Parquet Courts, the New York City based post-punk band, finished up a two-night stand at Bushwick’s Brooklyn Steel on Saturday, April 2nd. The band is on tour supporting their seventh LP Sympathy for Life; released last October via Rough Trade Records. The album features the infectiously groovy lead single “Walking at a Downtown Pace” and the psychedelic jam “Plant Life.”
Parquet Courts at Brooklyn Steel, 4/2/22. Photo by Buscar Photo
NYS Music was at night two, which featured a rather unique intro to the show. After the stage crew finished the change over between sets, a woman lit a sage bundle and immersed the stage in the smoke. She stepped to the mic and announced onto the stage, “Clown.” After expecting Parquet Courts to walk onto the Brooklyn Steel stage, the crowd was indeed perplexed, but intrigued as to what was happening. Two people walked on stage, one apparently the Clown in full face paint and a clown suit accompanied by a saxophone player. The two then played a gorgeous cover of Parquet Courts song and Sympathy for Life closer “Pulcinella.” The ambient balled swelled into a mix of sax and guitar loops, coming to a climax as Clown then introduced Parquet Courts to the stage.
Clown at Brooklyn Steel, 4/2/22. Photo by Buscar Photo
Once Parquet Courts took the stage, the crowd burst into joyous energy and never let up until the end of the show. The band played a career spanning set, and embellished much of the songs into lengthy live versions with extended jams and improvised movements. The band transforms their energetic post-punk style into a multifaceted live show that keeps even the most devout listener on their toes. Highlights of the show included the aforementioned Sympathy of Life singles as well as “Freebird II” and “Mardi Gras Beads” off the excellent 2018 LP Wide Awake!.
Parquet Courts at Brooklyn Steel, 4/2/22. Photo by Buscar Photo
Parquet Courts continue on tour through April, ending the month on the west coast before heading to Europe for a run of dates in May and June. The band sprinkles in a couple of shows in Australia later in the summer. Check out the full tour schedule HERE and see our photo gallery from the show at Brooklyn Steel on April 2nd below.
The Greyboy Allstars are set to release their upcoming album Get A Job with music from the original broadcast series Soul Dream on April 1st. The first song off the album, ‘I’ve Got Reasons’, recently dropped along with accompanying video along with Spring Tour Dates where they’ll perform in Woodstock and Brooklyn this April.
The quintet jazz band, Karl Denson (saxophone, flute), Elgin Park (guitars), Aaron Redfield(drums), Chris Stillwell (bass) and Robert Walter (keys) turn up the notches with their new album consisting of 10 unique never-before-released covers that consistently captivated their famed live performances for nearly three decades. Gil Scott-Heron, Gene Ammons and Burt Bacharach are some of the artists who’s songs are showcased on the ‘Get A Job’ album.
The delivery of these covers shows the formative music that shaped the band while also adding a twist of their own funky imprint to the song’s arrangement and legacy.
The more we play together, the more I enjoy listening to the other guys. It seems like a simple idea but finding a place in the mix is what’s important: not the solo. Weave a thread inside the fabric.
-Elgin Park
A running list of around 70 tunes that became live favorites during shows and music that came out of Prestige Records are showcased with the Greyboy Allstars. The soul-jazz band from San Diego, California will be coming to the Bearsville Theater in Woodstock and the Brooklyn Bowl in Williamsburg, Brooklyn.
The 21-date ‘Get A Job’ tour has 6 of the shows on-sale now and the remaining 15 shows go on-sale February 4th at greyboyallstars.com
The Greyboy Allstars “Get A Job” U.S. Spring Tour
3/9 – Asheville, NC – Salvage Station 3/10 – Charleston, SC – The Pour House 3/11 – Atlanta, GA – Variety Playhouse 3/12 – St. Augustine, FL – St. Augustine Amphitheatre 3/30 – St. Louis, MO – The Big Top 3/31 – Milwaukee, WI – Shank Hall 4/1 – Chicago, IL – Park West 4/2 – Covington, KY – Madison Theater 4/3 – Columbus, OH – Woodlands Tavern 4/5 – Pembroke, MA – Soundcheck Studios 4/6 – Woodstock, NY – Bearsville Theater 4/7 – Brooklyn, NY – Brooklyn Bowl 4/8 – Brooklyn, NY – Brooklyn Bowl 4/9 – Philadelphia, PA – Brooklyn Bowl Philadelphia 4/10 – Washington, DC – The Hamilton 4/15 – Crystal Bay, NV – Crystal Bay Club Casino 4/16 – Crystal Bay, NV – Crystal Bay Club Casino 4/21 – Venice, CA – Venice West 4/22 – Denver, CO – Cervantes Masterpiece Ballroom 4/23 – Boulder, CO – Boulder Theater 4/30 – New Orleans, LA – Tipitina’s
In anticipation of their debut EP, Broken Dance, set to release on May 6th, Gooseberry has dropped the titular track of their forthcoming project. The Brooklyn band, consisting of Asa Daniels, Evin Rossington, Sam Rappaport, and Will Hammond, is slowly building an underground following.
Recently, the band placed in the Final Four in NYSMusic’s March Madness 2022 bracket, and their newest release continues to highlight their talent.
Gooseberry
Gooseberry’s music is a magnificent blend of soulful R&B and indie-pop. Their newest release continues to showcase this amalgamation. The titularly titled track, “Broken Dance,” features a happy yet inquisitive piano roll. Accompanied by a melancholic violin and intimate lyricism, the track wonderfully captures the antonymic feelings of intimacy and loss.
The four-piece talent will also be touring the American Northeast. In New York, they will return to the Bowery Electric on April 14th and to Brooklyn’s Knitting Factory on May 21st. Additionally, the band will also pass through the Finger Lakes region and will play at Grist Iron Brewing on June 11th.
TOUR DATES
04/13 – O’Brien’s – Boston, MA
04/14 – Bowery Electric – New York, NY
04/16 – Transparent Clinch Gallery – Asbury Park, NJ
05/21 – Knitting Factory – Brooklyn, NY
06/11 – Grist Iron Brewing – Burdett, NY
Gooseberry is set to have an exceptional 2022, for more information on the band and to pre-order Broken Dance, visit gooseberryband.com.
Federico Aubele has released the second single “Old Spanish Films” from his upcoming album The Holographic Moon, out May 27.
Federico Aubele was born in Buenos Aires but now lives and works in Brooklyn. Credit: Desdemona Dallas
The song is about a relationship coming to an end after the two people acknowledge an inevitable incompatibility.
[It’s based] on the realization that a relationship I was in was built on projections, from both people in it, and didn’t have any real foundation. The end of the relationship was obviously sad. But in hindsight I can see that for the brief amount of time we were together we did give each other something valuable that we needed at the time, mostly companionship.
Federico Aubele
His deep baritone and penchant for downtempo melancholy offer a rumination on things lost. His relationship may have ended but it didn’t lose its value. His signature vocals envelopes the acoustic guitar that glides through the track to create a sense of something lost but, nonetheless, appreciated.
In a first for the Brooklyn based Argentine singer songwriter he also directed the video for “Old Spanish Films.” The Camcorder and Walkman in the video are meant to evoke a gone-by era of your life, to represent things that were once precious and now only their memory is.
Aubele’s overt pursuit of experimentation may not be for all. But “Old Spanish Films” is worth a listen at least just to satisfy your curiosity.
Ruel, born in London and raised is Sydney, has already become an international superstar with over 1.5 million followers on Instagram and with three sold-out world tours already complete. His most recent “GROWING UP IS _” tour, ahead of his newest debut album arriving soon, brought him to Brooklyn on Sunday, March 27th after kicking off his tour in Los Angeles.
Ruel kicked off the show with his back facing the audience, and then after finishing his introduction of “Real Thing,” turned around to face the screaming audience.
Photo by Ambika Verma
Ruel ran across the stage during the set, from one side of the audience towards the other, often reaching down to greet fans. The crowd was no doubt composed of eager fans, as they were screaming each song loudly back towards the stage. He performed a range of songs, from his upbeat hits to slower and newer songs, eventually closing his set with his newest hit, “GROWING UP IS _” before returning for a 2-song encore. Ruel’s newest song “GROWING UP IS_,” similar to one of his other hit songs, “Younger,” resonated with a lot of the audience; this coming-of-age song highlights how feelings of growing up can bring up moments of self-reflection and nostalgia.
Ruel will continue his tour in Europe for a few dates; you can listen to his newest hit single here.
Setlist: Real Thing, Dazed & Confused, Face to Face, as long as you care, distance, Hard Sometimes, Don’t Tell Me, LET THE GRASS GROW, too many feelings, Free Time, Flames (SG Lewis), Younger, GROWING UP IS _ Encore: Painkiller and Japanese Whiskey
Photo by Ambika VermaPhoto by Ambika VermaPhoto by Ambika VermaPhoto by Ambika VermaPhoto by Ambika VermaPhoto by Ambika Verma
Dream-pop group Sooner has just released their debut LP, Days and Nights. The Brooklyn based group kicked off album promotions by premiering their first single ‘Boscobel’ with FLOOD magazine.
Days and Nights cover
Formed in 2016, Sooner blends elements of alternative rock, dream pop and shoegaze to create their melodic sound. Members Federica Tassano (vocals), John Farris (guitar), Andrew Possehl (bass), and Tom Wolfson (drums) have come together after a series of fits and starts to finally release the amalgamation of their hard work.
‘Persona’ coaxes you in with Tassano’s youthful, airy voice as your feet subconsciously start to tap along to Wolfson’s drums. Lyrics questioning a man’s sobriety and the efforts one goes through for individuals that don’t care add to the depth Sooner displays within their work.
‘Kingdom’ draws unique inspiration from Mary Oliver’s poem “Small Kingdoms”. The strong instrumental start does its job in grabbing your focus and keeping it locked in. Bass and guitar are front and center in this track.
‘Dusk’ closes the LP with a calming, submerged presence. Tassano’s ethereal chants float around you and as the final song concludes, it feels like you’ve just left a close friend’s recording session. Your muscles are relaxed and your mind is clear.
Days and Nights is now available on all streaming platforms, as well as the group’s Bandcamp.
Fresh off the release of her second album Squeeze, Sasami played a packed show last Friday night, March 25th, with support from Zulu. The eclectic crowd comprised people of all stripes, with plenty of typical goth garb (leather, long coats, and tall boots) and plenty of LGBTQ+ representation in the mix. Fans were asked to keep masks on throughout the show to protect the band from tour disruptions, with signs posted on the walls and doors.
Sasami at Music Hall of Williamsburg, Photograph by David Reichmann
L.A. native “powerviolence” band Zulu opened up the show with loud, sustained heavy metal sounds. The audience gleefully moshed and thrashed throughout their brief but powerful set.
Zulu at Music Hall of Williamsburg, Photograph by David Reichmann
Sasami started her hard-hitting set with some fan favorite tracks including, “Skin a Rat,” “Say It,” and “Make It Right.” Her setlist covered her 2-album catalog, and even included a cover of System of a Down’s “Toxicity” with on-stage help from Zulu. Given Sasami’s experience as a trained classical composer, her setlist spanned several genres and included operatic interludes, head-banging choruses, and even a few balladic deep cuts such as “Call Me Home.”
Sasami and Zulu at Music Hall of Williamsburg, Photograph by David Reichmann
Sasami’s music has always contained difficult themes, and often expresses frustration with systemic violence or even her own interpersonal relationships. Earlier in the week, she had posted on social media about her decision to postpone an upcoming Boston tour date until they could “book it in a venue everyone feels safe in.” She also stated, “My [number one] priority as a touring musician is to create a safe space for my community to rage, emote, dance […] and have fun…” Throughout her set, Sasami repeated her mantra of wanting to use music to create a safe space for minority and disenfranchised peoples, leading to loud cheers each time she reaffirmed her intentions.
Sasami at Music Hall of Williamsburg, Photograph by David Reichmann
Sasami’s North American tour continues, and you can listen to Sasami’s 2022 album Squeezehere and view upcoming tour dates here. Listen to Zulu’s music here.
Sasami and Zulu at Music Hall of Williamsburg, Photography by David Reichmann
Nearing the end of a 17-date tour, Nick Cave and his longtime collaborator Warren Ellis perfectly executed a second straight sold-out show in Brooklyn this past Friday evening. Following the culmination of a successful United Kingdom and European tour last fall, the duo kicked off the current leg of their North American excursion on March 1 in North Carolina, in support of Carnage, a hauntingly-poignant album they recorded together during the COVID-19 lockdown last year. The pair of Aussie friends have been working together since 1993, when Ellis (also known as a founding member of the instrumental rock trio the Dirty Three) played violin on Let Love In, the eighth studio album from Nick Cave and the Bad Seeds.
Nick Cave
With approximately one hour to go before showtime, excited concertgoers were spotted congregating on nearby sidewalks or hastily exiting their Uber ride near the grand marquee in lights. After patrons filed past the security check points and into the inviting confines of the theater, many grabbed a drink, joined a waiting friend or checked out the merch table. Others snapped a cellphone picture of the historic venue’s centerpiece, the console of a “Wonder Morton” pipe organ, one of four other magnificent organs installed in the original Loew’s New York City movie theaters.
Warren Ellis
At 8:20 pm sharp, Warren Ellis, a trio of backup singers (Janet Ramus, Wendi Rose and T. Jae Cole) and a touring musician who would play keyboards, bass and drums throughout the night, took to the stage. The eternally-suave Nick Cave followed closely behind, dressed in a sharp blue suit with a white shirt and a marvelous slick of black hair. With Ellis seated, his signature gray beard resembling that of a medieval knight and wearing a shirt unbuttoned nearly to his navel, he began to play the small synthesizer perched on his lap. After a long wave to the packed house, Cave grabbed the microphone from its stand and immediately got down to business.
Kings Theatre
For nearly the next two and half hours, Cave and Ellis would thrill the audience with offerings from the aforementioned Carnage, 2019’s Ghosteen and plenty of classic tracks spanning the entire Bad Seeds catalog. With nearly every soul now on their feet, the first offering of the night was “Spinning Song,” a song about Elvis Presley and his iconic status in popular culture.
Nick Cave
Halfway through the 16-song opening set, one of several comedic moments from the night occurred during Cave’s introduction of “Cosmic Dancer,” a cover by T. Rex, legendary British musicians who formed in 1967. With Ellis now changing his keyboards for a violin, Cave alerted his fans. “Alright, fucking strap into your seats. Warren is going to do a violin solo. You think that things are going to be the same afterwards, but they will not be. Your lives will be different. You will tell your children that you were there when Warren performed [his] solo.”
Warren Ellis
Once the laughter subsided, “Hand Of God” (Carnage, 2021) was delivered by Cave with the emotional intensity you can always expect to witness during one of his shows. Furiously pacing the stage to the driving beat, Cave did halt on a few occasions to reach out and clutch the hands of adoring fans, all the while repeating the high-pitch title line . . . “Hand of God! Hand of God! Hand of God.” Closing out the masterfully-crafted set was “Balcony Man,” another brilliant track from last year’s Carnage. Seated at his piano once again, Cave instructed the upper balcony to cheer every time the word ‘balcony’ was spoken, and emphatically cheer they did.
The first encore was comprised of two songs, “Hollywood” from Ghosteen, followed by “Henry Lee,” released on the Bad Seeds ninth studio album (Murder Ballads, 1996). It was during the early refrain of the second song when Janet Ramus, a British soul singer, innocently mixed up the lyrics. During the tune’s restart, Cave playfully exclaimed, “You can’t fuck this one up [again].” After the song’s conclusion, Cave graciously re-introduced his bandmates before they all exited the stage for a second time. The exultant crowd cheered non-stop for several minutes until Cave, Ellis and company finally reappeared.
Nick Cave
The exquisite hymn about loss and sorrow, “Into Your Arms,” opened the second encore. Following this fan favorite from The Boatman’s Call (1997) was a song requested by an audience member that had not been played by the Bad Seeds, according to Cave, “in a very long time.” Before launching into the melody, “Jubilee Street” from 2013’s Push The Sky Away, Cave remarked, “If we fuck it up, it’s on you dude.” The night’s penultimate offering was “Girl In Amber” (Skeleton Tree, 2016), a moving song written by Cave for Anita Lane, a founding member of the Bad Seeds. The night’s last offering, “Ghosteen Speaks” (Ghosteen), a song about the spirit of love and its existence, fittingly captured the overall theme of the night.
The Carnage tour wraps in Montreal, Canada with a pair of early April dates at the Place des Arts. If you were unable to catch a live show on their current tour, or just cannot get enough of Cave and Ellis, the global release event of This Much I Know To Be True is set for May 11, 2022. This feature film captures the exceptional creative partnership of both Australian natives as they brought to life the songs that would appear on the albums Ghosteen and Carnage. Additional details can be found here: https://www.thismuchiknowtobetrue.com.
Kings Theatre
Setlist: Spinning Song > Bright Horses > Night Raid > Carnage > White Elephant > Ghosteen > Lavender Fields > Waiting for You > I Need You > Cosmic Dancer > God Is In The House > Hand of God > Shattered Ground > Galleon Ship > Leviathan > Balcony Man > Encore 1: Hollywood > Henry Lee > Encore 2: Into My Arms > Jubilee Street > Girl In Amber > Ghosteen Speaks
On July 23rd, Flashback Funk Fest will take place at Kings Theatre, Brooklyn, featuring legendary artists like Morris Day & The Time and Cameo with SOS Band and The Dazz Band.
Morris Day and The Time & Cameo at Kings Theatre
Morris Day, legendary funkmaster and well known for playing the main role in the movie Purple Rain, returns with his energetic vocals and witty lyrics. Day is the lead singer of The Time, a musical group associated with Prince. Similarly, the two even attended the same high school in Minneapolis in 1974. Some of his biggest hits include “Jungle Love”, “Get It Up”, and “The Bird.”
Accompanying Morris Day & The Time, CAMEO celebrates 40 years & more than eighteen million albums. Larry Blackmon, the lead singer of CAMEO, composes such a unique funk sound thats played throughout time. Their hit songs are routinely placed in films, TV, video games, and commercials.
S.O.S Band, otherwise known as The Sounds of Success, is comprised of Jason Bryant, Billy Ellis, Willie “Sonny” Killebrew, Bruno Speight, John A. Simpson, James Earl Jones III, and Mary Davis.
Their greatest hits include, “Take Your Time (Do It Right) and “Just Be Good to Me.” After Davis’ retirement from touring in 2020, the band added two new vocalists, Marleen Thomas, and Chimere Scott, who have taken the torch in place of their former iconic original vocalist.
Led by Bobby Harris, The Dazz Band is comprised of Skip Martin (Lead Vocals & Trumpet), Marlon “The Magician McClain (Guitar), Donny Sykes (Vocals), Raymond Calhoun (Drums)Keith Harrison (Keyboards), and Alvin Frazier (Bass). Celebrating their 40th Anniversary, the band won a Grammy Award for Best Performance by an R&B Group or Duo for their smash hit “Let It Whip” in 1982.
The show will start at 7:30pm and doors open at 6:00pm. Tickets are on sale now here.
Brand-new Brooklyn-based trio, Say She She, have released their sophomore single “Blow My Mind.” The song follows their debut single and video “Forget Me Not” – both tracks have earned early support from KCRW’s Morning Becomes Eclectic. Both tracks will be released together as a 45 via Colemine/Karma Chief Records.
Photo by Milton Arellano
Named as a silent nod to Nile Rodgers (C’est chi-chi!: It’s Chic!”), Say She She, an all-female “discodelic” soul band. Their unique sound is inspired by late 70’s girl groups with the three strong female lead voices of Piya Malik (featured in El Michels Affair, and backing singer for Chicano Batman), Nya Gazelle Brown, and Sabrina Cunningham.
Artwork by Alyssa Boni
The Brooklyn-based three-part harmony girl group have been making their way throughout the New York City scene for a couple of years now. Their sophomore song is about returning to reignite the fire of a former flame/love you still have. “‘Blow My Mind’ is about a love that you can’t seem to get rid of and you can’t quite get enough of,” explains Say She She member Nya Gazelle Brown.
The pandemic inspired the band, after spending time recording their LP on old tape machines in the basement studios of friends, the Summer of 2022 will see their much-awaited debut album. As they raise in popularity, their songs have garnered over 8.8 million streams, you will not want to miss out on this dynamic trio.
As Say She She, they have appeared in Brooklyn Paper and Bushwick Daily. Separately, the members of the band have been covered in: The Rolling Stone, The New Yorker, Billboard, Pitchfork, NPR, Pop Matters, Paste Magazine, Brooklyn Vegan, American Songwriter, have toured extensively with Chicano Batman as backing singers doing everything from Coachella to Tiny Desk, and performed at Gilles Peterson WorldWide Awards in London.
