Leftover Salmon stopped by the Rochester JCC’s summer concert series on Wednesday, August 3rd, with the Colorado band inviting up-and-coming artist Daniel Donato to close out each set. Donato and his band were in town for his show at Party In The Park on Thursday.
photo by Kyler Klix
Salmon kicked off the show with”Zombie Jamboree” and the lively song had people out of their seats right away. The venue was seated, but people could stand outside of the tent and dance.
The band played through a set that consisted of mostly originals and saving some cover songs to close the sets. Donate was invited on stage at the end of the first set to play a version of the Louvin Brothers’ “Cash On The Barrel Head” and closed the set with a rocking “Big Railroad Blues” (Noah Lewis cover), with Vince Herman pulling out the washboard vest to end it all.
The second set was filled with more originals and ended with another Donato sit in. The crowd was livelier and wanted to dance. They filled in the empty space in front of the stage after Herman invited them in. I don’t think the JCC planned to have that happen at their shows, but it felt more appropriate for the type of show Leftover Salmon puts on.
The band invited Donato back at the end and they played New Riders of the Purple Sage cover “I Don’t Know You.” Then they had everyone dancing like crazy with Salmon favorite “Ain’t Gonna Work” and they ended it with Waylon Jennings’ “Are You Sure Hank Done It This Way.”
Leftover Salmon – Rochester JCC – Wednesday, August 3, 2022
Set One: Zombie Jamboree, Lonesome Road, Tu N’as Pas Aller, Get me out of the city, Mama Boulet, We’ll Get By, Light behind the Rain, Two Highways, Better Way, Cash on the Barrel Head?* (Louvin Brothers cover), Big Railroad blues* (Noah Lewis)
Set Two: Boulet, Midnight blues, Mountain Top, Hollerwood, Red Fox Run,m High Country, Foreign Fields, Freedom, I don’t know you * (New Riders of the Purple Sage cover), Ain’t Gonna work *, Are you sure Hank Done it this Way* (Waylon Jennings cover)
Another gorgeous evening in the hills of Lafayette, nestled into the apple orchards at Beak and Skiff. Another night filled with sweet sounds by another incredible lineup brought in by Dan Smalls Presents. Tonight it was Andrew Bird and Iron & Wine providing music fans from Syracuse, and beyond, with good reason to be out on a Tuesday. The bands came through on the back end of their Outside Problems tour, a tour two years in the waiting. It was first planned for 2020, but then, you know…
Amongst his wacky banter, Sam Beam, aka Iron & Wine, summed up the evening’s offerings quite well. “You guys just hanging out in an orchard all day listening to some music?”
Of opener Meshell Ndegeocello, “If you don’t like that, I don’t know what’s wrong with you.” Indeed, Ndegeocello and her quartet, in a quick 30 minutes, blended reggae grooves, folk-tinged psychedelia, soul, rhythm and blues and a touch of jazz. Echoey fuzzed out guitar, cosmic keys, charging beats all swirling around her mesmerizing bass lines. What’s not to like?
About his own set, Beam remarked, “I’ve got a lot of long, incredibly sad songs for you.” Moments later he backed off, saying his songs aren’t all the sad, they’re just not that happy. Sad or not, he had the crowd in stitches with his bizarre banter and in-song ramblings and riffing. In the set opening “Such Great Heights,” he cut-in to the beauty to talk about warming up by covering ourselves in applesauce and tears. “Rabbit Will Run” began with a story about Syracuse native Tom Cruise drifting off to sleep and dreaming about another Syracuse native, Grace Jones, whispering in his ear, singing the ensuing song, with harmonies by yet another Syracuse native, Richard Gere. Just your normal run-of-the-mill folk singer chitchat.
He played 45 minutes, solo, amongst a neighborhood of small white houses. In the tour’s original intent, he had just completed a new album with Calexico and they would have been on with him as well. He played just one song from the album, “Father Mountain” and filled the rest of the set with some of his most recognizable tunes from throughout his career. Contrasting starkly with his playful mood, his performance of “Flightless Bird, American Mouth” went nearly acapella. His hands worked the frets of the guitar but never strummed until the final verse, quite beautiful and moving. Elsewhere and particularly on “Woman King” he worked the lower register of his guitar masterfully with a mix of picking and strumming.
Continuing his narration of the evening, Beam previewed Andrew Bird’s closing set with, “Bird is going to whistle his way into your heart.” The set opened with a flourish of Bird’s signature fiddle and whistling looping and building to a one man orchestra briefly before his quartet broke through into “Make a Picture.” Bird was joined on stage by an incredible band, with Ted Poor on drums, Tyler Chester on keys and guitar, and Anna Butterss, on bass.
Unlike Iron & Wine, the timing of the tour worked a bit better for Bird, with his excellent new album, Inside Problems hot off the press. He played heavily from it throughout the set. Poor impressed with complex rhythms on “Atomized” and Bird added in plucked fiddle, looped that and then added in fiddling and some whistling syncopated with more plucking. Anyone who has seen Bird solo knows him for his incredible use of layering loop upon loop to provide a unique richness of sound. But with the extra hands in his band, the richness reached another level.
The excellence was exemplified perfectly in a mid-set “Underlands.” The lyrics and the backdrop synced up, a moon, the stars, the story was laid out for the ears and eyes. Butterss set the scene musically with an infectiously slinky bass line. Poor again was shining with some very tasty rhythms and fills while Chester worked in some nice keys. And this was just the base for Bird to work his magic. Butterss incredible harmonizing with Bird’s whistling sent the whole affair straight up to the moon for real. It was wonder to see this band present Bird’s fantastic new album from the stage.
Midway through the set Beam came back on stage to play some duets with Bird. A perfect pair, it’s a shame it hasn’t happened sooner. On each of their own songs, like “Orpheo” and “Muddy Hymnal” their voices and instruments blended very well. The band came back to back the pair for a few more songs, mostly acoustically. They crowded to the right side of the stage for a more intimate setting, continuing with “Left-Handed Kisses”, “Lion’s Mane” and “Lusitania.” Before ceding the stage back Beam injected a bit more of his humor playing a snippet of the Golden Girls theme, “Thank You For Being a Friend.” We can only hope this friendship bears more fruit in the coming years.
On August 4, 1966, the world-renowned Philadelphia Orchestra took up residence at Saratoga Springs Performing Arts Center (SPAC) for the very first time with Maestro Eugene Ormandy conducting. The maestro helped shape SPAC into the perfect venue for such a performance and brought the orchestra much acclaim throughout his 44 years as conductor.
56 years later, the orchestra still continues to offer audiences classical entertainment with its programming and performances.
Adrian Siegel, courtesy of Adrian Siegel Collection/Philadelphia Orchestra Archives
On the first Saturday of August, on a clear night, an estimated 5,100 attendees gathered inside the newly opened SPAC for the first show with another estimated 2,000 on the center’s lawns. The performance marked a first for the venue. The New York City Ballet’s July performances that year went beautifully, but how would the SPAC amphitheater sound hold with an entire symphony inside?
According to the New York Times, which reported on the show at the time, the performance and acoustics held well and the enthusiastic crowd agreed. Maestro Eugene Ormandy chose an all-Beethoven program: the Ninth and Eighth Symphony and the “Consecration of the House” Overture in C Major. The Overture, featuring a march and much fanfare, made the perfect celebratory music for an opening night. Despite the distant sound interference of a freight train interrupting during the Eighth Symphony, the rest of the concert seemed to be a great success.
The concert in no way would have been such a success without the preparation and intensity of its maestro. Eugene Ormandy and his Orchestra were careful, precise, and presented a wonderful concert to their audience. From the start, Ormandy predicted the venue would be “one of the great summer festivals of all time.” However, according to Times Union, before opening night, Ormandy made it clear that some things about the SPAC venue had to be changed.
The waterfall behind the venue interrupted the music, and a dam was promptly built to rectify the situation. This solution did not last long, and groundsmen had to catch every last frog that resided in the resulting pond so Ormandy, and his audiences, did not hear any incessant croaking during the performance.
Adrian Siegel, courtesy of Adrian Siegel Collection/Philadelphia Orchestra Archives
According to SPAC, the amphitheater was specifically built with the Philadelphia Orchestra in mind. In addition to his work as maestro, Eugene Ormandy played a huge role in ensuring that the venue would be the perfect summer home for such a major orchestra, known as one of the “Big Five.”
Although founded in 1900, the Philadelphia Orchestra would grow immensely in reach under Ormandy. One of the first orchestras to record music, many of the most popular recordings of the organization were under the conduction of Ormandy. 7 years after the first show at SPAC, the orchestra would travel to the People’s Republic of China, one of the first tours to the region from a Western orchestra in decades.
Ormandy expanded the reach of the Philadelphia Orchestra and the prominence of Saratoga Performing Arts Center during his long career. The Philadelphia Orchestra has returned to the venue consistently since that first summer evening show in August of 1966. 56 years later, the people of Saratoga Springs and visitors can enjoy the talents of the Philadelphia Orchestra, which will hold multiple performances at SPAC this August.
The orchestra will play a mix of traditional classical music and more contemporary takes. Beginning on August 10, the current Music Director of the Philadelphia Orchestra, Yannick Nézet-Séguin, will return for four programs. Highlights include the return of world-famous cellist Yo-Yo Ma and violinist Joshua Bell, among the performances. For tickets to upcoming concerts, visit the SPAC website for more information.
Earth Wind and Fire played in Lewiston at Artpark on Sunday July 31st. Earth, Wind & Fire is an American R&B band formed in Chicago, in 1969 and led by founder Maurice White. Also known as EWF, or the Elements of the Universe, the band has won seven Grammy Awards and four American Music Awards.
They have been inducted into the Rock and Roll Hall of Fame and the Vocal Group Hall of Fame.They have sold over 90 million albums worldwide earning them a place on the list of best-selling music artists where they are ranked as the seventh best selling American band of all time. Earth Wind and Fire are currently on tour with Santana and touring all over the states this summer.
Sunset at Artpark.
The show was a near sellout with a capacity at Artpark near 10,000 people. With that said, some fans had a good experience and others, not so much, but it really depends when you arrived at the show. Prior to the show, the venue posted online many times to arrive early and expect heavy traffic and they were 100% correct. Those fans that arrived early, just as the gates opened, found parking and got in the venue prior to showtime. But those that did not heed the advice of the venue were waiting at the entrance for awhile after the show started.
The start of the show was delayed 15 minutes due to the amount of people still in line. There were various sections for fans to watch the show from. Front of stage area, marked seats by the soundboard, lower bowl and general admission seats. Fans were allowed to bring in lawn chairs to sit and watch the whole show. That helped a-lot as the average age in attendance seemed to be around 60 years old.
Gates opened at 6pm and the opener went on at around 6:30pm. This was not a typical opening band. The Brass Machine wondered their way around the crowd instead of playing on the stage. Fans seemed to enjoy this as they could directly interact with the band. The Brass Machine (formerly the Buffalo Brass Machine) is the one of the premiere touring acts on the live music circuit today, laying down funky New Orleans-style street beats across the United States and Canada. Formed in 2014 at the University at Buffalo, The Brass Machine provides a unique blend of hip hop, funk, and R&B, all in an infectious and energetic package.
Three original members of Earth Wind and Fire. photo credit- Mike Miller
Earth Wind and Fire took the stage at 8:15pm and played for about an hour and 45 minutes. There are only three original members left in the band. Phillip Bailey on lead vocals, Verdine White on bas and Ralph Johnson on percussion and backup vocals. They have been making music since 1972, celebrating 50 years in 2022. The rest of the band is comprised of Myron McKinley on keyboard, John Paris on drums, Phillip Bailey Jr. doing backup vocals and percussion, Morris O’Connor on lead guitar, Serg Dimitrjevic on rhythm guitar and B. David Whitworth on percussion and backup vocals.
photo credit- Mike Miller
They played all of their hits and then some, including “Shining Star,” “Boogie Wonderland,” “Let’s Groove” and “September.” You could not ask for better weather for an outdoor concert. The sun setting over Artpark gave fans a great backdrop to the concert with the Niagara River and lower gorge behind the stage. Many fans of the band were seen outside of the venue sitting in their chairs along the road into the Village of Lewiston as the concert could be heard from that far away. Beside the normal heavy concert traffic for an event like this, many fans enjoyed the show.
photo credit- Mike Miller
Earth Wind and Fire – Artpark, Lewiston, NY – Sunday, July 31, 2022
Setlist: Shining Star, Let Your Feelings Show, Mighty Mighty/Celebrate, Gataway, Saturday Night, Serpentine Fire, Sing a Song, Got to Get You Into My Life, Sing a Message to You, Keep Your Head to the Sky, Devotion, Reasons, That’s the Way of the World, After the Love Has Gone, Rock That, Fantasy, Boogie Wonderland, Let’s Groove, September, In the Stone
Phish continued their Summer 2022 tour as they rolled into Columbia, Maryland for a weekend run at Merriweather Post Pavilion (MPP)
Fans got their first look at the venues upgrades from the renovations in 2018. The raised canopy and improved sound system is a major upgrade if you’re on the lawn, the sightlines in the pavillion have also improved. They have also added a “Skylawn” if you’re looking for an almost pavilion like lawn experience, if you can manage to get in there early. The one thing they forgot to improve were the bathrooms, as the wait could take a good 30 minutes.
A bit light on the improv, Phish leaned on a mix of classics along with some surprises deep from their catalog for the first night of the run on a beautiful, but hot, Maryland summer night. The night started off with “Sand” to get things cooking. Next was an always welcomed “If I Could”, before throwing things back into high gear for the heart of the set with “Buried Alive”, “Set Your Soul Free” and “Llama”. Next Page took over with a “Halfway to the Moon” as the sun set. The song featured some improv for the first time in the song’s history as the jam melted into “Shafty.”
Afterwards was a take on The Brothers Johnson classic “Strawberry Letter 23”, which again, the band took the song out for an extended spin for the very first time. They made the perfect call to end the set with a Lizards, and not a person in the building disagreed with it.
The second set started out focusing more on the songs before loosening into a slippier fourth quarter. “First Tube” started the set off and had the venue pumping. Next up was a “Fuego” that included some of the better improv of the night. After was a solid combo of “Sigma Oasis” and “Prince Caspian.” The peak of the show was next with “Waves,” “Meastick” > “Simple. “
“Waves” was the another fantastic jam, and the “Meatstick” was one of the better versions they have played in some time. The band linked up like a funk Voltron and it felt like we were back in 1998. “Meatstick” oozed into a ‘Simple” that was sublime. Simple turned into “The Oh Kee Pa Ceremony,” which turned into a rocking “Suzy Greenberg” to wrap the set up. The encore started with a fun “Alumni Blues” > “Letter to Jimmy Page” > “Alumni Blues” and ended with a rocking “Character Zero.”
Knowing not to miss a Sunday show, Phish fans returned to MPP for a show with on-again, off-again rain throughout the day, best described as “alternately annoying, refreshing, fun, beautiful, obnoxious, baptizing, cleansing, cold, healing, and joyous” by phan @ZZBenz.
Set one began and ended with 15 minutes versions of “A Wave of Hope” and “Ghost,” respectively. Prior to “Ghost,” Mike Gordon Band’s “Mull” took a surprise turn as a jam vehicle, stretching out farther than many expected, and segued neatly into the Junta composition, “Foam.”
Prior to playing a Set two opening “Halley’s Comet,” Trey and Mike briefly teased “Those Were the Days” (All in the Family theme). A long-awaited “Tweezer” featured a jam on “All Along the Watchtower” before delving into a unique final seven minutes of improvisation. After a jump to “Wingsuit,” a little bit more “Tweezer” was played before working into “Birds of a Feather.” A rare second set “Taste” gave way to “What’s the Use?” which had Trey ‘holding the note’ in a “Divided Sky” manner. A combo of “The Howling” and “Say It To Me S.A.N.T.O.S.” closed the set, with a three song encore of “Show of Life,” “Loving Cup” and “Tweezer Reprise” to wrap up another Sunday show at MPP.
Phish keep the tour moving to the beautiful Blossom Music Center in Cuyahoga Falls, Ohio, then Clarkston, MI at Pine Knob Music Center, before returning to the East Coast for three nights in Atlantic City over August 5-7.
Phish – Merriweather Post Pavilion, Columbia, MD – Saturday, July 30, 2022
Soundcheck: My Soul, Fluffhead
Set 1: Sand, If I Could, Buried Alive > Set Your Soul Free > Llama, Halfway to the Moon -> Shafty, Strawberry Letter 23 -> The Lizards
Set 2: First Tube > Fuego > Sigma Oasis > Prince Caspian > Waves > Meatstick -> Simple > The Oh Kee Pa Ceremony > Suzy Greenberg
Encore: Alumni Blues > Letter to Jimmy Page > Alumni Blues > Character Zero
The jam out of Halfway to the Moon contained Shafty lyrics from Trey and Page and teases from Trey and Mike. Mike teased Miss You (Rolling Stones) in Strawberry Letter 23 and Flash Light in Character Zero.
https://www.youtube.com/watch?v=dA-N7BMMrjI
Phish – Merriweather Post Pavilion, Columbia, MD – Sunday, July 31, 2022
Set 1: A Wave of Hope, Dogs Stole Things, AC/DC Bag > Sparkle > Back on the Train, Mull > Foam, Ghost
Set 2: Halley’s Comet > Tweezer > Wingsuit > Tweezer > Birds of a Feather, Joy > Taste > What’s the Use?, The Howling > Say It To Me S.A.N.T.O.S.
Encore: Show of Life, Loving Cup > Tweezer Reprise
Mike teased Twenty Years Later in Ghost. Mike and Trey teased Those Were the Days before Halley’s Comet.
Dan Snaith, a.k.a. Caribou, returned to New York City on Thursday, July 28th for a show at City Parks Foundation SummerStage in Central Park. The show was free, and drew a capacity crowd on a hot and sweaty night in the city. The night filled out with DJ sets from Toribio as well as a performance from experimental electronic artist Ela Minus. Check out the full photo gallery below from Caribou’s set.
Caribou, Central Park SummerStage, 7/28/22. Photo by Joseph Buscarello
Caribou was in NYC last November for a three show run at Brooklyn Steel; those shows being rescheduled from an earlier COVID-induced postponement. For these shows, Caribou is joined by three band members who relentlessly flush out Caribou’s live sound. Dan joins in as a second drummer for various songs, including the lengthy jam during fan-favorite song “Sun”, creating a dense layer of percussions behind the electronic elements.
Caribou, Central Park SummerStage, 7/28/22. Photo by Joseph Buscarello
Caribou’s tour continues through August and September with shows across Europe before returning to California at the end of September, including a show at The Hollywood Bowl in support of Jamie XX. The lengthy tour schedule over the past ten months has all been in support of Caribou’s excellent fifth LP Suddenly; released back in 2020 on Merge Records. The album sees Caribou at his most proficient, especially in the live presentation. Head over to their website to see the full tour details.
Railroad Earth brought their Americana/bluegrass rock ‘n roll to Lincoln Hill Farms in Canandaigua on Thursday, July 28. The New Jersey band marked their first time playing at the venue, which opened in 2016, and it seemed like they would be welcomed back judging by the crowd’s reception.
The weather stayed perfect and there was nothing but good vibes on a beautiful, scenic farm as Railroad Earth shared their upbeat music that got many fans dancing. The band’s variety in the setlist took songs from each of their nine albums (minus one), bringing a show that gave us something old, something new and lots in between. There were so many great songs left off the table, and that will keep us coming back for more.
Lincoln Hill Farms
The band got people moving right away with “Chasin A Rainbow.” Guitarist and lead vocalist Todd Schaefer’s lyrics flow right to the beat with this song and it already felt like the train started taking off. They segued into “Bread And Water” and that’s another fast-tempo song that helped get people moving.
Violin player Tim Carbone picked up the electric guitar for “When The Sun Gets In Your Blood.”
The band played “Chains,” a song off their first album The Black Bear Sessions. They’d go into “Bill Monroe’s Old Dangerfield” and segue into “Blues Highway” which built into an epic “Black Bear,” another one off their first album fans love to chant along with.
Mike Robinson switched off between banjo and guitar here and there as they played “Across The Great Divide” and ended the set with “Long Way To Go.” “Blues Highway” and “Across The Great Divide” are on their most recent album, All For The Song, released this year.
After the skies got darker during set break, the crowd was more lively and ready to go. The stage’s fancy lights started to get used and fog machines came out, changing the dynamic and turning up the excitement.
Popular RRE cover song “Walk Beside Me” (written by Tim O’Brien) got things started with its bass-heavy intro. The band has fun with this song and each of the seven members trade off on solos for a minute. They all get their chance to have some fun.
“Only By The Light” came next which is a nice peaceful tune. “Saddle Of The Sun” turned things more into a more upbeat feeling and then once the crowd recognized the drums for “Elko” starting off, people were excited for the RRE favorite.
There was no shortage of playing cards as they went flying when the chorus hit. It brought a new rush of energy to the crowd and the band took the opportunity to jam out while everyone danced and picked up cards. Matt Slocum on keys went hard for his solo then they let Carbone finish it off with some crazy playing..
They went into “Living in the Good Life” which is an upbeat happy slower song that let everyone catch their breath, then played “Potter’s Field” and the song segued into a Lonecraft Farewell jam and Robinson brought out the pedal steel.. They all continued to take the mellow jam and progressively get a little heavier as it continued. Andrew Altman’s bass lines were thick, and everyone was grooving to the funky beat. Altman would switch from electric bass to stand up bass throughout the night. The band segued into “‘Neat the Stars” afterward which really let the slide guitar shine.
John Skehan’s mandolin with Harmon’s drums to kick off “Like A Buddah” felt like the best was yet to come. The band put everything on the table and Harmon and all of them looked like they were having the times of their lives. They all came with some intensity and Carbone shredded the violin and showed us what Railroad Earth is all about.
The last song was “Give That Boy a Hand” and it brought some good vibes as everyone was smiling and dancing and giving the band a hand thanking them for the good times they shared. They played right up until curfew and didn’t have a chance for an encore, so Shaefer came out and thanked the fans and Lincoln Hill Farms and how much the band appreciated coming out.
If there was one thing to say about the band is that every member looked like they were having an awesome time on stage, and they really loved what they were doing.
As for Lincoln Hill Farms, the venue was very relaxed, and possibly one of the most chill places to see some live music. With doors at 5 p.m. and local musician Brian Ayers opened the stage at 6, there was plenty of time to get in and settle down. There’s food for dinner from tacos, pulled pork or chicken sandwiches, pizza and other snacks and sides. The food was fresh, tasted great and everything looked tasty.
There was quite a bit to choose for the beer selection and it included local favorites. The bar is impressive the way it wraps around and gives patrons enough space. It makes it easy to grab a drink and get back to the music.
Talent Buyer Jon Willis said they wanted to make the venue more comfortable for that reason. There is plenty of room for people to dance, find a table to eat or they can explore part of the 95-acres the scenic venue is set on. Lincoln Hill Farms will be a great venue for a tourist to the Finger Lakes and a great way to take in the area and see some live music.
It’s definitely one of the chilliest venues, with a relaxing atmosphere, scenic background and plenty of space. With good food, it’s the kind of place you want to come early and plan your whole night around.
Railroad Earth – Lincoln Hill Farms, Canandaigua – July 28, 2022
Set 1: Chasing A Rainbow > Bread & Water, When the Sun Gets In Your Blood, Chains, Old Dangerfield > Blues Highway > Black Bear, Across the Great Divide, Long Way To Go
Set 2: Walk Beside Me > Only By The Light, Saddle of the Sun, Elko, Good Life, Potter’s Field > Lonecroft Farewell > ‘Neath The Stars, Like a Buddha, Give That Boy A Hand
EDM legends Big Gigantic wrap up their last dates of their Brighter Future Tour. The duo are no strangers to the electronic scene, especially in Buffalo where they sold out the Town Ballroom on July 27.
Photo Credit: Maddie McCafferty
Buffalo had multiple DJ’s preforming for hours before Big G took over. Special guests Covex, MEMBA, and KASBO opened up the night getting the crowd pumped up.
Big Gigantic are veterans at mixing edm beats with multiple instruments to give a sound that is both danceable and intuitive. The Denver natives Dominic Lalli and Jeremy Salken utilize saxophone and drums to layer over samples. They don’t shy away from any style of music. Their range stretches from jazz to hip hop, and funk to dubstep. Alongside their cinematic production, Big G knows how to put on a show. Whether that be headlining a major festival like Electric Forest or filling up the Town Ballroom, these two do not disappoint.
Photo Credit: Maddie McCafferty
The duo opened up the show with their single “Future’s All I See” off of their latest 2022 album Brighter Future 2. They immediately captured the stage with their animated visuals and energetic crowd welcome. Their impressive instrumentation matched with their colorful lasers had everyone getting rowdy.
Big Gigantic never stopped once during their set. It was continuous beats and melodies blended into the next. This allowed them to play both old and new hits which left no one disappointed. Some of which included “The Little Things,” “Open Your Mind,” and “All of Me.” They managed to mix in some popular covers as well like Kid Cudi’s “Day ‘N’ Night.”
Photo Credit: Maddie McCafferty
To top off the night Big Gigantic brought Covex back on stage to sing their song “Second Time” and closed out with “Love Unlimited.” No matter the size of the venue or location Big G proves again that they know how to put on a show.
Make sure to stay up to date with shows coming to the Town Ballroom. Joyce Manor has a show on August 10 and Cody Jinks performs August 17.
Following the release of her latest full-length studio album, “Laurel Hell,” beloved indie musician Mitski returned to New York City the weekend of July 22, 2022 for two sold out nights at Radio City Music Hall. Originally scheduled for March, these and a few other tour dates were postponed due to COVID. Canadian indie folk band the Weather Station opened for Mitski both nights at Radio City.
Mitski performs at Radio City Music Hall, Photography by David Reichmann
The Weather Station mentioned “This show is by far the biggest venue we’ve ever played,” and thanked Mitski for bringing them along. Their signature soothing tones and melodies rang through the historic Manhattan hall. The crowd ate it up, anticipation for Mitski’s set rising as the energy in the room increased by the minute.
The Weather Station performs at Radio City Music Hall, opening for Mitski, Photography by David Reichmann
Mitski’s set began with her hit single, “Love Me More,” a pounding rhythmic anthem of desperation and desire. The crowd screamed as the first notes played, and screamed again when the track concluded.
Mitski at Radio City Music Hall, Photography by David Reichmann
Mitski’s hypnotic and intense dances were inspired by Butoh, a form of Japanese dance theater, and featured exaggerated motions and physical storytelling through dance. The stories of her songs came alive in her dances, especially with her second song of the night, “Working for the Knife.” The Butoh influence also made an appearance in the song’s music video.
Mitski performs “Working for the Knife” at Radio City Music Hall, Photography by David Reichmann
“Working for the Knife” was the first preceding single leading up to the release of “Laurel Hell.” This also marked her first major release since 2018, when she had taken a hiatus following the release of her last full-length album, “Be the Cowboy.” The album would go on to be a huge hit, but in interviews at the time Mitski had expressed discomfort with the massive mainstream attention the album had received, and she announced her hiatus from music at a concert at Central Park in 2019. “Working for the Knife” addresses these issues directly, illustrating the struggle between her artistic desire to create and the overwhelming demands of the music industry and capitalist work culture in general. The song is a hard-hitting and thoughtful meditation on the struggles of artists to stay creative and productive, and her vivid and evocative dance choreography captures just that.
Mitski waves hands with crowd at Radio City, Photography by David Reichmann
Despite saying very little to the audience throughout the evening, Mitski did open up about her experience as a New Yorker towards the end of the show. “I wrote a lot of these songs in New York,” she said. “I was unhappy here. It was so hard. And realized it didn’t have to be so hard, so I moved. But every time I come back, I realize, ‘God damn it, I miss it.’” She added, “You don’t have to be unhappy. You can change it.”
Her massive 23-track setlist included many hits and deep cuts from her six-album catalog. Fans sang along at every opportunity and danced through every moment. Standout tracks included “Washing Machine Heart,” “Nobody,” “Should’ve Been Me,” and “The Only Heartbreaker.” For her encore, she performed “A Pearl,” and left the stage with a bow. The crowd cheered wildly and screamed their love for her. Mitski’s Laurel Hell Tour continues, and you can buy tickets for remaining dates here. Her catalog is available to stream here. And you can listen to the Weather Station here.
Acclaimed indie star Lucy Dacus played Central Park’s SummerStage in New York City as part of the final leg of her ongoing Home Video Tour on Thursday July 21, 2022. She played with support from indie rock band, Hop Along. Lucy last headlined New York in November of 2021 for three sold-out shows at Brooklyn Steel, following the release of her critically acclaimed third studio album, Home Video.
Lucy Dacus at Central Park with bubbles, Photograph by David Reichmann
Dacus also recently joined Phoebe Bridgers onstage at Forest Hills Stadium in June. Known for her lyrical depth and often heartbreaking narratives, Lucy Dacus has become a phenomenon in the indie scene. Her return to New York comes hot on the heels of her Spotify Singles release just a few days before, which included a cover of Cher’s “Believe.”
The day began with sweltering New York City heat and humidity, scattered thunderstorms, and heavy showers in the early afternoon. Fans who had lined up in the early morning endured some rain and heat, but were rewarded with spots near the front of the barricades. As the venue filled up, the crowd’s anticipation rose, frequently cheering at random intervals whenever they felt the need to express their excitement. Security and event staff worked hard to distribute bottled water and spray mist over the crowd to cool them down, which drew yet more cheers.
Event staff misting audience at SummerStage, Photograph by David Reichmann
Hop Along opened the evening, playing their energetic rock set as the sun lowered and the shadows of Central Park lengthened. The heat didn’t seem to slow their performance down, and the night gradually grew less hot as they played. The band played several tracks from their three-album catalog and a cover of Tears for Fears’ “Everybody Wants to Rule the World.”
Hop Along walked off the stage to enthralled applause as golden hour approached. The crowd reveled in the cooling shade as the sun lowered and Lucy’s set approached.
With the last few moments of sunset at hand, Lucy Dacus took the stage to a booming chorus of cheers. In addition to her regular ensemble band, most of the set was accompanied by strings. Lucy mentioned that her older records included tracks with strings, and she was excited to bring them to the show.
Lucy Dacus with her full band and Strings Section playing at Central Park, Photograph by David Reichmann
Lucy’s set had a false start when a crowd member required brief medical attention. She stopped the song and patiently waited. She praised the crowd for giving space for staff to help out and playfully posed for the photographers. After getting a thumbs up from the crowd, she got right back into it, and restarted the opening song.
Lucy Dacus posing for the cameras at Central Park, Photograph by David Reichmann
Lucy Dacus with a burst of bubbles, Photograph by David Reichmann
Lucy’s massive 17-song set included many more fan favorites and charting tracks, such as “I Don’t Wanna Be Funny Anymore” and “Brando.” Several times throughout her set, the air filled with bubbles to punctuate a chorus or hook, which drew huge applause each time. The most diehard fans packed at the front of the audience were showered in bubbles and screaming with joy.
Before Lucy played “Kissing Lessons” she cheerfully asked the audience, “I’ve been surveying, and I was wondering – who here is gay?” The crowd responded with a huge cheer. She laughed and replied, “This is our newest and probably gayest track.”
“Yesterday we put out two songs,” Lucy told the crowd. She then played her Spotify Singles cover of Cher’s “Believe.” “What a bop,” she quipped, to laughter and applause.
String Section for Lucy Dacus on couches, Photograph by David Reichmann
Lucy introduced the last track of her set by saying “Don’t you realize what a big deal this is? It’s so cool.” She thanked each member of her band, including the strings section, and thanked the audience. She closed the set with fan favorite, “Night Shift,” from her acclaimed sophomore record. “Thank you New York City, y’all are the best.” She disappeared backstage for a few moments, and then reappeared to another great wave of cheers. Before beginning her encore, Lucy mentioned that her father was in the audience. “Whenever he’s at one of my shows, I have to play this song.” She then played her cover of Bruce Springstein’s “Dancing in the Dark.”
Lucy’s bandmates took their bows and walked off to cheers, but Lucy remained on stage unaccompanied, a singular spotlight illuminating her. “Last time I was here was in 2019, opening for Mitski,” she told the crowd, remarking on how special it felt to return to Central Park as a headliner. “I’m going to play an unreleased song I wrote yesterday,” she said. “This is just for me. Pretend the show is over.” She then asked the crowd not to record this song. “I like to play new music at my shows, so please don’t record this.” Lucy punctuated her emotional performance by playing this final song unaccompanied under a beam of light, to an absolutely silent audience. They listened intently. The song will surely become a fan favorite upon release, but until then we won’t spoil the surprise by revealing any details.
Lucy Dacus playing an unreleased track solo, Photograph by David Reichmann
“I will remember this forever, thank you so so much. Until next time.” She walked off the stage to a crying, cheering, and screaming crowd in Central Park. The house lights came on and the crowd walked off, scattering through New York back into the warm summer night. Lucy’s catalog can be streamed here, and you can follow her ongoing North American tour here. Hop Along’s catalog can be streamed here as well. Check out our full show gallery by David Reichmann below.
