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.
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
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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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
