Category: NYC Metro

The Mars Volta Return to NYC for Two-Night Terminal 5 Run

Celebrating the release of their seventh studio album, The Mars Volta wrapped up two sold out shows at New York City’s Terminal 5 on Friday, September 30th. Their self-titled LP, The Mars Volta, was released by Clouds Hill Records on September 16th, marking a dramatic shift in the band’s sound who traded their frenzied, long-form prog rock styling for a more stripped back and deliberate art-rock. The result of a true collaborative effort, The Mars Volta focuses on Latin jazz fusion while giving Cedric Bixler-Zavala’s vocals plenty of space to ring out as clear as ever.

The Mars Volta, Terminal 5, 9/30/22. Photo by Lindsay Brown

The Mars Volta last played New York City over a decade ago, before their sixth LP Noctourniquet was even recorded. The announcement of the new record and tour was hailed by a fanbase that has not seen the band in 10 years, as well as new found fans who truly thought they would never get the experience of seeing The Mars Volta live. The crowd at Terminal 5 was a mix of both and the excitement was palpable long before doors even opened.

The Mars Volta, Terminal 5, 9/30/22. Photo by Lindsay Brown

Support on this tour comes from Teri Gender Bender; the latest moniker from the supremely talented and genre defying musician Teresa Suárez Cosío. Cosío has fronted many projects over the years, including the garage punk band Le Butcherettes and the psych rock group Bosnian Rainbows, also featuring Omar Rodríguez-López. Teri Gender Bender released a slew of EPs and singles on Clouds Hill Records back in August and the band’s sound and Cosío’s dynamic stage presence were a perfect fit to open the show. Featuring a cryptic and driving psychedelic performance, the music floated somewhere between Björk and classic NYC punk, leaving a clear impression on the Terminal 5 crowd.

Teri Gender Bender, Terminal 5, 9/30/22. Photo by Lindsay Brown

The band’s setlist has been quite consistent throughout the tour so far, including the two lead singles from The Mars Volta, “Blacklight Shine” and “Graveyard Love”. Both songs take on a whole different life on stage, primarily due to the incredible drumming from new band member Linda-Philomène Tsoungui. While the setlist used to feature Amputechture highlight “Viscera Eyes”, it has been dropped from the setlist the past couple of tour dates including New York City. The Mars Volta have been paying homage to their roots on this tour with 7 out of 10 songs from their 2003 classic debut, Deloused In The Comatorium. Find the full setlist below.

The Mars Volta, Terminal 5, 9/30/22. Photo by Lindsay Brown

The Mars Volta has always been the creative output of guitarist Omar Rodríguez-López and Cedric, with a revolving band that tours behind them. This current iteration of the live show still feels like a collaboration amongst all the artists on stage even if they were not present during the recording of The Mars Volta. Linda-Philomène Tsoungui brings an enormous amount of energy and jazz complexity to the rhythms, while long-time collaborator Marcel Rodríguez-López (a.k.a. Eureka The Butcher) provides keys and Latin percussion. Leo Genovese is the other new multi-instrumentalist, performing lengthy and riveting piano and tenor saxophone solos.

The tour continues throughout October with several stops in the Midwest and the west coast, ending with a three-night run at Los Angeles’ The Hollywood Palladium. Shortly after the tour, The Mars Volta headlines Mexico City’s Hipnosis festival on November 5.

The Mars Volta, Terminal 5, 9/30/22. Photo by Lindsay Brown

This new era feels like a rebirth of the band, with just as much passion and creative energy as ever. While there are no plans after the show in Mexico, the passion on display from Omar, Cedric, and the touring band feels like they will not stop there. Check out more photos from night two at Terminal 5 by Lindsay Brown below.

The Mars Volta – Terminal 5 – September 30, 2022

Setlist: Vicarious Atonement, Roulette Dares (The Haunt Of), Eriatarka, Graveyard Love, L’Via L’Viaquez, Empty Vessels Make The Loudest Sounds, Cygnus…Vismund Cygnus, Blacklight Shine, Drunkship of Lanterns, The Widow, Cicatriz ESP, Televators, Son et Lumiere, Inertiatic ESP

October 6, 2022
Brooklyn Welcomes Back Pavement for Night 3 of Kings Theatre Residency

Nearing the end of a 22-date fall reunion tour of North America that kicked off in early September in San Diego, Pavement played the majestic Kings Theatre in Brooklyn this past Sunday, October 2, for the third of four consecutive sell-outs. Often described as one of the most influential bands to emerge from the underground scene in the early-1990s, the indie rockers formed in 1989 in Stockton, California have achieved a cult-like following among its legion of fans.

Stephen Malkmus of Pavement | Photo by Michael Dinger

Arriving just in time for the 6:30 pm doors on a chilly early-October evening, excited concertgoers were spotted congregating in small groups along nearby sidewalks, hastily exiting their Uber beneath the grand marquee or frequenting the bar on the nearby corner of Flatbush Avenue and Duryea Place that doubles as a tattoo parlor. As patrons filed past the security checkpoint, many had a sheer expression of awe on their faces as they witnessed the theater’s ornate, French Baroque style for the first time. The nearly 3,700-seat venue had been restored to its vintage condition and reopened to the public in January 2015, including repairs to the 50,000-square-foot ornamental ceiling.

Kings Theatre marquee | Photo by Michael Dinger

As the minutes ticked down before the night’s opening act would take the Kings Theatre stage promptly at 8:00 pm, Pavement fans continued to pack the lavish and decorative lobby with gilded walls paneled in American walnut. Many of whom checked out the merch tables, grabbed a drink from the array of bars strategically placed on all levels of the venue, or snapped a cell phone picture of the historic venue’s centerpiece, the console of a “Wonder Morton” pipe organ that was installed in the original Loew’s New York City movie theaters.

Kings Theatre lobby | Photo by Michael Dinger

Preceded by openers The Goon Sax and Water From Your Eyes on Friday night, and 75 Dollar Bill on Saturday night, Horsegirl would be providing support for their Matador Records labelmate on this night of the residency. The indie rock trio of Penelope Lowenstein (guitar, vocals), Nora Cheng (guitar, vocals), and Gigi Reece (drums) formed Horsegirl three years ago after meeting in Chicago and eventually bonding over their shared love for acts like Sonic Youth and Stereolab. Cheng would announce to the Kings Theatre audience that “Pavement is one of the reasons we started this band.”

Horsegirl | Photo by Michael Dinger

Backed by a large video screen resembling a hanging piece of abstract art in a museum, Horsegirl walked onstage bathed in soft purple light as the steadily increasing crowd quietly took to their seats. With palpable, undeniable chemistry, Horsegirl performed a 10-song set filled with guitar feedback and hypnotic melodies from their debut album (Versions of Modern Performance) released this past June. Two of their set numbers, “Ballroom Dance Scene” and “Sea Life Sandwich Boy,” can be found on 2021’s limited edition 7” single (Sonic Cathedral Recordings). As their 35-minute set concluded and by gauging the big round of applause given to these teenage girls who even self-produce their own music videos, it’s a safe bet that Horsegirl is on their way to a very bright future.

Horsegirl | Photo by Michael Dinger

After a 30-minute turnover of the stage by Pavement’s crew, the quintet comprised Stephen Malkmus (vocals and guitar), Scott Kannberg (guitar and vocals), Mark Ibold (bass), Steve West (drums) and Bob Nastanovich (percussion and vocals) unassumingly appeared in the dark shadows just a couple of minutes past 9:00 pm. Additionally, for this reunion tour, the band is joined by Rebecca Cole (keyboards and backing vocals), a former member of the Minders and Wild Flag.

Pavement | Photo by Michael Dinger

Completely mixing up their setlist from each of the previous two nights, the first of Pavement’s 25-song collection was “Major Leagues,” from their fifth and final studio album Terror Twilight (1999). With the exception of Nastanovich, each band member would remain in their respective stage location for the majority of the 1-hour and 50-minute show. Nastanovich, on the other hand, served as a second drummer and as lead vocalist on several songs that often required screaming, and which also found him directly engaging with the throng of die-hard fans standing in the small pit section along the stage apron.

Stephen Malkmus of Pavement | Photo by Michael Dinger

Mark Ibold of Pavement | Photo by Michael Dinger

Steve West of Pavement | Photo by Michael Dinger

Scott Kannberg of Pavement | Photo by Michael Dinger

Bob Nastanovich of Pavement | Photo by Michael Dinger

Rebecca Cole of Pavement | Photo by Michael Dinger

Touring for the first time in 12 years, when they undertook a well-received reunion tour in 2010, Pavement’s third successive Brooklyn show bestowed upon their loyal fans yet another representative sampling of their impressive discography. Accompanied by Malkmus’ humorous and often cryptic lyrical themes, at least three songs were performed from each of their five studio albums released between 1992 and 1999, including “We Dance” (Wowee Zowee, 1995), “Cut Your Hair” (Crooked Rain, Crooked Rain, 1994), “The Hexx” (Terror Twilight, 1999), “Stereo” (Brighten the Corners, 1997) and “Here” (Slanted and Enchanted, 1992). Pavement fans were also treated to tracks selected from five of their early- to mid-1990s EP releases, including “Gangsters & Pranksters” (Pacific Trim, 1996).

Pavement | Photo by Michael Dinger

With only a few minor hiccups and far more highlights, all six band members were in prime form. However, with the crowd standing all night long, but still relatively subdued overall, one of several stand-out moments included the raucous crowd sing-a-long during the pre-chorus of “Range Life” – “Don’t worry, we’re in no hurry. Schools out. What did you expect?” – taken from the aforementioned Crooked Rain, Crooked Rain studio album. During the evening, Nastanovich would also praise Horsegirl as a “fantastic band,” while Malkmus later offered thanks to all the people who work at Kings Theatre, “they’ve all been really nice” [during our stay here].

Stephen Malkmus of Pavement | Photo by Michael Dinger

Following an encore break that lasted several minutes, Pavement would not disappoint yet again, performing fan-essential tunes such as “Spit on a Stranger” (Terror Twilight, 1999) and “Summer Babe” (Slanted and Enchanted, 1992). The extraordinary show closed shortly before 11:00 pm with “Stop Breathin” and an epic ‘on his knees’ guitar solo by Malkmus, another track from 1994’s Crooked Rain, Crooked Rain.

The final show of Pavement’s North American reunion tour will be at Austin City Limits Live on October 11. The current leg of the tour will then be immediately followed by an international trek that will take Pavement to the United Kingdom, France, Denmark, Norway, Sweden, Germany, Belgium, Netherlands, Ireland, Japan, and Australia, finishing in early March 2023.

Pavement setlist | Photo by Michael Dinger

Horsegirl Setlist: Electrolocation 2 > World of Pots and Pans > Ballroom Dance Scene > Homage to Birdnoculars > Option 8 > Anti-glory > Live and Ski > Sea Life Sandwich Boy > Beautiful Song > Billy

Pavement Setlist: Major Leagues > In the Mouth a Desert > Two States > We Dance > Harness Your Hopes > Cut Your Hair > Heaven Is a Truck > The Hexx > Frontwards > Home > Stereo > Kennel District > Range Life > Folk Jam > Embassy Row > Fight This Generation > Here > Blue Hawaiian > Motion Suggests > Unfair > Encore: Spizzle Trunk > Spit on a Stranger > Gangsters & Pranksters > Summer Babe > Stop Breathin

Horsegirl

Pavement

October 6, 2022
Hearing Aide: Say She She, “Prism”

Take a disco: dark, sweaty, neon pink and electric blue, speakers so loud you can taste it, glitter makeup dripping down your face, sequins scratching your skin, thick air, your platform pumps sticking to the dance floor. Now rip the black-out curtains off windows, knock down the walls — sunlight streams in, grass tickles your ankles, clothes hang loose, you can breathe deeply, clearly. That’s Say She She’s new album Prism. It’s sunlight at the rave, clear vocals over deep funk. Rhythm you want to spread out to, bass that feels like a cool breeze.

Say She She, a seven-piece band led by three female leads, is reminding Brooklyn how to dance Le Freak. The band’s name is a nod to Nile Rogers’ “C’est chic!” lyric, with a modern feminine twist. Et aussi chic is the kismet meeting of Piya Malik, Nya Gazelle Brown and Sabrina Mileo Cunningham, the singers at the heart of Say She She. From disparate sides of Brooklyn, the three ran into each other at a house party in Harlem, as one does, and realized their musical chemistry into a full project soon after.

Malik, a former backing singer for Chicano Batman, is partisan to Turkish funk and Hindi riffs. Brown’s concentration was in R&B, and she was trained in classical and jazz vocals from childhood. Cunningham is partial to 80s eclectic progressive groups like Rotary Connection and Tom Tom Club. These three distinct backgrounds merged to create the singular sound of Say She She; a sound, though only inaugurated this year with their first single “Forget Me Not,” that already feels assured in their first album, Prism, releasing Oct. 7.

If there’s a female gaze, such as in the way films like “The Virgin Suicides” and “Portrait of a Lady on Fire” depict love, there’s a female sound in how Say She She describes love and loving in Prism. Their voices are tender and earnest, delicate yet serious; in “Don’t Wait,” even a break-up song is full with solace and healing, wondering about and wanting the best for their ex’s next lover. And all this is set to a rhythmic beat on a funky bassline, making the hips shift, the feet move.

With nature imagery and dreamy vocals, every song on the album evokes the divine feminine. But “Fortune Teller” dives deepest, the layered vocals touching on a host of feminine tropes in the chorus:

“I’m not a fortune teller, I can’t read your mind / I’m not a healer, can’t stop you from going blind / I’m not a fortress, but I will try to protect you.”

Tropes aren’t real life. Sometimes these traditionally feminine roles are aspirations – for people of any genders. Ultimately, we can’t tell the future or heal each others’ wounds. But by interspersing the chorus with beautiful imagery of “the space between the midnight sky,” and “stars that whisper in the night” it feels like all those capabilities might just be possible for anybody and everybody, if only here on the dance floor.

“Better Man,” the album’s closing song, also aims to realize that kind of cosmic love. It’s one of the slower songs on the album, employing strings, muted production and voices layered in complex harmonies. Say She She describes finding a “better man” with the natural imagery of waves rolling in and swimming upstream. Paired with the occasional electronic sparkle, it’s a song Mother Nature would want to dance to.

Key Tracks: Better Man, Fortune Teller, Don’t Wait
<a href="https://saysheshe.bandcamp.com/album/prism">Prism by Say She She</a>

October 6, 2022
Snail Mail Perseveres at Brooklyn Mirage

Snail Mail opened up a highly anticipated show at The Brooklyn Mirage on Oct. 3. The band, an indie rock project started by Lindsey Jordan, opened for the trilogy of Baltimore-based acts. The group warmed up the crowd for JPEGMAFIA and the main act, hardcore band Turnstile.

As the remnants of Hurricane Ian descended upon the open-air venue, a sizable crowd huddled together to keep warm. Decked out in ponchos and raincoats, the crowd didn’t let the bad weather deter them from Snail Mail’s set.

In an effort to preserve the equipment on stage, the band was forced to perform under tents. Though the circumstances were far from ideal, they didn’t let the environment affect the quality of the performance.

Snail Mail performed a carefully curated mix of songs, including “Pristine” and “Heat Wave,” two standouts from their first album, Lush. The band mixed in many songs from their critically acclaimed sophomore album, Valentine, most notably performing “Valentine” and “Ben Franklin.:

Valentine is the highly anticipated follow-up to 2018’s Lush, which Jordan released at just 17 years old. Now at 22, Jordan has gained much more life experience. She’s able to dive deeply into life-altering experiences, ranging from navigating life-altering success, a painful breakup, and 6 weeks in treatment.

We look forward to Snail Mail’s continued growth as the band matures and hope that the next time they perform in New York, they’ll be able to do so without the constriction of a tent. Listen to our favorite song off of Valentine, “Ben Franklin” here and enjoy the photo recap of the show below.

October 6, 2022
10 years of JRAD: Anniversary Celebrations Set for Brooklyn Bowl and The Capitol Theatre

One of the best Grateful Dead tribute/cover bands out there today, Joe Russo’s Almost Dead (JRAD) has announced they’ll celebrate 10 years with a performance where it all began, at Brooklyn Bowl in Williamsburg, Brooklyn on January 26. They’ll follow up that intimate show with a three-night weekend at The Capitol Theatre in Port Chester January 27-29.

The band first performed on January 26, 2013, with a lineup of drummer Joe Russo, Ween’s bassist Dave Dreiwitz, keyboardist Marco Benevento, guitarist and vocalist Scott Metzger, and guitarist and vocalist Tom Hamilton. Part of Freaks Ball XIII, JRAD was pulled together after the Dean Ween Group pulled out, leading to Russo bringing together four musicians he had played with over the years, leading to the formation of Joe Russo’s Almost Dead. Later that year, they played The Capitol Theatre on December 27, 2013, their second ever show.

JRAD have made their presence known from coast-to-coast, with shows at Red Rocks, festivals across the country, and regular appearances throughout New York State.

Tickets for JRAD’s 10th anniversary shows go on sale to the general public this Friday, October 7 at 10 a.m. ET. Presales takes place on Thursday with details available here.

https://linktr.ee/AlmostDead

https://www.facebook.com/JRAlmostDead/posts/pfbid0pkV5LHSME3jySTdQjqbhr7CdSCrLSeq1K5eKF3TbcmAt599xGd99HZXBz2jmvHz9l

October 6, 2022
Tedeschi Trucks Band Play 50th Beacon Show With Surprise Guest Hot Tuna

On Monday October 3rd, Tedeschi Trucks Band played their landmark 50th show at The Beacon Theatre with Hot Tuna opening as a special surprise guest. Jorma Kaukonen and Jack Cassady also joined the band later in the evening for a performance of Janis Joplin’s “Turtle Blues” as well as Bob Dylan’s “Don’t Think Twice, It’s All Right.”

There was speculation online by fans earlier in the week as to who the “special guest” was going to be. It remained a well kept secret until the moment it was announced at the start of the show. The crowd erupted as Hot Tuna made their way to the stage as the unannounced opening act for Tedeschi and Trucks. They played an acoustic nine song set filled with covers as well as some original Tuna songs.

The first two songs of their set, “Don’t You Leave Me Here (Dime For Beer)” and “Hesitation Blues” were featured on their debut self-titled live album from 1970. That was followed by Reverend Gary Davis’s “Let Us Get Together Right Down Here” and a Richard M. Jones cover of “Trouble in Mind.” Other songs included a cover of Jefferson Airplane’s “Good Shepherd” and “Day to Day Out the Window Blues” before ending their set with Jesse Fuller’s “San Francisco Bay Blues.”

Tedeschi Trucks took the stage around 8:45 and started their set with “Don’t Let Me Slide” from their 2011 debut album Revelator. This also happens to be the first song they ever played at The Beacon Theatre when they performed their first show there in 2011. The second song of their set was “All That I Need” from the band’s second album Made Up Mind released in 2013. They continued with “Laugh About It” and “Signs” before digging into their I Am the Moon: I. Crescent set.

I Am the Moon is the Tedeschi Trucks Band’s newest project. It is a series of four new albums along with four corresponding films made during the Covid lockdown. They have been working the albums into their shows during this current Beacon run. Thursday’s show featured I Am the Moon: III. The Fall while Friday’s show included I Am the Moon: IV. Farewell. Saturday’s crowd got to hear I Am the Moon: II. Ascension saving I Am the Moon: I. Crescent for their 50th Beacon show on Monday night.

Mike Mattison sang lead vocals on “Fall In” which then led into the title track of the project. After that was “Circles ‘Round the Sun” featuring Kebbi Williams on saxophone. For the final song of the album, “Pasaquan” most of the band left the stage leaving just Derek, keyboardist Gabe Dixon, bassist Brandon Boone and the two drummers Tyler Greenwell and Isaac Eady for this captivating twenty two minute rendition of the song.

Another highlight of the show was a cover of “Keep On Growing” by Derek and the Dominos. It was only fitting that an Allman Brothers song be included in this special Beacon show. Derek and Susan absolutely killed it on a “Whipping Post” before leaving the stage to a standing ovation. The encore featured two songs from I Am the Moon IV. Farewell, “Another Day” and “Soul Sweet Song.” The band then honored Leon Russell ending the show with a cover of “Space Captain” from Matthew Moore.

There are still a few more Beacon shows left. After that, they are doing shows in Denmark, Norway and the UK. You can see the rest of their upcoming tour dates here.

Setlist: Don’t Let Me Slide, All That I Need, Laugh About It, Signs, High Times, Hear My Dear, Fall In, I Am the Moon, Circles ‘Round the Sun, Pasaquan, Turtle Blues, Don’t Think Twice, It’s All Right, Made Up Mind, Keep on Growing, The Storm, Whipping Post, Another Day, Soul Sweet Song, Space Captain

October 5, 2022
Reba McEntire extends tour to include show at Madison Square Garden

Reba McEntire has 15 American Music awards, 3 Grammys, 16 ACM awards and more. She’s in the Country Music Hall of Fame and a member of the Hollywood Bowl; she’s been honored by the Kennedy Center and has the GMA Dove Award and much more — but she’s never played Madison Square Garden. But after a string of sold out shows on the fall leg of the REBA: Live In Concert Tour, Reba has decided to add 14 more dates for Spring of 2023, with special guests Terri Clark and The Issacs. The tour will conclude at MSG.

The “Fancy” singer will be joined by Canadian country legend Terri Clark and gospel family band The Isaacs. The tour will kick off on March 9 in Jacksonville, FL and two shows in New England scheduled for April before the MSG show.

Tickets for Reba McEntire‘s extended tour go on sale October 14 at 10 a.m., but fans can access the special fan ticket presale that opens October 4 if they register by 11:59 p.m. on October 3.

Reba McEntire REBA: LIVE IN CONCERT, 2023 Dates

March 9 Jacksonville, FL Jacksonville, FL

March 10 Columbia, SC Colonial Life Arena

March 11 Charlottesville, VA John Paul Jones Arena

March 17 Milwaukee, WI Fiserv Forum

March 18 Moline, IL Vibrant Arena at the Mark

March 23 Reno, NV Reno Events Center

March 24 Nampa, ID Ford Idaho Center**

March 25 Salt Lake City, UT Vivint Arena

March 30 Phoenix, AZ Footprint Center

March 31 Palm Desert, CA Acrisure Arena

April 1 Los Angeles, CA Hollywood Bowl

April 13 Manchester, NH SNHU Arena

April 14 Hershey, PA GIANT Center

April 15 New York, NY Madison Square Garden

October 5, 2022
A Slice of Early Pink Floyd Returns to The Cap with Nick Mason’s Saucerful of Secrets

Back in April of 2019 former Pink Floyd drummer Nick Mason appeared at The Beacon Theatre in NYC with a saucerful of pre-Dark Side of the Moon songs from the Pink Floyd catalogue. That show (and the rest of that tour) proved the longevity of Syd Barret’s time with the band and resonated so well that Nick Mason’s Saucerful of Secrets returned to the road, recently stopping at The Capitol Theatre in Port Chester on Monday, Sept. 26.

The show was originally set for January 2022 but was postponed due to pandemic uncertainties at the time; it was certainly worth the wait. But an even longer gap of time was present. Pink Floyd had played at The Cap on April 22, 1970, the last time Mason was at the venue. At the time, Pink Floyd was not having the best luck with touring the United States as their stop in New Orleans less than a month later resulted in the remainder of their US tour being cancelled. It wasn’t until the 1973 release of Dark Side of the Moon when Pink Floyd was discovered by a majority of their fans, and it was this premise that prompted the idea for bringing the band’s earlier works to a wider audience.

The introductory bass guitar notes of “One of These Days” excited the audience and established a pillow of winds that carried that feeling through the whole show. The quality of the sound far surpassed what would come from a cover band and was an authentic breath of new life to the early Pink Floyd songs. After all, Nick Mason has been the only continuous Pink Floyd member since he co-founded the band; bassist Guy Pratt is the son-in-law of late PF keyboardist Richard Wright and toured with David Gilmour’s backing band; keyboardist Dom Beken had collaborated with Richard Wright; guitarist Lee Harris suggested the idea for the project to Pratt; and guitarist Gary Kemp had great enthusiasm about joining the band.

The Capitol Theatre’s intimate space and its excellent acoustics topped off the decadent slice of progressive rock history brought back to life. As opposed to arena shows where one might feel disconnected from the band, every note played engaged the crowd. From every spot in the room it was easy to tell and feel the happiness and energy of the band members, especially with Pratt and Kemp playing off each other with their presence and Mason frequently displaying a humble smile from behind the kit.

Particular treats from the show included “Set the Controls for the Heart of the Sun,” “Echoes,” and “Astronomy Domine.” The entire setlist was enjoyable, although many more early Pink Floyd songs would also fit the bill (if time allowed). Ending the evening as a nod to Syd Barrett’s character was the quirky song “Bike.”

If you missed Nick Mason’s Saucerful of Secrets at The Cap (or want to see it again), the tour will be stopping at The Beacon Theatre on Wednesday Oct. 12, rescheduled from January 2022.

Setlist:

Set 1: One of These Days, Arnold Layne, Fearless, Obscured by Clouds, When You’re In, Candy and a Currant Bun, Vegetable Man, If, Atom Heart Mother, If (Reprise), Remember a Day, Set the Controls for the Heart of the Sun
Set 2: Astronomy Domine, The Nile Song, Burning Bridges, Childhood’s End, Lucifer Sam, Echoes
Encore: See Emily Play, A Saucerful of Secrets, Bike

October 5, 2022
Depeche Mode Embark on 2023 “Memento Mori” World Tour with a Stops at MSG, Barclays Arena Date Added

Depeche Mode, the influential English electronic duo of Martin Gore and Dave Gahan, will embark on their first tour in over five years, in support of the band’s forthcoming studio album, Memento Mori, due in Spring 2023. They’ll make one stop in the Empire State at Madison Square Garden on April 14, before heading over the Europe for four months of shows across the continent. Stella Rose & The Dead Language will join as support. Just announced – they’ll play later this year at MSG on October 28, with an additional performance at Barclays Arena on October 21.

Rock & Roll Hall of Fame Class of 2020 inductees, Depeche Mode remains an ever-evolving and singularly influential musical force. An indelible inspiration to fans, critics and artists alike, Depeche Mode continues to press on as the Memento Mori album and tour represents the opening of the newest chapter of a peerless and ongoing legacy.

We started work on this project early in the pandemic, and its themes were directly inspired by that time. After Fletch’s passing, we decided to continue as we’re sure this is what he would have wanted, and that has really given the project an extra level of meaning.
Martin Gore

Fletch would have loved this album. We’re really looking forward to sharing it with you soon, and we can’t wait to present it to you live at the shows next year.
Dave Gahan

Memento Mori (Latin for “remember that you must die”) will be Depeche Mode’s 15th studio album and the follow-up to 2017’s critically acclaimed Spirit. Memento Mori will be released worldwide in Spring 2023 via Columbia Records.

Opening Acts for Depeche Mode

Darkly poetic and industrial leaning, Stella Rose and her band The Dead Language have graced venues all over their native New York City and Brooklyn. With a confidence that belies the band’s relative newness, The Dead Language has quickly built a distinctive sonic and visual identity on the foundation of Stella Rose’s lyricism and stage presence. Myles Mullen completes The Dead Language’s assault on the senses, painting the stage with imagery that meshes with and reacts to the music, creating a visceral story for the audience. The result is utterly unique and new—while paying homage to the downtown NYC golden age(s) that gave us the Velvet Underground, Patti Smith, Blondie, and Warhol’s Factory. Stella Rose’s first two singles, “Muddled Man” and “Angel” were released in Fall 2022.

Wales-born London-bred musician and producer Kelly Lee Owens’ unique melding of electronic music’s coolness and warmth has built her an eclectic following of fans, critics, and fellow musicians including St. Vincent, Bjork, John Cale, and of course Depeche Mode. With vocals as confident and captivating as her beats, Owens has built a formidable solo discography that includes the albums Kelly Lee Owens, Inner Song, and her latest record LP.8, released in spring 2022 to unanimous critical praise, including Clash magazine’s lauding its “giant leap in her evolution as an artist, continuing to build on an ever-growing discography of limitless promise”

For further information on the tour routing and ticket on-sale dates, please go to depechemode.com.

Depeche Mode Memento Mori World Tour 2023

Memento Mori World Tour 2023 – Leg One

March 23          Sacramento, CA            Golden 1 Center

March 25          San Jose, CA                  SAP Center

March 28          Los Angeles, CA            Kia Forum

March 30          Las Vegas, NV                T-Mobile Arena

April 2               San Antonio, TX            AT&T Center

April 5               Chicago, IL                     United Center

April 7               Toronto, ON                  Scotiabank Arena

April 9               Quebec City, QC           Videotron Centre

April 12             Montreal, QC                Centre Bell

April 14             New York, NY                Madison Square Garden

May 16             Amsterdam, NL             Ziggo Dome

May 18             Amsterdam, NL             Ziggo Dome

May 20             Antwerp, BE                  Sportpaleis Antwerpen

May 23             Stockholm, SE               Friends Arena

May 26             Leipzig, DE                     Leipziger Festwiese

May 28             Bratislava, SK                 Národný Futbalový Štadión

May 31             Lyon, FR                               Groupama Stadium

June 2               Barcelona, ES                Primavera Sound Festival

June 4               Dusseldorf, DE              Merkur Spiel-Arena

June 6               Dusseldorf, DE              Merkur Spiel-Arena

June 9               Madrid, ES                     Primavera Sound Festival

June 11             Bern, CH                        Stadion Wankdorf

June 14             Dublin, IE                      Malahide Castle

June 17             London, UK                   Twickenham Stadium

June 20             Munich, DE                   Olympiastadion

June 22             Lille, FR                          Stade Pierre Mauroy

June 24             Paris, FR                         Stade de France

June 27             Copenhagen, DK          Parken

June 29             Frankfurt, DE                Deutsche Bank Park

July 1                Frankfurt, DE               Deutsche Bank Park

July 4                Bordeaux, FR               Matmut Atlantique

July 7                Berlin, DE                     Olympiastadion

July 9                Berlin, DE                     Olympiastadion

July 12              Rome, IT                       Stadio Olympico

July 14              Milan, IT                       San Siro

July 16              Bologna, IT                   Stadio Renato Dall’Ara

July 21              Klagenfurt, AT              Wörthersee Stadion

July 23              Zagreb, HR                    Arena Zagreb

July 26              Bucharest, RO              Arena Națională

July 28              Budapest, HU               Puskás Aréna

July 30              Prague, CZ                     Letňany Airport

August 2           Warsaw, PL                   PGE Narodowy

August 4           Krakow, PL                    Tauron Arena

August 6           Tallinn, EE                     Tallinna Lauluväljak

August 8           Helsinki, FI                    Kaisaniemen Puisto

August 11         Oslo, NO                       Telenor Arena

– New dates just added –

September 21        Mexico City, MX          Foro Sol

September 29        Austin, TX                   Moody Center

October 1   Dallas, TX                   American Airlines Center

October 4   Houston, TX               Toyota Center

October 7   New Orleans, LA        Smoothie King Center

October 10 Orlando, FL                Amway Center

October 12 Miami, FL                   Miami-Dade Arena

October 19 Nashville, TN              Bridgestone Arena

October 21 Brooklyn, NY              Barclays Center

October 23 Washington, DC         Capital One Arena

October 25 Philadelphia, PA         Wells Fargo Center

October 28 New York, NY             Madison Square Garden

October 31 Boston, MA                TD Garden

November 3           Montreal, QC             Centre Bell

November 5           Toronto, ON               Scotiabank Arena

November 8           Detroit, MI                Little Caesars Arena

November 10         Cleveland, OH           Rocket Mortgage FieldHouse

November 13         Chicago, IL                 United Center

November 16         Denver, CO                Ball Arena

November 18         Salt Lake City, UT       Vivint Arena

November 21         Edmonton, AB            Rogers Place

November 24         Vancouver, BC          Rogers Arena

November 26         Seattle, WA               Climate Pledge Arena

November 28         Portland, OR              MODA Center

December 1           Las Vegas, NV             T-Mobile Arena

December 3           San Francisco, CA       Chase Center

December 6           San Diego, CA            Pechanga Arena

December 10         Los Angeles, CA          Kia Forum

December 15         Los Angeles, CA          Crypto.com Arena

Kelly Lee Owens supports on all dates except * Stella Rose & The Dead Language

October 5, 2022
Chris Mazuera Releases Fourth Single “Roots” Ahead of Album Release

Chris Mazuera, a regular in the “Lofi Beats To Study To,” Spotify playlist, is getting a little less late-night cram and a little more late-night kickback in his newest single, “Roots.” Mazuera released four singles in advance of his upcoming album Let’s Take A Trip, with “Roots” as the closer on that album.

“I wanted to close out the album in a strong way,” Mazuera said. “So I mixed as many of my influences as I could in this track: rock, jazz, hip-hop, psychedelic, blues, classical.”

Chris Mazuera calls the sound on the upcoming album a more coherent mixture of all his influences from across genres, and he’s proud that the sound is more identifiable with himself as an artist. It’s uplifting, energetic, and has a funky bassline. The song comes in just over two minutes, but it’s the kind of song you could hit repeat on a couple of times.

What sets “Roots” apart from his past hits like “First Snow” and “Abundance,” is his departure from comfortable repetitive and symmetrical rhythms and harmonies to more ambitious beat switches and guitar solos. Mazeura said this is a call back to his “roots” in New York City when he first moved to the city from Miami and would busk in Grand Central Station, playing blues solos for hours and hours.

Since moving to NYC he has familiarized himself with the industry through partnerships with local hip-hop and lo-fi producers. In 2018 he released his first album Monstera, since he’s released over seven albums and EPs, composed of both solo projects and collaborations, in addition to several singles.

“Roots” is streaming across platforms now and you can pre-save the album, which is coming out on Dec. 2 here.

https://youtu.be/XGn4_-ylcaI

October 4, 2022