer, and they loved it.
Opening band and local legends Annie in the Water started the evening as only they know how. The whole band was delighted to be playing for Alive at Five and you could tell from the first note. Although it wasn’t the jam-heavy sets fans may be accustomed to, the Annie boys threw down a well-rounded set that had a large portion of people on their feet. They chose original songs as well as an excellent cover of Fleetwood Mac’s “Dreams” that have brought their fans to fall in love with the band.
Setlist: Time to Play, In the Sand, Lights up, River, Dreams (Fleetwood Mac), Seeds, Dancing the Night Away
In an age where “jamming” is often viewed as a dirty word, Spafford makes no bones about what type of band they are. Comprised of Brian Moss (guitar/vocals), Jordan Fairless (Bass), Andrew “Red” Johnson on keyboards and Nick Tkachyk on drums, their social media bio simply says “We Jam.” But while the theme for this week was “Jam night,” this was anything but your typical Spafford show. For one thing it was totally free, thus attracting a lot of curious and first-time listeners. Second, due to the 8pm city curfew, there was only time for the band to play one set and no encore. Another key component missing was the bands elaborate light show, which due to the time of day was an impossibility.
Well aware of these limitations, Spafford played it smart and went with an almost “festival-like” setlist. With first time ears upon them, they decided to offer up a collection of some of their more well known and more accessible compositions. Kicking things off with one of the songs that put them on the map, the opening riff of “Electric Taco Stand” made it clear that despite the constraints, these Arizona cats came to Albany to boogie down. After a beautiful and contemplative version of the Andrew “Red” Johnson sung “Slip and Squander,” bassist Jordan Fairless had his chance to shine on what was perhaps the highlight of the night, “Leave the Light On.” Shifting gears from its reggae style structure, this version would drift into a delicate and blissfully sublime space before Jordan would reel it in and lead fans through the call and response portion of the song, so catchy even first timers could be seen mouthing the words in unison.
Worth noting is that the guys appeared to be having an absolute blast on stage. Smiles all around, Jordan in particular seemed more jovial than his usual self, even making all kinds of “bass faces” and playing off Brian’s tasty licks by sticking out his tongue during an absolutely epic version of “Back Door Funk.” Showcasing their versatility and flaunting their ability to blend various genres seamlessly into one, the evening had everything from filthy funk and up-tempo jamtronica, to rump-shaking reggae, introspective instrumentals and all out rock n’ roll shred fests courtesy of Mr. Brian Moss and his custom Thomas Milana guitar: The Raven. In fact, if there was an actual way to keep track of such things, I’d be willing to bet Moss played more notes during this set than any other performer in Alive at 5 history.
After working their way through “Mind’s Unchained,” the show would come to a glorious end by way of the anthemic “Salamander Song” in which the audience was encouraged to “dance the whole way home.” Judging by the look on some of the freshly melted faces of Albany’s first timers, that’s exactly what they may have done. While it may not have been your typical two-set Spafford show, there was still plenty to like about this performance. Savoring every minute of it, Albany fans can only hope it doesn’t take 5 more years for this very talented band to return.
6/16/22 | Alive at Five | Albany, NY
Setlist: Electric Taco Stand, Slip and Squander, Leave the Light On, Backdoor Funk, Mind’s Unchained > Salamander Song
Up next in the Alive at 5 concert series is Classic Rock night with Lita Ford headlining and up-and-coming New York band Candy Ambulance opening things up. The event is scheduled to take place on June, 23 at Jennings Landing on Thursday, June 23, 2022 and as always, is completely free.
Celebrating its 11th anniversary, Governors Ball Music Festival took over Flushing, Queens for the weekend of June 10-12, 2022. Returning to Citi Field for a second year, the lineup featured headliners Kid Cudi, Halsey, and J. Cole, as well as a slew of other talented acts across three stages. NYS Music contributors David Reichmann and Joseph Buscarello were on the grounds covering the three day event. Full festival coverage and photo gallery below.
Governors Ball in a Nutshell – Iconic Festival Returns to Citi Field
Each year fans are treated to performances by some of the biggest names in music. The 2021 Festival was headlined by Billie Eilish, A$AP Rocky, and Post Malone while other notable acts from included, Rüfüs Du Sol, Future Islands, J Balvin, Megan Thee Stallion, Phoebe Bridgers, and Carly Rae Jepsen. Before the pandemic, Governors Ball was always held on Randall’s Island. It was moved to Citi Field for the first time last year, following 2020’s pandemic-related cancellation. The new festival location offers fans easier accessibility via mass transit; a welcome change for those familiar with traveling to and from the old location.
This year’s production boasted a three-stage setup in the parking lot of Citi Field, dozens of local food and drink vendors, smaller experiential booths, lounge areas, and a space for intimate acoustic sets from artists on the bill. Governors Ball has always highlighted diverse local food vendors that represent the melting pot of New York City. NYC born and family-owned Doughnuttery was at the festival this year serving their iconic, coarsely sugared mini doughnuts and cold brew coffee.
Performances encompassed a wide range of genres across the festival’s three stages, some highlights including: Black Pumas, Jack Harlow, Channel Tres, Flume, Joji, Chelsea Cutler, Playboi Carti, Clairo, Japanese Breakfast and 100 Gecs.
This year’s festival started strong, with a warm and sunny Friday leading up to Grammy Award-winning headliner Kid Cudi’s main stage performance. Fans traveled from both near and far to come to the festival, with one fan telling staff contributor David Reichmann, “I came in from Chicago for the weekend today! I asked around, ‘What’s there to do for a weekend in New York City?’ I saw a post about the festival and bought my ticket!” Other fans came from throughout the Tristate Area and beyond, representing the typical “melting pot” experience New York is known for. The first day ran smoothly, and fans enjoyed dozens of their favorite artists during this action packed weekend event.
Crowd at Governors Ball at Citi Field, Photograph by David Reichmann
Earlier in the day on Friday, the mainstage was dominated by indie rock. Plastic Picnic opened the day, followed by Julia Wolf, New York City native Samia, and Beabadoobee with her indie pop stylings. Over on the GoPuff Stage, punk bands Ultra Q and Aly & AJ kicked off the day before the stage transitioned over to hip-hop and EDM with Channel Tres, Skepta, and Louis The Child. Experimental rap dominated the Bacardí Stage with Coi Leray, Paris Texas and JPEGMAFIA.
About a week before the festival began, Migos announced they would no longer perform and were replaced by Lil’ Wayne. Only a few hours before his set, the festival announced that Weezy would not make it due to “flight delays” and would be replaced by Harlem native A$AP Ferg. Joking with the crowd during his set, A$AP Ferg said he was on his couch when Governors Ball called, asking him to save the day. He did not miss a beat, delivering a fiery performance to a packed crowd eagerly awaiting Kid Cudi.
Black Pumas are a soul and psychedelic rock band from Austin, Texas. The group found immediate, worldwide success with their self-titled debut EP released back in 2019. The band has since won three Grammys, including ‘Best New Artist’ in 2020, and ‘Best Rock Album’ in 2022. Only a couple days after their mainstage set at Governors Ball, the group are heading out on a lengthy European tour. Barely a minute into their show, frontman Eric Burton leapt from the very tall stage into the pit, posed for the cameras, and walked the center aisle while singing and greeting fans from the front all the way to the back of the crowd. The future is extremely bright for Black Pumas, whose sophomore record will be one of the most highly anticipated rock albums when it comes to be.
The Bacardi Stage hosted Between Friends, Paris Texas, and Coi Leray before JPEGMAFIA went on to deliver a powerful set. The crowd went wild for each track in his set, and he interacted with them frequently. He joked before playing his song, “BALD!” that he sees “lots of beautiful heads of hair,” but “this one is for the bald” people in the audience. New York founded electronic duo The Knocks delivered the next hour of music before Jack Harlow closed out that day for the stage with massive pyrotechnics.
Jack Harlow at Governors Ball, Photograph by David Reichmann
Channel Tres Continues Meteoric Rise
Hip-hop and house music have a long history of coming together to create dance floor anthems spanning different generations. Channel Tres leverages that relationship and creates a hard-hitting yet cool and laid back sound. Thunderous bass and house beats provide the backdrop for his equable vocal delivery, all while dancing flanked by a crew of backup dancers. Channel Tres has collaborated on songs with the likes of JPEGMAFIA, Tyler, The Creator, Tinashe, and Robyn all while climbing the ranks and becoming more and more popular with each new song he releases.
As the daylight began to fade leading up Kid Cudi’s mainstage set, fans at the Gopuff Stage were treated to a special sunset. The sky glowed red, pink, and orange over the festival as Louis the Child played and fans reveled in both the increasing prominence of the light show and the gorgeous sunset. Fans still enjoyed a few more hours of music even after night fell, but this picturesque sunset came as the perfect way to punctuate a great first day of Governors Ball Music Festival 2022.
Louis The Child Sunset Set, Governors Ball. Photo by Joseph Buscarello
Kid Cudi Plays Classic Hits, A New Single, And A Live Debut
Although there were plenty of great acts spread across the three stages, diehard Kid Cudi fans waited by the mainstage for nearly the entire day, to secure a spot as close to the front as possible. With frequent hydration reminders displayed between sets on the stage screens, security and paramedics onsite worked constantly to distribute free water throughout the festival grounds, focusing on fans who were stuck waiting at the very front of the crowds. Kid Cudi closed out the first night with a powerhouse performance of tracks spanning his expansive Grammy Award Winning, seven-album catalog. His set featured a number of hit singles, deep cuts, pyrotechnic fireballs, and waves of emotion from his devoted fans in attendance.
Kid Cudi has just announced the premiere date for his new Netflix animated series Entergalactic. The show follows the story of a young artist (voiced by Cudi) as he finds love and success in New York City. He also played the new single “Do What I Want,” which saw its official release earlier that day and serves as the lead single for the album accompanying the series. Entergalactic premieres on Netflix later this year on September 30th; no official release date for the album has been set.
His setlist included fan favorite tracks, “Memories (David Guetta cover),” “Mr. Rager,” and “Surfin’.” Cudi brought out King Chip (a.k.a. Chip Tha Rapper) mid-set to join him for a performance of their track, “Just What I Am.” Cudi also treated fans to the live debut of his Travis Scott collaboration “THE SCOTTS.” Kid Cudi closed out the first night of the festival by playing, “Pursuit of Happiness (Nightmare) – Steve Aoki Remix.” You can Listen to his latest single here.
Kid Cudi walked off-stage to a thunderous applause and a fully-satiated fanbase. Now that Governors Ball takes place in the heart of Flushing, fans were able to exit the grounds and hop on the subways, buses and ride shares that awaited them. Local food trucks and vendors were eagerly awaiting the departing crowd, offering an authentic array of the rich Latin food from the neighborhood.
Saturday – Halsey Can’t Resist Playing “Running Up That Hill,” Debuts New Single
The second day of the festival started strong, with another sunny day and some weather reports of minor scattered showers and thunderstorms. Festival staff were on alert in the event of a sudden storm, to maintain crowd safety and all costs, but thankfully only a few light raindrops dared to rain on the festival goers. And the second day went off without a hitch, with numerous excellent acts leading up to Halsey’s incredible and jaw-dropping headlining performance.
The Mainstage featured standout acts, Benee, Tove Lo, and Still Woozy. Tove Lo wished the audience a happy Pride Month during her set, and played a number of her hit tracks, including “Bikini Porn” and “Habits (Stay High)”
There is little NBA legend Shaquille O’Neil is not involved in after retiring from basketball. The CEO of Papa John’s and ubiquitous spokesperson has cultivated a second life and a cult following as a dubstep producer and DJ. DJ Diesel just released “Welcome To The Playhouse,” a collaboration with EDM giant Steve Aoiki, and is curating (and headlining) two weekends of Shaq’s Bass All Stars which features surging names in the underground bass music scene.
It’s hard for a 7 foot NBA hall of famer not to cast a big presence in everyday life, but behind the decks at Governors Ball, DJ Diesel took on an even larger persona with his hard hitting musical style and frequent cries of “where’s my mosh pit” into the microphone. Drawing one of the largest crowds of the weekend on the second stage, DJ Diesel dropped a wide palate of crowd pleasing favorites and underground bangers. Jerseys from the Lakers, Heat, and Magic littered the crowd, and many were brought onto stage for Shaq to sign and return to his fans.
Roddy Ricch had been scheduled to perform on Saturday, but apparently was forced to cancel at the last minute. A few minutes before he was scheduled to begin his set, a message displayed on the screens alerting the crowd of the cancellation. There was a momentary upset among the crowd, but they picked up from their spots and went on to enjoy the other upcoming sets, Joji, Ashnikko, and Flume. Flume put on an amazing set, with stunning visuals and lighting as the sun went down. Towards the latter half of his set, he brought Tove Lo onstage to join him for a song. The crowd loved it.
Halsey took the stage to a packed crowd of fans who had waited for hours to get the best possible spot. During her set, she mentioned having attended Governors Ball 8 years ago, on the day she signed her record label deal. She told the audience how much of an impact that moment had on her life, signing the deal with her Governors Ball wristband on.
Halsey debuted a new single, “So Good” towards the end of her set. As she began to wrap up, she thanked the crowd again and began a cover of the trending Kate Bush song, “Running Up That Hill.” The song recently made it to the top of the charts for the first time in decades thanks to its inclusion in Netflix’s fourth season of Stranger Things. At the end of the song, she laughed and said, “I couldn’t resist.”
She ended the set with her powerhouse single, “I Am Not a Woman, I’m a God.” Fans once again exited the festival in an excited buzz, talking with friends about the long and full day of performances. With the second festival day over, only one more day remained. And fans would have to savor it. Weather reports looked mixed, and there was no telling whether New York would have clear skies or daylong thunderstorms for Sunday. Fans would just have to wait until the morning to find out.
Sunday – J. Cole and Playboi Carti Close Out Governors Ball with a Bang
Despite some ominous weather reports and a passing storm overnight, fans enjoyed mostly sunny weather and moderate heat for the festival’s final day. J. Cole and Playboi Carti were set to close out the festival, with fans in eager anticipation of what was to come on the last day of 2022’s Governors Ball Music Festival. Although many fans complained of sore feet, lack of sleep, or responsibilities they had been shirking all weekend, they all did so with gleeful smiles and laughs.
Clairo’s mainstage set featured some technical issues with her microphone, but she played it off very well with her charming laugh and smile, to huge applause from the audience. The rest of her set went off smoothly, with fans packed to the front of the barricades, singing along for every song. She apologized to fans for the technical difficulties as she exited the stage, but the audience didn’t seem to mind, cheering and thanking her for the moving set.
Clairo checking her mic at Governors Ball, Photograph by David Reichmann
JID Takes One for the Team, Breaks Wrist Onstage
Atlanta-born rapper JID filled a mid-day slot on the main stage on Sunday. At this point in the day, fans were packing into the main stage grounds to claim their spot for J. Cole. JID is a relative newcomer to the scene, releasing his debut LP The Never Story back in 2017, but the fans who were there to see him were quite familiar with his music and rapped along with him throughout his set. Towards the end of his set, he brought out Kenny Mason for an energetic performance of fan-favorite “Stick.” Unfortunately, JID fell and fractured his wrist while moshing onstage during his performance, but continued on despite the minor injury. It wasn’t made clear the extent of the injury until he was brought onstage for a guest spot during J. Cole’s performance where he admitted he “went too hard, don’t be like me!”
JID also treated the Governors Ball crowd to the live debut of his just released new single, “29 Freestyle.” JID’s flow is as cohesive and vibrant as ever on the new song, which is being teased as a lead up to a new album, The Forever Story. The single and music video were officially released Friday, June 17th.
Japanese Breakfast Returns to Citi Field – the “Scene of the Crime”
Twice-Grammy-Nominated artist and New York Times Bestselling author of Crying in H Mart, Michelle Zauner and her band performed to a dedicated audience of her most hardcore fans. Japanese Breakfast had played Governors Ball once before, and a huge crowd of adoring fans came to their set to cheer and sing along through nearly every song. “I didn’t know if you would all come today,” Michelle told the crowd, “but you came through, New York. As you always do.”
Japanese Breakfast at Governors Ball, Photograph by David Reichmann
Michelle threw out the first pitch at Citi Field just a few weeks prior. She joked, “We’re from Philly […] I know I am returning to the scene of the crime, where I threw out the first pitch here for the Mets.” Japanese breakfast recently featured on SNL as the final music guest of the year for season 47. They also released a two-song EP for Spotify Singles this year, featuring a cover of Bon Iver’s “Skinny Love” and an acoustic rendition of Japanese Breakfasts’ hit single, “Be Sweet.” During their set, a newly-turned fan was overheard saying, “Wow, they’re amazing. This is amazing, I have to check them out later.”
Japanese Breakfast at Governors Ball, Photograph by David Reichmann
Playboi Carti Moves the Earth
Playing opposite J. Cole on the GoPuff Stage, Playboi Carti brought his signature staging and rap style and offered a fiery closing to the weekend. Some fans lamented having to choose between the J. Cole and Playboi Carti, but both acts drew impressively large crowds. Playboi Carti spent a good portion of the show rapping from atop a tall pyramid while a singular guitar player patrolled the stage. Featuring constant pyrotechnics and a rabid, near heavy metal-like performance, the set was one of the most chaotic and in-your-face moments of the weekend. Carti’s fans were raging, causing a noticeable bounce in the parking lot of Citi Field while screaming along to the lyrics.
J. Cole took the mainstage for the final performance of the festival’s 2022 year. He came out swinging, starting the opening track, “95 South” from his latest LP, “The Off Season” without wasting a second to introduce himself or greet the crowd, which he only took the time to do before moving into his next song, “Amari.” The crowd let out massive cheers and their dancing literally shook the ground beneath their feet throughout the set. He also included classic tracks “G.O.M.D.,” “Wet Dreamz,” and “No Role Modelz” in his expansive setlist.
J. Cole took on a more wistful tone between songs, pausing for a moment to listen to the sound of a nearby passing 7 train. He then talked about living in Queens writing songs “just down the street from here,” listening to the sounds of the trains while looking out his window. He thanked the audience and said, “New York is like a second home to me.”
J. Cole and JID at Governors Ball, Photograph by David Reichmann
JID and Kenny Mason joined J. Cole on stage to perform “Stick.” Before they started, JID told the crowd, “I want you to be safe out there.” He held up his hand, wrapped in bandages, and said, “I broke my hand earlier during my set because I was raging too hard. Don’t be like me.” He asked the crowd if they felt comfortable with some mosh pits, and told any fans who weren’t comfortable or interested to move back from the pits before they began. “I see fun. I see mosh pits. I see safety.” He held up his hand one more time, “Listen, I’m serious, don’t be like me. Have fun.” The crowd obliged, and a massive wave of movement took over the excited crowd. The three artists flew around the stage.
J. Cole at Governors Ball with JID and Kenny Mason, Photograph by David Reichmann
J. Cole played a few more songs before walking off to an instrumental version of “Hunger on Hillside.” He thanked the audience once more as he walked off. As the fun of the weekend came to a close, fans shuffled off from Citi Field in a happy daze of exhaustion and excitement. They told stories of their day to each other as they found their way to the buses, cars, trains, and bikes that would see them home. Although each fan had their own unique experience, with their own mix of artists and activities, they all shared in this singular one moment that was Governors Ball Music Festival 2022.
Another year of the Governors Ball music Festival has come and gone. Fans were treated to dozens of massive acts who may not typically share a stage together, and were – hopefully – exposed to plenty of new styles, genres, and artists as a result. Governors Ball has and always will be a definitive New York experience, and although New York concert-goers may have to wait another year for the upcoming 12th installment of the festival in 2023, music fans in the Tristate area will have plenty of great options until then. Summer concerts and festivals continue strong in New York City, with Rolling Loud Music Festival, Central Park’s Summerstage Concert Series, and Celebrate Brooklyn’s Summer Concert Series just to name a few.
You can listen to all artists mentioned wherever music is streamed, and see the full photo Gallery featuring coverage from David Reichmann and Joseph Buscarello below.
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On Friday, 10 June, Brooklyn quartet band Living Room released their new album, New Years. After their growth in the last decade, the band performed their surprising leveling up in this album.
Living Room
Based out of Brooklyn, Living Room is anchored by a decade-long friendship between their members, and now joined indie label Fear Icon Records. It has Scott Fitzpatrick and John Nicholls on guitar/vocals, Kevin Dobbins on bass, and Fred Trumpy on drums.
Influenced by late ’90s and early aught acts, Living Room released a rich discography that blends emo, shoegaze, and post-punk. Their discography displays their evolving and precise musicianship with lyrics that reflect the complexity, vicissitude, and euphoria of life.
The first powerful impression of this album is its strong sense of rhythm. Based on the intense drumbeats, “Mauve Frame” successful built a cheerful but absurd environment. And the drum is the spine to support the emotional storytelling from the lyrics and vocals.
Guitar and bass played an important role in performing their shoegaze style. The long and droning riffs in “Flood” expressed the shoegaze style of the band. This album widely used such sound in guitar and bass performing.
Stand out tracks like “Petrol Head” and “Flood” have big choruses that shine with the production work of Gary Cioni. Cooperated with the Scott and John’s vocal, the big choruses amplified the emotion embeded in the songs.
Lyrically the album used metaphor to express their feelings. Written by the two vocals, the lyrics told the feelings of romance and life experiences. “All I saw was the mauve frame. It all looked burnt orange to me. I’m sorry, it’s not funny. A world so colorful yet so boring”, they sang in the “Mauve Frame”, with the bright melodies reflected the loneliness in the song.
After three years together, Rock ‘n Soul band FARROW, from Buffalo, is gearing up to release their first album, Agitate, on July 9. With joyous music and infectious melodies, this diverse group of musicians excels on this newest project.
Agitate will be the first of three EPs in a series. To accompany the sound component of the album, FARROW will have video releases for each song every month. These videos will be available to the Farrow Fan Club on Patreon.
FARROW is made up of seven talented musicians and artists. Led by André Pilette (producer/bass) and Michael Farrow (lyricist/singer), the band released two previous singles on Spotify, “Rise Up” and “Insoluble” in 2020. Other members feature Tim Webb (drums), Michael Ruopoli (percussion), Cory Clancy (guitar), Rufus “Breezy” Cole Jr. (keys), and Danielle Johnson (backing vocals).
The new album is filled with joyous, empowering lyrics and snappy beats. The second track, “Steal My Joy,” opens up with laughter and the lyrics “you ain’t gonna mess with me today!” – a phrase that seems to encapsulate a theme of the album.
Just one listen and it is easy to move to the rhythm. FARROW’s Agitate explores different beats and instrumentation on the album, and all 6 tracks are energetic and thought-provoking.
The group has a history of performing around Western NY, with other performances including Buffalo Iron Works, Sportsmen’s Tavern, Bowery Electric, Rockwood Music Hall, and more. In the future, they will extend their reach, including a performance at the North By Northeast Festival in Toronto.
To celebrate the release of their first album, FARROW will hold a party and concert at Sportsmen’s Tavern in Buffalo on July 9.
Key tracks: Steal My Joy, In This Place, Love Me For Me
FARROW is also performing at the following upcoming events:
June 18 – NXNE Music Festival – Toronto
June 26 – Elmwood Summerfest – Buffalo
July 7 – Thursday & Main – Buffalo
July 9 – Sportsmen’s Tavern – Buffalo
July 22 – Sunset at the Stables at Knox Farm State Park – East Aurora
Aug. 19 – The Erie County Fair – Hamburg
Sep. 17 – Borderland Music + Arts Festival – East Aurora
Despite the relief Jason Isbell felt not playing in 125 degree heat for once, it was hot and humid for the western New Yorkers settling in at CMAC on Wednesday night. Isbell, along with Sheryl Crow, and Waxahatchee, incredible songwriters across three generations, would prove their inter-generational appeal over the course of the evening. Each brought their arsenals of songs and their own bands to aid in fleshing them out to their full splendors.
Waxahatchee, the brainchild of Katie Crutchfield, won over the early attendees, stuffing her 40 minute set to the gills with a expansive overview of her material. Gently lilting folk songs that floated upon Crutchfield’s angelic voice. The catchy-as-heck “Lilacs” was dedicated to both Isbell and Crow. You could just imagine each of them stopping her backstage earlier in the day to let her know how great it is. A late set “Witches” had some big 80’s energy that could have easily threaded into Crow’s ensuing set while “Fire” added more modern splashes of electronic pop into the mix. Crutchfield and her five-piece confidently commanded the stage for what could be perceived as quite a difficult position.
Indeed when Sheryl Crow strutted out on the stage in her hot pink leather jacket and sparkling pink cowgirl boots 20 minutes later, with the aid of an engaging light show, a full house, 40 years of experience and a few #1 hits in her pocket, it wasn’t even a fair comparison. The eldest performer of the evening matched both her tour mates in youthful energy, sounding as good as in her prime, or maybe her prime is now. As Isbell correctly pointed out, seeing Crow perform was “just great song after great song after great song,” a deceptively deep catalog.
She hit the crowd early with two of her biggest hits, “Happy” and “All I Wanna Do,” then delved deeper into her catalog where she was more prone to delve deep into their exploration. She brought along a strong 5-piece backing band including the great Audley Freed on guitar, who ripped some mean guitar solos in “Steve McQueen” and “Cross Creek Road.” Aside from the great songwriting and beautifully aged (or not at all) voice, Crow also boasted some great musicianship. She picked up bass duties for “My Favorite Mistake” and “Soak Up the Sun,” strapped on the guitar and even blew some impressive harmonica. And just when you thought she had played all of her hits, she still had “Everyday is a Winding Road” waiting in the wings for the big set closer. She also endeared herself to the locals with tales of taking her kids to the Museum of Play, the Rochester Museum and Science Center and out for some Pittsford Dairy Ice Cream. What, no Wegmans?!
Nestled generationally between Waxahatchie and Crow, Isbell came out for the knockout closer set. Him and his 400 Unit band were of course well up to the task. “Dreamsicle” was an early set highlight, with guitarist Sadler Vaden slinking back into a nuanced groove above an infectiously watery bass line. “Be Afraid,” played for Isbells’s 6.5 year old daughter before she had to get to bed, featured some guitar pyrotechnics with both Isbell and Vaden dueling it out. Though bassist Jimbo Hart proved to be the MVP of the set, providing a consistently powerful presence throughout, blasting bass bombs left and right while more than ably directing the rock and roll traffic. His playing was particularly and uniquely noteworthy on “If We Were Vampires,” evoking deep spacey moans, building in both intensity and eeriness. A thing of beauty.
Isbell’s respects to Crow boomeranged around to describe his set just as well, “great song after great song after great song.” The night closed with his Drive-By Truckers classic “Decoration Day,” “an old one, written 20 years ago.” When Crow was 20 years into her career while Crutchfield was a preteen, possibly dreaming of the day she would one day share the stage with rock stars.
It was an evening exhibiting song craft of the highest order. Each artist has a vision and a voice to share it with and we’re all the richer for it. Even so, they each saw fit to share an other’s song as well. To fit into a set with their own incredible works, they had to choose wisely, and that they did. Waxahatchee closed their set with a beautiful rendition of Dolly Parton’s “Light of the Clear Blue Morning,” strong enough to stick itself into your head across two sets and a night’s sleep. Crow tossed a cover of the Rolling Stones’ “Live With Me” in the middle of her set, culminating in a raging jam featuring her aforementioned impressive harmonica playing. Sadler Vaden led the 400 Unit through Isbell’s cover choice, “Honeysuckle Blue,” from Kevn Kinney’s great band Drivin’ N Cryin’, of which Vaden was a member. The song was also featured on Isbell’s 2021 release Georgia Blue, an all covers album benefiting voting rights in Georgia.
By the end of the night the only heat and humidity was emanating off the CMAC stage, though mother nature kept the entertainment going with a wild lightning display that lasted well into the wee hours.
Setlists:
Waxahatchee: Oxbow, Recite Remorse, Can’t Do Much, The Eye, Hell, Lilacs, Ruby Falls, Witches, St. Cloud, Fire, Light of the Clear Blue Morning (Dolly Parton)
Sheryl Crow: Happy, A Change Will Do You Good, All I Wanna Do, My Favorite Mistake, Leaving Las Vegas, Strong Enough, Forever, Steve McQueen, Live With Me (Rolling Stones), First Cut is the Deepest, Cross Creek Road, Soak Up the Sun, Everyday is a Winding Road
Jason Isbell: It Gets Easier, 24 Frames, Dreamsicle, Be Afraid, Hope the High Road, Alabama Pines, Elephant, Overseas, Honeysuckle Blue (Drivin N Cryin), If We Were Vampires, Super 8, Cover Me Up E: Tour of Duty, Decoration Day
The Hudson Valley based band, monarch. release their EP, Sweet Little Things, on June 17, a stunning debut with five tracks sure to get you dancing. The project comes after the release of the single “Faces In Crowded Places,” in November 2021.
Comprised of Sarah Hartstein (vocals), Johnny Lu (drums), Nick Pappalardo (guitar), and Jesse Hartstein (bass), the band pulls inspiration from multiple genres and influential artists, like Fiona Apple and Amy Winehouse. The group began Sweet Little Things in the summer of 2021 and is currently touring throughout New York.
monarch. originally formed in 2017 and consisted of just Sarah Hartstein and Lu. As the duo started writing this most recent project, they knew they needed more, and the band’s debut EP represents that full evolution.
The EP is sonically cohesive without being repetitive, as monarch. explores a range of tempos, instruments, and melodies. Themes of love, passion, growing up, and letting go of hardships make up the EP, the lyrics honest and relatable for any listener.
With a strong start on vocals from Sarah Hartstein on “Morning Coffee,” the opening track on the EP grabs your attention and then keeps it with catchy lyrics and upbeat instrumentation. The introspective lyrics over a bubbly tune make it easy to get swept away in the music.
The title track slows things down, at first. Soulful, the track drives the group to explore their blues roots and encompasses the overall theme for the project. Guitarist Pappalardo shines with an engaging solo over an energetic drum track.
Overall, the EP showcases the immense growth of the band, expanding on their talents and experimentation in their first single, “Faces In Crowded Places.” Energy and spirit intertwine throughout the EP, making it a joy to listen to.
The last of the five tracks, “Naive,” reminds audiences we can easily get lost in harmful relationships. Heart-wrenching lyrics from Hartstein pull you in, and intense instrumentation builds up for a passionate ending to the debut EP.
monarch. shines on this project, and certainly warrants one dancing around screaming the lyrics on repeat. The band has shows across NY in the promotion of their newest project, with dates well into the summer.
Key Tracks: Morning Coffee, Sweet Little Things, Naive
New York City folk-pop trio, Morningsiders, release their newest album, I’ve Got A Song on June 17. Known for their unique style of indie music, this album encompasses a set of their latest quirky tunes. Their sound is often described as music that bridges the gap between virtuosic, intimate live moments and gorgeously atmospheric studio-produced pop.
The Morningsiders are NYC-based, having met and formed at Columbia University. The band is comprised of Magnus Ferguson (vocals/guitar), Reid Jenkins (fiddle/vocals), and Robert Frech (piano).
The band has evolved from an Americana-collective into today’s guitar-fiddle-piano trio more focused on song craft and production. Originally, the band was comprised of rotating members and improvisatory performances.
Morningsiders had first made a name for themselves on a national level when their song “Empress” went viral, topping Spotify’s Viral 50 in 2015. Shortly after, they ended but being featured in a Starbucks commercial featuring Oprah Winfrey. “Empress” now has over 44 million streams on Spotify to this day.
Songs like “Hang the Cedar” and “Bowery Ballroom” have an emotional yet upbeat melody, with pop-punk highlights. The lyrics are heartfelt and gentle, making us reminisce about a past or current relationship.
This album has quite a few gentle melodies, “This Could Be Good” has a beautiful guitar riff with motivating yet gentle lyrics. Yet, “Four Faced Liar” pokes at our heartstrings with a beautiful symphony and chorus.
Currently, the trio are set to expand their popularity using their quirky sonic maneuvering, while still retaining the moments of brilliant musicianship. I’ve Got A Song encompasses this new style overall, making it an easy hit.
Overall, “I’ve Got A Song” encompasses a gentle yet pop-punk side to the Morningsiders. They have evolved from an Americana-collective into today’s incredible guitar-fiddle-piano trio, you won’t want to miss out on this new album.
To download I’ve Got A Song, click the link here and watch “Hang The Cedar” below.
On Thursday, June 9th, 2022, Albany’s first Alive at 5 show of the year opened with Alternative/Indie rock band Young Culture and closed out with Pop-punk band State Champs. The show was moved to the rain location at Corning Perserve Boat Launch after rain was in the forecast. The sun was shining bright, however, for a high energy performance with crowd surfers just as high.
Both bands are originally from the Capital Region whose music might bring out feelings that a typical high schooler would have from their crush. Both bands share an alternative rock style that a teenager going through a break up could bop their head to. After many years of success, they decided to come back home to open the Alive at 5 series.
Young Culture started in Albany in 2016, and quickly blew up after the release of their EP “(This is) Heaven.” Young Culture performed at Empire Live back in November of 2021 for Grayscale’s Umbra Tour. Young Culture is gearing up for a summer tour titled, Into the Raging Sea with Broadside. State Champs also performed at Empire Live as the head liners for Frozen Fest. This was the release show for State Champs’ new album, Kings of a New Age.
Alive at 5 could not chose two better bands to open the series. Young Culture’s lead vocalist, Alex Magan connected with the young crowd with “Kinda Over You,” a song he said was about his ex-girlfriend in high school. That song, along with “Laylo,” helped the young crowd to mellow out for a short bit and connect with the band on a more personal level. Both songs where about a love that did not last, a theme that resonated well with the audience.
They left on a high note with “Party Girl” and “Holiday in Vegas.” Alex stood on equipment boxes in the pit to grab the hands of those crowd surfing. There was a long of head banging from other members of the band along with the crowd. They thanked Albany for inviting them back home.
Representatives from In Our Own Voices and the Capital Pride Center came out with Kathy Sheehan, the Mayor of Albany and Sam Mills, Albany’s 2022 Tulip Queen. They all gave a brief speeches about upcoming pride events in the Capital Region.
State Champs brought energy back up when they opened with “Here to Stay.” The band tried to remind everyone that Alive at 5 was supposed to be a family fun event, but then performed “Everybody But You,” one of their hit songs with the F-word emphasized in the chorus. Members of the band stood on the equipment boxes to greet crowd surfers during the set. The crowd surfing was constant by mostly young people. It was evident that the crowd may have been getting tired of the surfing as many surfers were being thrown to the barricade towards the end. The most pit opened twice, first for a circle mosh ad the second time for a traditional mosh.
It was a great performance from State Champs, that lasted over an hour. They answered cheers for an encore with two songs. They have a tour lined up for Sad Summer Fest starting in July. The festival comes to New York on July 22nd at Pier 17.
Young Culture Setlist: Bloodthin, Better Off as Friends, Hum, Godspeed, Kinda Over it, HB16, Fantasy, Laylo, Shiver, 21 Days, Drift, Party Girl, Holiday in Vegas
State Champs Setlist: Here to Stay, Eventually, Frozen, Outta My Head, Hard to Please, Mine is Gold, Act Like That, Simple Existence, Remedy, Easy Enough, Criminal, Just Sound, Losing Myself, Slow Burn, History, Everybody But You, Dead and Gone, Elevated, Secrets
Acclaimed jazz sax titan Kamasi Washington and his eight-piece band delivered a ferocious performance to herald the return of BRIC’s Celebrate Brooklyn!, New York City’s longest running, free music festival at the Lena Horne Bandshell in Prospect Park.
Like many good things, this world-class event was sidelined by COVID-19, with no performances in 2020 and a greatly scaled back schedule in 2021.
Now in its 44th year, the 2022 BRIC season will boast a lineup of heavy-hitting musical artists from Brooklyn and around the world. The roster includes: rapper Vic Mensa; Brooklynite, contemporary poet, writer, lyricist and activist aja monet; Nigerian Afropop phenom Yemi Alade; British reggae vocalist, Maxi Priest; genre-defying rock band, Chicano Batman; Grammy-winning contemporary blues artist Fantastic Negrito; Grammy-winning latin pop singer Fonseca; San Francisco-based Kronos Quartet and filmmaker Sam Green, performing in tandem with “A Thousand Thoughts” documentary; indie-pop band, The Beths; American soul rock band Seratones and many more. The season will also include ticketed benefit concerts featuring Indie-Rock singer-songwriter Phoebe Bridgers; American-born Nigerian singer, songwriter, and record producer Davido; Texas-based psych rock band Khruangbin and multi-Grammy-winning “Queen of Neo Soul” artist Erykah Badu.
The June 8 season opener drew a packed house to Brooklyn that reveled in the sounds of Kamasi Washington and show opener Ravyn Lenae, the alt.R&B newbie riding high of the release of her massive 20-track Atlantic Records’ debut, Hypnos. The classical-trained Chicagoite has been around since 2015, as a part of Zero Fatigue, a collective comprised of Smino, Jean Deaux and producer Monte Booker.
Lenae and her tight quartet of backing musicians blazed through a set of both up-tempo neo-soul and ballads including her album’s standout tracks, including “Where I’m From,” “Skintight,” “Light Me Up,” “M.I.A,” the super slinky “Sticky” and the propulsive near rocker “Inside Out.” Lenae is gifted with a great stage presence and a soaring falsetto, which she uses to great effect on many tracks. The audience was full of Lenae fans, who pressed to the stage with cellphones drawn to capture the performance of this rising star. My one complaint is that she did not introduce her tight backing musicians, an array which included a powerful female drummer who may or may not have been Nikki Glaspie of Beyonce and the great jam bands, Nth Power and Dumpstaphunk.
Before Lenae and Washington’s sets, the crowd was fired up by the well curated spins from DJ Reborn. A vision in magenta, she swayed, and had the crowd doing likewise, to selections including Samankwe’s “Happysong” and Leikeli 47’s “Money.”
The energy hit a new level in Brooklyn when Kamasi Washington and his double-drummer ensemble hit the stage. Unlike many of his album tracks, which heavily feature masses of strings and vocal choruses, Washington’s performance at Celebrate Brooklyn! had a fierce howling edge driven by his tight interplay of his all-virtuoso ensemble.
The band kicked off its performance with an extended version of “The Garden Path,” Washington’s latest single. The stage was set with an intro solo by keyboardist Brandon Coleman, who fuses straight-ahead jazz, hard core funk and P-Funk master Bernie Worrell-esque spaceisms in a wholly unique style. Trumpeter Dontae Winslow followed, with the first of many searing solos that matched the mighty Washington in melodic architecture and excitement. Likewise for flautist and soprano saxman Rickey Washington, Kamasi’s father. The elder Washington not only helped mold his son’s talent but kicked up every tune he soloed on during the set.
Washington is both a superlative composer/arranger and a true titan of the art of tenor sax soloing. His extrapolation on the opening tune and all others in the performance build thoughtfully, from breathy balladeering to Tranesque sheets sound to a free jazz Pharoah Sanders scream and skronk. Washington and his band heightened the pace with the next tune, “Street Fighter Mas,” a majestic-themed, funkified selection from his acclaimed 2018 disc, Heaven and Hell, with 12 million streams, his biggest hit on Spotify.
The melodic “Sun Kissed Child” was one of the tunes that featured the singular soloing of bassist Miles Mosley. On this and several other tunes, Mosley clawed, sawed and thumped on his bass, giving it an otherworldly sort of post-Hendrix howl with judicious use of a harmonizer, fuzz and his bow. Another standout band member was vocalist Patrice Quinn, who admirably recreated the vocal parts of Washington’s tunes that are, on record, performed by a chorus. Kamasi’s performance also included crowd-pleasing tunes like “Blaxsploitation,” “Truth” from his awesome 2017 EP “Harmony of Difference” and the final track, “Fists of Fury.”
With his floor length robe, big beard and crown of locks, Washington projects a biblical/prophetic presence. This is wholly appropriate as his performances are an almost religious experience for those who love jazz, classical music, funk and everything in between. Keyboardist Coleman’s dabs of electronica and Washington and Mosley’s use of effects like delay give this jazz a futuristic feel that is missing from so much of the genre today – one which seems set on reproducing a music past from the likes of Coltrane that can never be matched.
If you want to see a show that embraces all the many eras of jazz’s great past but with an eye to the future, catch Kamasi Washington.
On Wednesday June 8th, Arthur’s Tavern located in the West Village had it’s long awaited grand reopening with New Orleans legend Kermit Ruffins headlining. The historic jazz club first opened its doors in 1937, but was forced to close in 2020 due to the pandemic. Arthur’s has hosted performances as well as long term residencies over the years by some of the biggest names in jazz such as Charlie Parker, Mabel Godwin, Al Bundy and The Grove Street Stompers.
Kermit Ruffins at Arthur’s NYC
Jazz trumpeter Ruffins had the honor of performing at the reopening. His band includes Yoshitaka “Z2” Tsuji on piano, Kevin Morris on bass and Jerry Anderson on drums.
I’m just a small jazz player from New Orleans, and all of a sudden I’m sitting right here. It’s full circle to be sitting here knowing the history of this place and I’m so excited.
Kermit Ruffins, just before going on stage
Ruffins, born in New Orleans, is not only a trumpeter, but a singer, composer and actor. His influences include Louis Armstrong and Louis Jordan. He plays himself in the HBO Series Treme and also owns a bar in his hometown called Kermit’s Treme Mother-In-Law Lounge. Ruffins has also sat in with Jon Batiste and Stay Human on The Late Show with Stephen Colbert.
Arthur’s has a very intimate atmosphere and offers live music every night with no cover charge. The staff is also very friendly and accommodating. It’s one of the best spots in the village and has a very “Old New York” vibe. You can see all of their upcoming events here.
