On Thursday, June 9th, 2022, Albany’s first Alive at 5 show of the year opened with Alternative/Indie rock band Young Culture and closed out with Pop-punk band State Champs. The show was moved to the rain location at Corning Perserve Boat Launch after rain was in the forecast. The sun was shining bright, however, for a high energy performance with crowd surfers just as high.
Both bands are originally from the Capital Region whose music might bring out feelings that a typical high schooler would have from their crush. Both bands share an alternative rock style that a teenager going through a break up could bop their head to. After many years of success, they decided to come back home to open the Alive at 5 series.
Young Culture started in Albany in 2016, and quickly blew up after the release of their EP “(This is) Heaven.” Young Culture performed at Empire Live back in November of 2021 for Grayscale’s Umbra Tour. Young Culture is gearing up for a summer tour titled, Into the Raging Sea with Broadside. State Champs also performed at Empire Live as the head liners for Frozen Fest. This was the release show for State Champs’ new album, Kings of a New Age.
Alive at 5 could not chose two better bands to open the series. Young Culture’s lead vocalist, Alex Magan connected with the young crowd with “Kinda Over You,” a song he said was about his ex-girlfriend in high school. That song, along with “Laylo,” helped the young crowd to mellow out for a short bit and connect with the band on a more personal level. Both songs where about a love that did not last, a theme that resonated well with the audience.
They left on a high note with “Party Girl” and “Holiday in Vegas.” Alex stood on equipment boxes in the pit to grab the hands of those crowd surfing. There was a long of head banging from other members of the band along with the crowd. They thanked Albany for inviting them back home.
Representatives from In Our Own Voices and the Capital Pride Center came out with Kathy Sheehan, the Mayor of Albany and Sam Mills, Albany’s 2022 Tulip Queen. They all gave a brief speeches about upcoming pride events in the Capital Region.
State Champs brought energy back up when they opened with “Here to Stay.” The band tried to remind everyone that Alive at 5 was supposed to be a family fun event, but then performed “Everybody But You,” one of their hit songs with the F-word emphasized in the chorus. Members of the band stood on the equipment boxes to greet crowd surfers during the set. The crowd surfing was constant by mostly young people. It was evident that the crowd may have been getting tired of the surfing as many surfers were being thrown to the barricade towards the end. The most pit opened twice, first for a circle mosh ad the second time for a traditional mosh.
It was a great performance from State Champs, that lasted over an hour. They answered cheers for an encore with two songs. They have a tour lined up for Sad Summer Fest starting in July. The festival comes to New York on July 22nd at Pier 17.
Young Culture Setlist: Bloodthin, Better Off as Friends, Hum, Godspeed, Kinda Over it, HB16, Fantasy, Laylo, Shiver, 21 Days, Drift, Party Girl, Holiday in Vegas
State Champs Setlist: Here to Stay, Eventually, Frozen, Outta My Head, Hard to Please, Mine is Gold, Act Like That, Simple Existence, Remedy, Easy Enough, Criminal, Just Sound, Losing Myself, Slow Burn, History, Everybody But You, Dead and Gone, Elevated, Secrets
Acclaimed jazz sax titan Kamasi Washington and his eight-piece band delivered a ferocious performance to herald the return of BRIC’s Celebrate Brooklyn!, New York City’s longest running, free music festival at the Lena Horne Bandshell in Prospect Park.
Like many good things, this world-class event was sidelined by COVID-19, with no performances in 2020 and a greatly scaled back schedule in 2021.
Now in its 44th year, the 2022 BRIC season will boast a lineup of heavy-hitting musical artists from Brooklyn and around the world. The roster includes: rapper Vic Mensa; Brooklynite, contemporary poet, writer, lyricist and activist aja monet; Nigerian Afropop phenom Yemi Alade; British reggae vocalist, Maxi Priest; genre-defying rock band, Chicano Batman; Grammy-winning contemporary blues artist Fantastic Negrito; Grammy-winning latin pop singer Fonseca; San Francisco-based Kronos Quartet and filmmaker Sam Green, performing in tandem with “A Thousand Thoughts” documentary; indie-pop band, The Beths; American soul rock band Seratones and many more. The season will also include ticketed benefit concerts featuring Indie-Rock singer-songwriter Phoebe Bridgers; American-born Nigerian singer, songwriter, and record producer Davido; Texas-based psych rock band Khruangbin and multi-Grammy-winning “Queen of Neo Soul” artist Erykah Badu.
The June 8 season opener drew a packed house to Brooklyn that reveled in the sounds of Kamasi Washington and show opener Ravyn Lenae, the alt.R&B newbie riding high of the release of her massive 20-track Atlantic Records’ debut, Hypnos. The classical-trained Chicagoite has been around since 2015, as a part of Zero Fatigue, a collective comprised of Smino, Jean Deaux and producer Monte Booker.
Lenae and her tight quartet of backing musicians blazed through a set of both up-tempo neo-soul and ballads including her album’s standout tracks, including “Where I’m From,” “Skintight,” “Light Me Up,” “M.I.A,” the super slinky “Sticky” and the propulsive near rocker “Inside Out.” Lenae is gifted with a great stage presence and a soaring falsetto, which she uses to great effect on many tracks. The audience was full of Lenae fans, who pressed to the stage with cellphones drawn to capture the performance of this rising star. My one complaint is that she did not introduce her tight backing musicians, an array which included a powerful female drummer who may or may not have been Nikki Glaspie of Beyonce and the great jam bands, Nth Power and Dumpstaphunk.
Before Lenae and Washington’s sets, the crowd was fired up by the well curated spins from DJ Reborn. A vision in magenta, she swayed, and had the crowd doing likewise, to selections including Samankwe’s “Happysong” and Leikeli 47’s “Money.”
The energy hit a new level in Brooklyn when Kamasi Washington and his double-drummer ensemble hit the stage. Unlike many of his album tracks, which heavily feature masses of strings and vocal choruses, Washington’s performance at Celebrate Brooklyn! had a fierce howling edge driven by his tight interplay of his all-virtuoso ensemble.
The band kicked off its performance with an extended version of “The Garden Path,” Washington’s latest single. The stage was set with an intro solo by keyboardist Brandon Coleman, who fuses straight-ahead jazz, hard core funk and P-Funk master Bernie Worrell-esque spaceisms in a wholly unique style. Trumpeter Dontae Winslow followed, with the first of many searing solos that matched the mighty Washington in melodic architecture and excitement. Likewise for flautist and soprano saxman Rickey Washington, Kamasi’s father. The elder Washington not only helped mold his son’s talent but kicked up every tune he soloed on during the set.
Washington is both a superlative composer/arranger and a true titan of the art of tenor sax soloing. His extrapolation on the opening tune and all others in the performance build thoughtfully, from breathy balladeering to Tranesque sheets sound to a free jazz Pharoah Sanders scream and skronk. Washington and his band heightened the pace with the next tune, “Street Fighter Mas,” a majestic-themed, funkified selection from his acclaimed 2018 disc, Heaven and Hell, with 12 million streams, his biggest hit on Spotify.
The melodic “Sun Kissed Child” was one of the tunes that featured the singular soloing of bassist Miles Mosley. On this and several other tunes, Mosley clawed, sawed and thumped on his bass, giving it an otherworldly sort of post-Hendrix howl with judicious use of a harmonizer, fuzz and his bow. Another standout band member was vocalist Patrice Quinn, who admirably recreated the vocal parts of Washington’s tunes that are, on record, performed by a chorus. Kamasi’s performance also included crowd-pleasing tunes like “Blaxsploitation,” “Truth” from his awesome 2017 EP “Harmony of Difference” and the final track, “Fists of Fury.”
With his floor length robe, big beard and crown of locks, Washington projects a biblical/prophetic presence. This is wholly appropriate as his performances are an almost religious experience for those who love jazz, classical music, funk and everything in between. Keyboardist Coleman’s dabs of electronica and Washington and Mosley’s use of effects like delay give this jazz a futuristic feel that is missing from so much of the genre today – one which seems set on reproducing a music past from the likes of Coltrane that can never be matched.
If you want to see a show that embraces all the many eras of jazz’s great past but with an eye to the future, catch Kamasi Washington.
On Wednesday June 8th, Arthur’s Tavern located in the West Village had it’s long awaited grand reopening with New Orleans legend Kermit Ruffins headlining. The historic jazz club first opened its doors in 1937, but was forced to close in 2020 due to the pandemic. Arthur’s has hosted performances as well as long term residencies over the years by some of the biggest names in jazz such as Charlie Parker, Mabel Godwin, Al Bundy and The Grove Street Stompers.
Kermit Ruffins at Arthur’s NYC
Jazz trumpeter Ruffins had the honor of performing at the reopening. His band includes Yoshitaka “Z2” Tsuji on piano, Kevin Morris on bass and Jerry Anderson on drums.
I’m just a small jazz player from New Orleans, and all of a sudden I’m sitting right here. It’s full circle to be sitting here knowing the history of this place and I’m so excited.
Kermit Ruffins, just before going on stage
Ruffins, born in New Orleans, is not only a trumpeter, but a singer, composer and actor. His influences include Louis Armstrong and Louis Jordan. He plays himself in the HBO Series Treme and also owns a bar in his hometown called Kermit’s Treme Mother-In-Law Lounge. Ruffins has also sat in with Jon Batiste and Stay Human on The Late Show with Stephen Colbert.
Arthur’s has a very intimate atmosphere and offers live music every night with no cover charge. The staff is also very friendly and accommodating. It’s one of the best spots in the village and has a very “Old New York” vibe. You can see all of their upcoming events here.
The rich music history of the Capital Region was celebrated on Tuesday, June 7 with the Eddies Hall of Fame Induction Ceremony. Held at Universal Preservation Hall in Saratoga Springs. The eight honorees included folk, ambient, rock, and acoustic artists, as well as a promoter, writer/musicians, and an independent radio station founder.
Paul Rapp, a musician and entertainment rights lawyer, as well as a 2020 Eddies Hall of Fame inductee knew them all and gave opening remarks noting such. Rapp, drummer for renowned Albany act Blotto, weighed in on each musician, offering heartfelt thoughts and a few laughs as he discussed his connection and the impact each of the eight left on the Capital Region scene.
Paul Rapp – photo by Erin Reid Coker
Honorees included Joel Ross, a 7-time Grammy Award winner who engineered songs for Broadway musicals and TV shows, and worked with Ray Charles and Tony Bennett among many others.
Joel Ross – photo by Joe Putrock
Brooks Brown, founder of WEQX, an independent radio station, was referred to by Rapp as having “saved the Albany Music scene” by creating a radio station that played local bands that couldn’t be heard elsewhere. Rapp noted that Brown took great joy in telling corporations looking to buy his station to “go fuck themselves.”
Jason Keller and Mimi Brown – photo by Erin Reid Coker
Super 400 from Troy has had an impact felt as far away as Spain, which led to Spanish band Red Apple sharing via prerecorded video how they were looking for bands that were real and similar to them. In discovering Super 400, they found a band on the same wavelength, as well as future friends. Red Apple then performed “Green Grass End” in tribute to Super 400.
Super 400 – photo by Erin Reid Coker
Greg Bell, the promoter who made Albany a jam band mecca and must hit tour stop, has run Guthrie/Bell Productions since the early 1990s. His presence in the Capital District will be profiled in the upcoming documentary from Mirth Films, Grapplin’ Greg. Rapp noted that no one has done more to support local bands than Bell, adding, “Music promoters are like adding kindling to a fire. The good ones make it burn bright.”
Greg Bell – photo by Erin Reid Coker
Rich Ortiz, the “fishin’ musician,” comes from a family rich in music history and plays more than 300 gigs a year and has been featured on the cover of numerous fishing magazines.. If night fishing were a thing, we may not have this legend from the Lake George region. Saratoga Springs guitarist from 80’s band The Morons, Steve Candlen, later performed Ortiz’ “I Love You Everyone.”
Rich Ortiz – photo by Erin Reid Coker
Michael Eck is many things – a painter, arts writer, Caffe Lena board member, and Ramblin Jug Stompers spoke with great emotion in receiving the Eddies Hall of Fame honor. Candlen later performed an Eck original “You’re a Mountain,” with the fitting lyrics “you’re a mountain, you’re a legend, you’re a king.”
Michael Eck – photo by Erin Reid Coker
Sara Ayers, with an eclectic career that includes folk, punk, bubblegum, rock, electronica and especially ambient music, was a crowd favorite as she was honored for her contributions to the scene.
Sara Ayers – photo by Erin Reid Coker
Greg Haymes, a man who did so much for local bands, venues and aspiring writers and photographers, was the final honoree of the night. The late “Sarge” Blotto has a varied career in multiple genres and styles, and in founding local music website Nippertown, he had a connection to nearly the entire room of musicians, journalists and fans. Rapp pointed to one of the many quirks of Haymes, was his mentions in reviews of a musician’s shoes, considering those with good shoes to have ‘made it’, and with that, Rapp pulled out a ruby slipper. The unofficial Jug Stompers theme song, “Jug Band Music,” by the Memphis Jug Band, and performed by Tom Lindsay to honor Haymes.
A young Greg Haymes. Photo by Amy Modesti
While Haymes passed away in 2019, he was fêted by his fellow inductees in a slideshow retrospective. Ayers accepted on behalf of her late husband, noting that he lived an artistic life as a musician, a writer and a website publisher, and it was a life he was proud of. His not too serious approach to preparing himself for a performance on stage (whether with a customized washboard, or a typewriter for a percussion instrument), his experience as a musician made him want to share the passion of local musicians in the Capital District through his writing. In doing so, Haymes gave many writers and photographers a chance to, a tradition we continue at NYS Music.
Future Islands played a sold-out three night run at Brooklyn Steel over June 2-4, with support from legendary funk-rock band, ESG. Fans were treated to the driving beats, energetic sets, and the nonstop thrills that have made Future Islands a breakout success.
Future Islands at Brooklyn Steel, Photographed by David Reichmann
Opening for Future Islands, ESG brought the exact energy to their funk-rock set you would expect from a band opening for the famously-animated Future Islands. ESG interacted with the crowd with laughter and enthusiasm. At one point bassist Nicole stopped the show and excitedly asked the crowd, “Is your mom as cool as our mom?” pointing to her mother and frontwoman, Renee Scroggins. The crowd raved throughout their sets, with palpable energy rising as they closed out each night’s set.
Future Islands took the stage each night to wild applause. Frontman Samuel Herring briefly thanked the opening band before declaring, “I’m not going to do too much talking. Let’s shut up and do it.” Samuel brought his trademark highly-animated style of performance that made the band a viral sensation following their network television debut of “Seasons (Waiting on You)” on David Letterman, which would go on to become the most viewed YouTube video in Letterman’s history. The entire crowd was jumping off the floor before the band’s second song concluded. Covered in a thick layer of sweat within minutes, Samuel joked, “It’s getting slippery up here!”
Future Islands at Brooklyn Steel, Photographed by David Reichmann
After Future Island’s third song finished (traditionally when photographers must exit the press pit), Samuel fist bumped a few of the photographers for their enthusiastic capturing of his performance. A rare show of class, as photographers are usually ignored by the talent. But in that brief moment, Sammuel showed a clear respect to the whole crew involved in bringing the show to life. He took every opportunity to interact with the crowd and photographers, leading to a dynamic and powerful show that was a joy to both attend and cover.
Each track on their setlist featured Samuel jumping, crouching, and contorting himself with operatic movement. Their set included several fan favorites, including “Peach,” “Plastic Beach,” “Balance,” “Like the Moon,” and their latest single, “King of Sweden.”
“We are meant to experience these things and remember them,” Samuel told the crowd before introducing “Lighthouse” with the story of the song’s inspiration. He told a heartfelt story of a friend who had lifted him from a dark time, and how he always thinks of them when performing this song.
Future Islands at Brooklyn Steel, Photographed by David Reichmann
Samuel performed high kicks, full body stage dives, locked his piercing eyes with several audience members, and put what seemed like 110% of his efforts into every second of the show. The band played with the same energy, pushing driving beats and deep synths. Each band mate brought something unique to the table. As far as frontmen go, some artists steal the show and some artists are the show — Samuel Herring is undoubtedly a frontman who is the show. And he performs as much for the back row as the front.
Future Islands at Brooklyn Steel, Photographed by David Reichmann
Before introducing their breakout hit, “Seasons (Waiting On You),” Samuel told the crowd, “This song is for people waiting on that special someone, I hope that someone is next to you tonight… if they’re not here that’s okay too. Don’t you waste too much time, now!” The crowd cheered and danced as the song played, reveling in Samuel’s all-out performance.
They closed the first night with “Little Dreamer.” Samuel told a tear jerking story of an old love and a specific room this song always brings him back to. He invited the crowd to remember painful moments throughout their lives, and never forget the most difficult times. “This is a dream. We’ve worked so hard for years to be here. This is a song we’ve been singing for 13 years.”
Future Islands at Brooklyn Steel, Photographed by David Reichmann
Future Islands’ sold out, three night run featured incredible setlists, touching and personal anecdotes from frontman Sammuel Herring, and ESG as the perfect opening act.
Future Islands is scheduled to play one more North American tour date in July, before embarking on their European tour in August. You can listen to Future Islands’ latest single and album here. You can also check out ESG’s music here.
Future Islands and ESG at Brooklyn Steel, Photographed by David Reichmann
Ron Carter received the perfect celebration for his 85th birthday at Carnegie Hall on May 10. The prolific Michigan-born jazz bassist is regarded as one of the most influential jazz musicians in the world, with a world record 2,221 recording session appearances since his career started in the 1960s.
Jazz connoisseurs were delighted by Carter’s presentation of three of his ensembles showcasing the diversity of his musical talents fit for the pristine acoustics of Carnegie Hall. His first set featured two traditional jazz settings supported by phenomenal musicians – the Golden Striker Trio and the Foursight Quartet – while his second set featured an orchestrated octet blending jazz and world music sounds. Closing the night after a sentimental birthday wish on stage from Carter’s son Quintell Williams Carter, he performed a solo piece on piccolo bass which is a signature invention by him and Stanley Clarke (a piccolo bass looks like a regular bass but is tuned an octave higher to give more prominence to solos and lead parts on the instrument).
Throughout the program, emcee Lester Holt and guest speakers/fellow bass virtuosos Stanley Clarke and Buster Williams spoke in great repute about Carter’s diverse talents in music, writing, collaboration, and education and each echoed his great character and humor as a person which he demonstrated throughout the night while explaining the compositions or sharing an off-the-cuff story. “We’re gonna keep comin’ out here til we get it right!” he exclaimed during each of his ensembles sets, slightly ironic to Carnegie Hall’s famous line of “practice, practice, practice!” before his closing remark of “well, I guess we finally got it right.”
After a brief intermission, Lester Holt welcomed to the stage Mikio Mori, Ambassador and Consul-General of Japan in New York. Amb. Mori expressed the deepest of gratitude to Carter for “helping jazz evolve as a language between Americans and the Japanese in the spirit of friendship and peace” which has flourished a jazz movement in Japan over the last several decades. From his various contributions along with performances in Japan following the Sept. 11, 2001 attacks and following the devastating earthquake in March 2011, Carter was bestowed the honor of the Order of the Rising Sun with Rosette in 2021.
Witnessing Mr. Carter’s performance at Carnegie Hall was an immersive exhibit of world-class talent. We would like to extend our warmest of wishes for his 85th birthday and look forward to hearing more of his virtuosity.
Ron Carter at Carnegie Hall Setlist (composer listed in parenthesis):
Golden Striker Trio: Laverne Walk (Pettiford), Candlelight (Carter), Soft Winds (Henderson)
Ron Carter Foursight Quartet: 595 (Carter), Mr. Bowtie (Carter), My Funny Valentine (Henderson), You and the Night and the Music (Schwartz)
Intermission
Ron Carter Octet: Abide with Me (trad.), El Rompe Cabeza (Carter), Song for You (Russell), Song for a Friend* (Carter), All Blues (Davis), Just a Closer Walk with Thee (trad.)
*”Song for a Friend” written in dedication to Carter’s father
Sir Paul McCartney returned to Syracuse on Saturday, June 4th to open up the first concert at the JMA Wireless Dome (formerly Carrier Dome). With a near full capacity crowd of over 35,000 in attendance, Paul McCartney was ready to rock Syracuse with a nearly three hour set.
With mounting anticipation, the show began around 8:20 p.m., as Paul McCartney took the stage to a massive roar of applause alongside his backing band which included Brian Ray, Rusty Anderson, Paul Wickens, and Abe Laboriel, Jr. Seeming to really take in the Syracuse welcome, McCartney walked around the stage briefly waving to the crowd and smiling before putting his hand up into the air behind the mic and kicking off the set with The Beatles classic, “Can’t Buy Me Love.”
Throughout the set, fans were treated to his versatility in playing multiple instruments which included piano, bass, guitar, and ukulele. When McCartney wasn’t singing or playing an instrument, he engaged the audience with stories and memories with other members of the Beatles.
The concert featured tons of Beatles hits, including “Lady Madonna”, “You Never Give Me Your Money”, “Blackbird.” The energy of the crowd only grew as the set progressed later into the evening with the audience singing popular tunes, “Ob-La-Di, Ob-La-Da” and “Get Back.” Continuing on with some of the biggest hits including “Band on the Run” into a sing along of “Let it Be” followed by a fiery display of pyrotechnics and fireworks during “Live and Let Die.”
The climax of the performance this evening was during “Hey Jude” when the entire audience sung along for several minutes to the “Na na na Na Na Na Na!” This was one of the most amazing experiences to be a part of with just a feeling of unity among everyone, especially given vast struggles currently in the world.
Paul McCartney left the stage saying goodnight, however not many people were so easily convinced that he was done. As if his 30-song set wasn’t enough, the band returned to the stage with thundering applause waving the Ukranian Flag, UK Flag, Pride Flag, and New York Flag.
With a massive 6-song encore that included favorites such as “I’ve Got a Feeling” which McCartney performed essentially a duet with John Lennon. The screens broadcast footage of Lennon performing on a rooftop from Peter Jackson’s “Get Back” documentary, which sounded as if he were on stage performing right there with Paul and synched perfectly. Finishing out the encore with “Helter Skelter”, “Golden Slumbers”, “Carry That Weight”, and ending with the fitting Beatle song “The End.” Paul McCartney delivered what many can consider the greatest concert they have ever seen.
Being able to witness the inspiration for just about all modern music was awe-inspiring. Paul McCartney has a way about him that just commands your attention, and the performance he continues to give over a 60-year career as he pushes 80 years old cements his legacy as an all time great. This was truly a unifying and magical music experience that I would recommend anyone to see if given the chance.
Setlist
Can’t Buy Me Love (The Beatles)>Junior’s Farm (Wings) >Letting Go (Wings)>Got to Get You Into My Life (The Beatles)>Come On to Me>Let Me Roll It (Wings)>Getting Better (The Beatles)>Let ‘Em In (Wings)>My Valentine>Nineteen Hundred and Eighty-Five (Wings)>Maybe I’m Amazed>I’ve Just Seen a Face (The Beatles)>In Spite of All the Danger (The Quarrymen)>Love Me Do (The Beatles)>Dance Tonight>Blackbird (The Beatles)>Here Today (tribute to John Lennon)>Lady Madonna (The Beatles)>Fuh You>Being for the Benefit of Mr. Kite (The Beatles)>Something (The Beatles)>Ob-La-Di, Ob-La-Da (The Beatles)>You Never Give Me Your Money (The Beatles)>She Came in Through the Bathroom Window (The Beatles)>Get Back (The Beatles)>Band on the Run (Wings)>Let It Be (The Beatles)>Live and Let Die (Wings)>Hey Jude (The Beatles)
Encore
I’ve Got a Feeling>Birthday (The Beatles)>Helter Skelter (The Beatles)>Golden Slumbers (The Beatles)>Carry That Weight (The Beatles)>The End (The Beatles)
What is there to say about Curren$y… a legend, a stoner rap icon, and also quite the performer. Coming off of a recent release, Curren$y gave the audience at Sony Hall a dynamic and intimate performance Friday night, May 27th.
Shante Scott Franklin, better known as Curren$y is a rapper, songwriter and record execuive with his own label Jet Life. The Louisiana native existed in the underground rap scene for over a decade finding his own niche within the stoner rap sub-genre with the likes of Wiz Khalifa and Mac Miller.
Some of his best work include The Marina which features Smoke DZA, Action Bronson, French Montana and Wiz Khalifa. Curren$y shows his charisma and charm through this thought provoking lyrics and smooth punchlines.
During the show, Curren$y stopped the music to go on a quick aside on his love for the movie Scarface. He urged the audience to understand the deeper implications of the movie and the way it represents how a unhealthy desire for fame and fortune can corrupt.
Curren$y brought down the house at Sony Hall on Friday night. Curren$y recently released Continuance which features production by esteemed producer Alchemist. He played most of his new album during his performance in additional to his beloved classic songs.
After its absence in 2020 and 2021 attributed to the coronavirus pandemic, Boston Calling returned to the athletic complex of Harvard University in Allston, MA this past Memorial Day weekend for the first time in three years. Inaugurated in 2013, the eleventh edition of the festival (it was held twice per year from 2013 to 2015) was a welcome event not only for the 40,000 fans in attendance each day (who were able to roll their tickets over from the two previously cancelled years), but also for the musical artists, some of which had yet to play their new material to a live audience.
A 7-foot tall Boston Terrier sculpture, made of high-density polyurethane foam by Sean Roach, greets fans. | Photo: Michael Dinger
This year’s headliners were heavy metal legends Metallica (formed in 1981 in Los Angeles) and industrial rockers Nine Inch Nails (formed in 1998 in Cleveland). Nine Inch Nails replaced the previously announced headliner Foo Fighters who cancelled the remaining dates on their tour following the tragic death of drummer Taylor Hawkins back on March 25. Trent Reznor, Atticus Ross and company also graciously stepped in for The Strokes on Day 2 of the festival after a late scratch Friday afternoon related to COVID-19. The coronavirus would claim one more casualty during the long weekend, King Gizzard & The Lizard Wizard, the psychedelic rock band from Australia who were initially scheduled to perform Saturday evening.
The three-day festival lineup included forty-eight (48) other artists performing across four stages, including the following: HAIM, The Struts, Rüfüs Du Sol, Cheap Trick, Avril Lavigne and Oliver Tree on Day 1 (Friday); Black Pumas, Run The Jewels, Orville Peck and Glass Animals on Day 2 (Saturday); and Weezer, Modest Mouse, Goose and Japanese Breakfast on Day 3 (Sunday).
A replica of Fenway Park’s famed Green Monster displays the 3-day lineup across all four stages. | Photo: Michael Dinger
Across social media accounts related to Boston Calling, it was hard not to notice several festivalgoer posts voicing their displeasure with the line-up changes and merch lines – which did appear to be long every time I walked by. That aside, the festival was a welcome reprieve from the recent and very sad news regarding gun violence in our nation, with relatively few other hiccups.
Day 1 (Friday)
The gates to the festival grounds opened promptly at 1:00 pm and patrons had four stages (designated by color) from which to choose from throughout the day – Green, Red, Delta Airlines Blue and Tivoli Audio Orange (the smallest of the stages which showcased Boston-area acts). Being a fan of Nine Inch Nails since the early ‘90s and wanting to witness their set as close as possible, I opted to ‘camp out’ at the Green Stage where the band would be playing a mere eight hours later! And I was not alone, as I met Jeremy Dubiel and Scott Mack from Holyoke, Massachusetts and Stafford, Connecticut, respectively, who also had the same game plan as I did. Little did I know at the time, but these two gentlemen would be my concert cohorts for the entire weekend.
A map depicting the four stage locations throughout the festival grounds. | Photo: Michael Dinger
After devouring the first of four Tasty Burgers I would have this festival weekend (they are delicious and we don’t have these in New York!), I made the short walk over to the adjacent Red Stage where model/actress/singer Paris Jackson (daughter of the “King of Pop” himself) would be the first performer of the weekend. Nearing the end of her 30-minute set, I headed back to the Green Stage to catch Grandson, a Canadian-American singer that can best be described as an Eminem-Justin Timberlake hybrid. Of the fourteen (14) musical acts I was to see over the next few days, Grandson would be right near the top. I was blown away by his onstage energy as he repeatedly flew from the top of the drum kit riser, ran along the perimeter of the stage apron clutching the hands of his fans or climbing the security rail as he jumped into a sea of people.
Paris Jackson | Photo: Michael DingerGrandson | Photo: Michael Dinger
Shortly after Grandson’s set concluded, Rick Nielsen and Rock & Roll Hall of Famers Cheap Trick appeared on the Red Stage, thrilling the crowd with their hits, including “Dream Police,” “The Flame,” “I Want You to Want Me” and “Surrender,” performed with Paris Jackson.
Up next on the Green Stage were The Struts, a British rock quartet fronted by their flamboyant frontman, Luke Spiller. Among several standout offerings from their 8-song set was the closing number “Could Have Been Me,” along with the ‘70s style pop duet “Low Key In Love,” performed with Paris Jackson. Ms. Jackson was making the most of her Boston Calling debut as she navigated back and forth between the Red and Green Stages, looking like she was having the time of her life.
Luke Spiller of The Struts | Photo: Michael Dinger
The third act to hit the Green Stage on Day 1 were HAIM, a pop rock band based in Los Angeles comprised of sisters Danielle, Este and Alana, the last of which who starred as an actress in last year’s Licorice Pizza, written and directed by Paul Thomas Anderson. Clad in matching black bikini tops and stylish leather pants, all three young women displayed their musical prowess, each playing several different instruments (guitar, bass, drums, piano) with great proficiency.
HAIM (from left to right – Alana, Danielle & Este) | Photo: Michael Dinger
Right on schedule, Nine Inch Nails entered the main stage at 9:00 pm Friday night to thunderous applause from the audience grateful to have them there. Their first tour in nearly four years, this band holds a special place in the collective heart of Generation Xers, who first fell in love with Reznor’s studio wizardry more than 20 years ago. At that time, there were no other bands creating their now signature, chaotic sound of drum machines, keyboards and guitars, accompanied by dark and tormented lyrics.
Trent Reznor of Nine Inch Nails | Photo: Michael Dinger
Side-by-side on stage with fellow composerproducer Atticus Ross, a frequent collaborator on numerous film scores, Nine Inch Nails’ performance was also visually stunning, set against high-intensity, flashing strobe lights. The 21-song set list covered a wide range of their discography, including “Closer,” “Sanctified,” “The Perfect Drug,” “Head Like A Hole” and “Hurt,” including a stirring cover of David Bowie’s “I’m Afraid Of Americans.” For any fans who missed Friday’s performance, or wanted to do it all over again, they had less than 24 more hours to wait for an encore performance on Saturday night.
Trent Reznor of Nine Inch Nails | Photo: Michael DingerAtticus Ross of Nine Inch Nails | Photo: Michael Dinger
Day 2 (Saturday)
After spending most of the day at the Green Stage on Friday, I perused the entire festival grounds to take in the entire vibe of the festival. Arriving just as the Boston-based indie band Dutch Tulip’s last song was finishing up on the Tivoli Audio Orange Stage, I made my way to the Blue Stage where Charlotte Sands was set to perform at 2:20 pm. Shadowed by a 100-foot Ferris wheel that is a staple at Boston Calling festivals, the Blue Stage’s floor area was packed with mostly young adult fans waiting in anticipation for the hip-hop rapper with folk-style lyrics.
Charlotte Sands | Photo: Michael DingerFerris wheel | Photo: Michael Dinger
Not wanting to miss the end of Hinds’ set, a Spanish indie rock band from Madrid, formed in 2011 and comprised of Carlotta Cosials, Ana García Perrote, Ade Martin and Amber Grimbergen, I made the longest walk between stages back to the Green Stage. Near the conclusion of their set, I made the quick jaunt over to the Red Stage, weaving through the crowd until I was a few rows back to see Celisse, an R&B and soul singer-songwriter who plays face-melting, blues-tinged guitar with infectious hooks.
Ana Perrote of Hinds | Photo: Michael DingerCelisse | Photo: Michael Dinger
After a brief stop at one of the strategically-placed medic tents for a bandage wrap (my feet were already killing me early on the second day), I headed back to the Blue Stage to catch Frances Forever, best known for their song “Space Girl,” which became a viral hit on TikTok in 2020, at 3:30 pm. However, moments before their time on stage, it was then when I noticed that the skies above had turned an ominous gray, and the stagehands did too – as they quickly swooped in to cover up Frances Forever’s instruments under plastic sheeting.
Only a couple of minutes later, due to nearby lightning and thunderstorms, a directive came over the PA system that all fans and staff were to evacuate the festival grounds and take shelter in nearby Harvard Square or Harvard Stadium. I was one of the many thousands who headed to the stadium, packed into the historic concourse beneath the stands for nearly the next 2 hours. Time passed quickly, however, aided by a positive attitude from the collective people seeking shelter from the torrential downpour. It was in these damp and dark quarters where an impromptu sing-along erupted to the chorus of Neil Diamond’s “Sweet Caroline,” an eighth inning tradition at nearby Fenway Park, home of the Boston Red Sox. Others passed the time by participating in random “Go Celtics” chants ahead of their Game 7 NBA conference final playoff game that was to take place at TD Garden the following night.
Concertgoers seeking shelter from the rain in Harvard Stadium | Photo: Michael Dinger
With the rain finally letting up, but before the fans and staff were permitted to return to the festival grounds, I made the decision to return to the main grounds in search of a ‘porta potty.’ It was there that I encountered an eerie, almost post-apocalyptic scene – a field that was once filled with thousands upon thousands of concertgoers earlier in the day, was now completely void of any souls (albeit two pink rain poncho clad girls). Seeking refuge in a beer tent until the last of the rain had finally dissipated, fans were allowed to return at approximately 5:30 pm. I watched as they trickled in, back through the main gate, while the Green and Red stages were being brought back to life by various staff and roadies.
Poncho-clad fans | Photo: Michael DingerA rainbow following Saturday’s downpour | Photo: Michael Dinger
With a revamped schedule for the remainder of the day, the musical festivities would resume with Black Pumas on the Green Stage at 6:30 pm, a psychedelic soul band based in Austin, Texas, led by singer/songwriter Eric Burton and guitarist/producer Adrian Quesada. Coming off their first Grammy Award nomination in 2020 for Best New Artist, Mr. Burton thoroughly enjoyed himself, playing tag with the photographers in the pit as they chased him while he posed for the camera with the fans as a backdrop.
Eric Burton of Black Pumas | Photo: Michael DingerEric Burton of Black Pumas | Photo: Michael Dinger
Outside of Metallica and Nine Inch Nails, I was most excited to see the performance by Run The Jewels (a.k.a. RTJ) on the Red Stage, which commenced shortly after 7:30 pm on Day 2. RTJ are the hip hop duo composed of Atlanta-based rapper Killer Mike and Brooklyn-based rapper and producer El-P. The former is a sociopolitical activist whose anti-establishment messaging and calls for peace and an end to police violence are evident throughout his lyrics. As the sun began to set halfway through RTJ’s set, the mosh pit opened up while a few crowd surfers rode the wave to the front of the stage where they landed into the arms of waiting security.
Killer Mike of Run The Jewels | Photo: Michael DingerEl-P of Run The Jewels | Photo: Michael DingerRun The Jewels Mosh Pit | Photo: Michael Dinger
After by-passing the Tasty Burger food tent, it was not easy (trust me), I had more than thirty other options from top, local area restaurants to choose my next meal from. I finally expanded my culinary horizons and opted for a mouth-watering pastrami Reuben from Mamaleh’s, a sandwich that would rival the famous Katz’s Deli, a Jewish institution in Lower Manhattan dating to 1888. After washing it all down with an Oatmeal Stout by Beer Geek Breakfast (7.5%), I maneuvered my way through the packed audience towards the rear of Harvard’s athletic field where I positioned myself to view the remainder of Nine Inch Nails’ set from the exact opposite vantage point from the previous night, taking in the enormity of the venue and the miraculous stage lighting. Hoping to grab an Uber ride back to my Airbnb before the local streets of Allston were crammed with others trying to do the same thing (a lesson learned from Friday night), I exited the festival grounds while Nine Inch Nails were nearing their set’s completion – mission accomplished.
Nine Inch Nails | Photo: Michael Dinger
Day 3 (Sunday) The festival’s final day arrived without any other surprises such as another line-up change or looming bad weather – aside from the size of the crowd, because James Hetfield, Lars Ulrich, Kirk Hammett and Robert Trujillo of Metallica would be concluding the festival weekend in epic fashion later this night.
But before Metallica, there was still a full afternoon of music to be had by all. The first band to play the Green Stage on Sunday were Peach The Rascals, an indie music collective from San Jose, CA who also achieved fame via TikTok with their song “Mariposa” last year. Cults followed next, the pop band duo of Madeline Follin and Brian Oblivion hailing from New York City. Although their set was hindered with an apparently faulty guitar instrument cable that was not resolved until the final song, their heavily-layered instrumentation was still a joyful listen.
Tarrek Abdel-Khaliq of Peach Tree Rascals | Photo: Michael DingerMadeline Follin of Cults | Photo: Michael Dinger
The Green Stage’s penultimate act of Day 3 were Glass Animals, a jovial rock band from England that lead singer Dave Bayley formed in 2010 with childhood friends Joe Seaward, Ed Irwin-Singer and Drew MacFarlane. Easily one of the best performances of the weekend, their stage setup was the cover of their latest record Dreamland (released in August 2020), reincarnated with hanging neon signs, pastel purple palm trees, a giant television and pyramid, basketball hoop, and of course, their pineapple mascot.
Dave Bayley of Glass Animals | Photo: Michael Dinger
Not wanting to chance it by veering too far away from my coveted spot on the Green Stage’s rail, I made the difficult decision to sacrifice checking out performances by Japanese Breakfast (fresh off their Saturday Night Live season finale appearance) and Goose on the Delta Airlines Blue Stage, as well as Modest Mouse and Weezer on the Red Stage. A case of FOMO hit me hard as I glanced over in the direction of the Red Stage often, taking in the visual images of Rivers Cuomo and his Weezer bandmates as they appeared on the large, vertical video boards on either side of the stage.
On this very hot Boston afternoon, dehydration also hit me hard, as well as many others in the first several rows who were packed shoulder-to-shoulder like sardines in a tin can. Thankfully, security guard Scott Turner, who I had gotten to know earlier in the day from chatting with him, repeatedly pushed bottles of water into the waiting hands of desperate audience members.
As dusk approached, and Weezer’s encore offering of “Buddy Holly” having concluded, Tuukka Rask, the recently retired goalie who played for 15 seasons with the Boston Bruins, took a quick seat at Lars’ drum kit for a quick photo op, before he and his small entourage exited stage left to the crowd chanting, “Tuukka, Tuukka, Tuukka!”
Boston Calling Archway | Photo: Michael Dinger
Not before long, AC/DC’s “It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll)” played over the house speakers, signaling Metallica’s imminent arrival. However, as per tradition at every Metallica show since 1983, Ennio Morricone’s “The Ecstasy of Gold” played next, accompanied by video footage from the classic 1966 Western film starring Clint Eastwood, The Good, the Bad and the Ugly. At 8:50 pm, drummer Lars Ullrich was the first band member to appear on stage in front of the largest Boston Calling crowd of all time, followed shortly by guitarist Kirk Hammett and bassist Robert Trujillo. James Hetfield was the last to arrive, and equipped with his iconic white, well-worn Flying V, these metal gods launched into the first of sixteen songs, “Whiplash,” from their debut studio album Kill ‘Em All (1983).
James Hetfield of Metallica | Photo: Michael DingerRobert Trujillo of Metallica | Photo: Michael DingerKirk Hammett of Metallica | Photo: Michael DingerLars Ullrich of Metallica | Photo: Michael Dinger
Over the next two hours, diehard fans in attendance would be treated to hits taken from Ride the Lightning (1984), Master of Puppets (1986), …And Justice for All (1988) and Metallica (1991), better known as The Black Album. The unforgettable night culminated with a three-song encore of “Battery,” “Nothing Else Matters” (with a restart needed when Hammett humorously bungled the intricate guitar picking of the song’s introduction) and “Enter Sandman.”
Just days ahead of dropping their latest studio album Dripfield, buzz-worthy psychedelic improv rockers Goose kicked off summer in terrific form over the Memorial Day weekend, playing a pair of well received shows in their home state of Connecticut. Packing the Westville Music Bowl in by the thousands, the former tennis stadium turned live music mecca is quickly becoming a favorite venue for both Goose and fans alike. In the latest chapter, the band raised expectations even higher by capping Night 2 off with two impressive sets of original music.
Goose guitar players Rick Mitarotonda and Peter Anspach duel it out at the Westville Music Bowl on 5/28/22
Taking flight on their turf, the summer of Goose began in New Haven, and in promoting their latest studio effort, Dripfield, the boys came prepared, unveiling a fresh new line of Dripfield themed merch that included a limited-edition beer and their first gig poster by acclaimed artist Miles Tsang. After quick pat down through security, excited fans quickly made a B-line for the venue’s well-run merch both. While an ominous sky still lingered over the Bowl, there seemed to be a minor delay to the advertised start time of 6pm. While waiting, a lot of the conversation was centered on the Tsang diptych print, which appeared to be both polarizing to some collectors, while praised by others. The second most debated topic seemed to be over which state really has the best pizza?
Fresh Merch: The Miles Tsang diptych poster for New Haven was a hot topic of debate on 5/28/22
Taking the stage to a healthy hometown welcome on Saturday, May 28th, OG Goose fans were delighted to hear the opening riff of the song “Drive,” one of the bands earliest songs. Feeling a groovy vibe from the start, the band were all smiles early on. Consisting of guitarist Rick Mitarotonda, keyboardist/guitaristPeter Anspach, drummer Ben Atkind, bassist Trevor Weekz and percussionist Jeff Arevalo — Goose would continue to work their magic with high energy takes on “California Magic” and an excellent version of the ever-evolving “This Old Man’s Boat.” Once looking gloomy, by now the weather had become beautiful and a beach ball party was in full swing, making for a particularly on-point and potent rendition of “Turned Clouds,” the opening track off the bands 2016’s studio debut Moon Cabin.
Goose bassist Trevor Weekz kept his shirt on in New Haven, CT 5/28/22
With his trusty rain stick in hand, the uplifting energy continued as the bands beloved tour manager, Jon “Coach” Lombardi, then pulled up a spot near Trevor to shake things up on “Honey Bee.” Closing the opening set on a high note, Coach would stick around for the irresistible “Empress of Organos,” the same song that launched the band into 2022 during their NYE run. Indeed, this show was a celebration and the hometown homies had come to party.
Jon “Coach” Lombardi helped shake things up via rain stick on Night 2 in New Haven 5/28/22
After a somewhat lengthy intermission, Goose was straight birdn’ upon their return, going deep with the new song “Red Bird.” The party atmosphere picked up some more during “Butter Rum,” which featured some of the loudest cheers and best audience participation of the evening. Showing off a new and improved rig, lighting director Andrew Goedde was simply dazzling during the second half of the show. Vibing perfectly in sync with the band as our musical journey seamlessly shifted from “Echo of a Rose” to a standout version of “Into the Myst,” the latter was played in its entirety for the first time since 11/17/21. Upon its completion, the band members slowly disappeared from the stage in a cloud of, well, mist, triggering an ambient-like loop that would continue through the brief encore break. With subtle teases of “Dripfield” all evening long, when Goose returned for their curtain call, they gave fans the full treatment of their new album’s title track. Jammed all the way until curfew, Goose closed out the second night of their hometown throwdown in top notch form.
Lighting Director Adrew Goeddde showing off his new rig at Westville Music Bowl 5/28/22
A scintillating performance showcasing all original material, stellar musicianship, an impressive light show, fun-loving fans and a charismatic “X” factor that can’t be faked, this is a band worthy of the hype. With a new album and a jam-packed summer officially underway, it’s safe to say Goose are set to soar. For more information on where you can see them, including their debut at Radio City Music Hall and a stop in at Artpark in Lewiston, NY, head to bands website.
Goose | Westville Music Bowl | New Haven, CT | 5/28/2022
Set 1: Drive, California Magic, The Old Man’s Boat, Turned Clouds, Honeybee1, The Empress Of Organos
Set 2: Red Bird, Butter Rum, Echo Of A Rose > Into The Myst2, Dripfield
Encore: Dripfield3
Notes 1. Coach on rain stick 2. First finished Into the Myst since 11/17/21 3. Continued from set-closing rendition
