For the first time in just over two years, Phish returned to the familiar stomping grounds of Madison Square Garden (MSG), kicking off a four night run postponed from late December 2021.
This was also the band’s first show on April 20 since 1994, and first show in April in the NYC Metro area since 1998, setting up a night full of potential, the rescheduling notwithstanding.
Wasting no time, Phish began the run with 19 minutes of “Carini,” that helped set the tone for the evening. Riding the early wave of energy, Phish parlayed this into a crowd favorite in “Possum” that helped shake the Garden to its core. A funked out, but unfinished, “Moma Dance” then found itself batting third in the lineup.
“Stash” and “Blaze On” satiated fans expecting cannabis-themed references for 4/20, with the former in usual mid-set placement and delivering a blistering jam.
“Sigma Oasis” opened Set 2 and gave way to 22 minutes of “Down with Disease”, an all too prescient combo of ‘take off your mask’ and ‘down with disease / three weeks in my bed. Somewhat surprisingly, Phish didn’t use the “Disease” jam as an immediate launchpad into something else and instead rounded back into completion.
“The Howling” seems to be one of the more popular selections from the band’s Sci-Fi Soldier experiment recently unleashed in Vegas last Halloween and made another appearance mid-second set. A clean segue into “Twist” followed which brought another momentous jam along with it before Phish throttled it back down again once more with ever poignant “Mountains In The Mist.”
To the delight and surprise of many, a late set “Reba” then emerged that yielded a mesmerizing, slow build jam that was rife with euphoria, getting a well deserved cheer from the Garden crowd. The newer Ghosts of the Forest tune “Drift While You’re Still Sleeping” then capped off the emotional second set.
In another surprise of sorts, a rolicking “Gumbo” started off the encore before Phish tapped into the feels once more with a “Slave To The Traffic Light” closer that hit just the right notes, ending the first night of the four-show run in grandiose fashion.
Setlist via Phish.net
Phish – MSG – NYC – April 20, 2022
Set 1: Carini > Possum, The Moma Dance[1] > Leaves, Strange Design, Stash, Blaze On
Set 2: Sigma Oasis > Down with Disease > The Howling -> Twist > Mountains in the Mist, Reba, Drift While You’re Sleeping
Patterns of Decay, a five-piece heavy metal band from New York has dropped their self-titled, second studio album. Their newest project continues to showcase the thrashy and violent metal they have founded themselves on.
The band was first formed in 2014. Moreover, in 2014, Patterns of Decay released their debut EP Malicious Intent. Four years later, the band would go on to release their first studio project, Suicide Notes In Comic Sans.
The band consists of Christian Contello on vocals, who throughout the album showcases his impressive death metal scream. Moreover, Dan Gold is on guitar and Matthew Stirrat is on guitar and vocals. Lastly, Antonio Romano provides the drumming for the band and Jesse Herman plays the bass guitar. Since 2014, the band has kept its same lineup.
Notably, some of the best work on this project comes from the lead guitarist. Throughout the album, the tone of the guitar is rather brittle and harsh. However, the speed and precision at which it is played harmonize every song in a thrashy fashion. One such song, “Ru(m)ination,” goes as far as to showcase this excellence in its entirety.
These skills can also be found on “Of Famine and Plague,” which is easily the best song on this album. Excellent drumming, harsh strings, and demonically screeching vocals all make this track a total moshpit essential.
This project still comes with many flaws, however. Most notably, for every good song on this album, there is also an equally as bad one. Sometimes the instrumentation is too harsh like on “Reguirtate”, and sometimes there may be displeasing dissonance like on “Ocean Black”. However, that should not deter any metal fan from listening though, because there are definitely some hidden gems amidst the filler.
Patterns Of Decay is available on streaming platforms now. For more information on the band, visit patternsofdecay.com.
The ALCA will distribute the funds across Clinton, Essex, Franklin, and Hamilton counties. A total of $45,500 across 20 projects will be distributed in the four counties. All of which are served by the ALCA.
By working alongside statewide a governmental organization like NYSCA the ALCA is able to distribute funding to parts of the state that otherwise might not receive public funding. The goal of doing so is to attempt to provide access to the arts in all parts of New York state.
Adirondack Lakes Center for the Arts Grant Winners
Singer-songwriter Cory Singer has recently risen as an advocate for the autistic and neurodivergent. During Autism Awareness Month, Singer serves as an inspiration to those with disabilities around the world.
As an individual with Autism, the New Jersey native has worked hard on social media platforms like Tiktok and Instagram to spread awareness and raise support for his community. He has become a social media sensation and gained over 13 million likes on Tiktok, coining the phrase “Let’s Normalize Autism”.
Cory Singer also promotes positivity through his music. Following his win on Kandi Burruss’s singing competition, The Kandi Factory, he released a number of singles including ‘Someone’, ‘Goodbye Felicia’ and ‘Blind in Love’. His newest single ‘Break of Dawn’ aims to give hope to those who with disabilities and show them that they are loved.
Singer appeared in Joe DiPietro’s play “The Last Dance” and was nominated for “Best Vocal Performance” in 2013. He went on to continue his theater performances with his 2019 participation in Westfield Community Players “Follies” and the award winning musical “They Call It Gravy, We Call It Sauce”.
Singer has recently joined forces with the “I Am Able” Foundation. As part of their advisory board, he will provide fresh insights and help bring forth new ideas. “I Am Able” is a fast growing movement created to show the world that those with disabilities are able to live the life they’ve always dreamed of.
The Buffalo-based rock/blues/jam fusion group eberwine released a new single “Worlds Away.” The single is their first from the upcoming debut studio album One Vision.
“Worlds Away” is a 7-minute tune that showcases the band’s rock medley sound. “It’s about understanding the nature of reality,” noted lead guitarist and front Todd Eberewine, “The knowledge that we’re here now and that we’re not guaranteed anything beyond this moment.”
Eberwine originally started as a solo act in 2016. The band is known for his soulful lyrics and high energy shows. When he started performing live in 2019, Eberwine looked to secure a permanent lineup to accompany him on the road.
In its current live performances Eberwine (guitar, vocals) by Donny Frauenhofer on keys (Intrepid Travelers), Aaron Ziolkowski on guitar (Little Mountain Band), Jay Race on drums (Dead Alliance Buffalo), and Paul Zabrycki on bass(Dead Buffalo Alliance). The released single, which was recorded in the Strand Theatre, features Ryan Nogle (drums), Keith Lindner (bass), Eric Crittenden (keys), and Aaron Ziolkowski (backing vocals).
“Worlds Away” is available on all streaming platforms.
The National Recording Registry has announced its list of inductees for 2022, including material from NY natives Alicia Keys, A Tribe Called Quest, Wu-Tang Clan and more. Inductions are based on cultural, historical or aesthetic importance.
The 2022 class features inductions of Hip Hop and Latin sounds, as well as historical radio broadcasts, a podcast interview and presidential speech. After receiving over 1,000 nominations, the Library of Congress announced the finalized list of recordings that will be inducted this year.
Harlem native Alicia Keys will receive the honor of having her 2001 debut album, Songs in A Minor, immortalized in the LOC registry. The album became a critical success immediately after its release and won Best R&B Album at the 2002 Grammys.
A Tribe Called Quest’s 1991 album The Low End Theory will also be inducted, due to its innovative fusion of jazz and rap. The group’s sophomore album was championed by critics as a milestone for alternative rap, opening doors for future artists like Pharrell, Mos Def and The Roots and launching Busta Rhymes’s career.
Wu-Tang Clan’s 1993 album Enter the Wu-Tang (36 Chambers) shaped the sound of hardcore rap and changed the way East Coast rap would sound for years after. The group’s impact on pop culture runs deep and wide as members have launched their own projects. The Staten Island collective has launched the careers of many members including Method Man, Ol’ Dirty Bastard and Ghostface Killah
James P. Johnson’s ‘Harlem Strut’ cemented the jazz pianist as one of the best of his time. He composed many hit songs including ‘The Charleston’ and inspired a number of great acts to follow including Duke Ellington, Pat Flowers and Cliff Jackson. The pioneering artist was seen as the bridge between ragtime and jazz.
Max Roach’s 1960 album We Insist! Max Roach’s Freedom Now Suite covered a crucial time of racial injustice and civil rights in America. The five track album was found to be “too controversial” at the time of its release, but has finally been recognized as an important aspect of Black peoples’ fight for equality and liberty. It has been called a “jazz landmark” and “enduring civil rights statement”.
Public radio station, WNYC, will make an appearance thanks to their courageous coverage of the 9/11 terrorist attacks. The NPR station broadcast the first details of the World Trade Center attacks, even as they struggled to keep the signal live. The station would continue to give updates throughout the day.
The full list of National Recording Registry inductees can be found here.
In the Court of the CrimsonKing, Toby Amies’ fantastic new film about prog rock pioneers King Crimson, is like no other rock documentary that has come before it.
And that, Music Lovers, is a very good thing.
It’s as far from the tiresome VH-1 Behind the Music cliche of rise/drug-fueled fall/redemption as a music doc could be. At times, it’s something curiously akin to The Office (the U.K./Ricky Gervias edition, of course). Like this hilariously dry TV sitcom, it’s the study of the personalities, pressures and pleasures in a workplace. In this case, it’s the most profoundly creative and frequently reinvented band in art rock for 53 years and counting. Also like The Office, it hinges on the whims of a prickly but impossible not to love leader – the superlatively serious and accidentally humorous god of guitar and ensemble discipline, Robert Fripp.
Amies’ film follows Fripp and his latest incarnation of Crimson, a seven-man virtuoso ensemble including three drummers, on their 50th anniversary tour right before COVID-19 descended. The director complements this fly-on-the-wall vantage of the present with a wonderful survey of the dozen or so incarnations of the band past. This begins with the fiery five-man ensemble that set the template for progressive rock with their earthquaking 1969 debut album, from which this film takes its name. It was a group that lasted for only 13 months and included ELP front man-to-be Greg Lake and Foreigner co-founder Ian McDonald.
More than anything, this is a study of the social environment and unique creative methodology through which Fripp and his many collaborators have crafted some of most transcendent moments in 20th and now 21st Century music. These are always evolving sounds that lurch between heavenly harmonic beauty and unsettling noisy dissonance. It’s a formula that has forged an almost spiritual hold upon Crimson’s cultish, cross-generational fanbase and the music makers themselves, for whom their time with Fripp, no matter how fleeting or difficult, was the apex of their creative lives.
For fans like myself who have been enthralled since confronting the shrieking red-faced man on the cover of their debut disc, the uncensored interviews with past members of different era of Crimson is what makes Amies’ take so meaningful.
Fripp himself begins by calling the whole experience an exercise in “joy with acute suffering,” saying he was “incredibly unhappy, in a word, wretched from 1969 – 2013.” This is a man who confesses he starts his day with a cold shower because it’s good for “telling the body to do as it’s told.” He claims his 2013 and post ensemble is the only band “where not one member actively resents my presence.”
In the film, Fripp calls Amies on the carpet for interrupting his 4-hour daily rehearsal routine for an interview, something that he claims has ruined the prior evening’s concert. Discipline is the keyword in Fripp’s lexicon. In fact, it was the initial name of the band (replaced by once again utilizing King Crimson) and debut album of his classic Gamelan-inspired guitar synth quartet of the 1980s. This much-beloved aggregation featured Adrian Belew, Fripp’s still-current bassist/Chapman Stick player, Woodstock’s own Tony Levin, and monster percussionist Bill Bruford.
Bruford, who left Yes at the height of their fame in 1972 and continued with Crimson incarnations through 1984, launches some of the most quotable moments in the film. He joined because King Crimson was “the dream band viewed from the outside, the band that could do anything.” He continues: “Like Miles Davis, you find the most interesting people you can find, throw them in the recording studio and throw away the key. You might get something interesting… if they haven’t killed each other!” Bruford adds that when it comes to being in Crimson “without a sense of absurdity, you are lost.” Longtime collaborator Trey Gunn puts the experience this way: “It’s like having a low-grade infection, you’re not really sick, but you don’t really feel well either.”
Jamie Muir, the madcap percussionist of the highly improvisatory Lark’s Tongue and Aspic era band says of performance: “It was a maelstrom of electricity. You’d have to stand in the middle of this storm and play music.” Of the compositions: “It was like a regal animal trying to emerge out of something, like an unfinished Michelangelo sculpture.” Muir left the band within a year, just as the critically-acclaimed Lark’s Tongue was released. To wind down from the creative chaos, he headed straight to a monastery in Scotland to become a Buddhist monk!
Ian McDonald, the keyboardist, reed man and co-composer of some of the classic tracks on their debut disc, left shortly after the album’s release, at the end of their first U.S. tour, along with drummer Michael Giles. “I hated the dark music we inflicted upon the audience,” he says. But he ultimately came to regret his sudden decision to leave the band, one that was just taking flight. “I used to beat myself up about it, used to regret it, but I don’t anymore.” Giles for his part reminisces about his love of the band’s “spontaneous music, the ability to enter into the unknown.” In his efforts to keep this first iteration of the band together, Fripp offered to leave the band he founded to let McDonald, Giles and company continue on. But it was something his partners rejected. Of McDonald, who passed in February 2022, Fripp says “his only decision was the wrong one.”
Saxophonist Mel Collins, who joined Crimson for a three-year, three-album run in 1970 and returning around the time of the documentary tour, speaks to the changes in the band, then to now. “It’s better to be in this edition of King Crimson, there’s more freedom,” he says. “In the 1970s, there was a lot of trauma. I had problems with Robert; he was so serious. If you made a mistake, it was the end of the world. Some of us went through hell.” On fearless leader Fripp, he concludes: “Robert went through some traumas himself… He’s mellowed, he’s a nice person.”
Speaking of hell, with a lot of heaven, the most seemingly still wounded feelings come from Adrian Belew, guitarist/singer/songwriter in Crimson iterations from 1981 – 2013.
“Ninety-percent of it was this beautiful and unique partnership, as writers and guitar partners… it was a lot of fun,” says Belew. “But it was so stressful, my hair had fallen out.” Of his removal from King Crimson, Belew recalls: “I thought it was a partnership, but he let me go. I thought it was ‘our band,’ but he wants it all his way.” If things aren’t going to his satisfaction, Belew says Fripp “will take his guitar and go home.”
But the heart of this documentary is the current edition of King Crimson, the backstory on the members, their fans and majestic music they are still conjuring, plenty of which is captured in this film.
One fan who gets prominent play is Sister Dana Benedicta, the so-called Prog Rock Nun, who compares their music-making to the liturgy, a religious experience like a Catholic mass. Another fan comments on the two-way relationship “where the musicians and the audience have to be present for the music to happen.” It’s compared by another fan to Scientology, an arcane cult experience, where “the music is making itself, flying, possessed by something other than (the musicians) themselves.”
What the musicians and audiences are after is a “peak experience” says Trey Gunn. And the pressures, within Fripp, the band and with audiences come from “wanting to reach that peak experience again and again.”
The most poignant character in the documentary is the late Bill Rieflin, the drummer/keyboardist who worked with industrial music icons Ministry, The Revolting Cocks, The Swans and Nine Inch Nails among others before join King Crimson in 2013.
Amies then catches up with Rieflin at home after the tour, shortly before his passing in March 2020. Here he states he “has no fear of death because consciousness is a continuum.”
In a band where Fripp seems to keep the “process” fresh by changing partners again and again, he says of Rieflin. “Bill is irreplaceable.” He concludes that he will be an on-going member of the band, in spirit perhaps, for as long as there is a Crimson King forever reaching for another peak musical experience.
The film, which premiered at SXSW in March 2022, is expected to premiere in theaters and streaming services in fall 2022.
Holler stompin’ their way back through the Northeast, The Ghost of Paul Revere made a spirited stop at the historic Bearsville Theater in Woodstock on Friday, April 15. It may also have been their last.
Joined by longtime friend and frequent collaborator, Jackson Kincheloe (of Sister Sparrow and the Dirty Birds) on harmonica for the evening, the band displayed all the hallmarks and charisma that once made mainstream success seem like a “sure thing.” Playing with passion and purpose and like their lives depended on it, you could almost feel there was something more to this performance; something bubbling under the surface that the band already knew but wasn’t ready talk about yet.
They say what doesn’t kill you makes you stronger, and if that’s really true, The Ghost of Paul Revere should be ready for WrestleMania. Indeed, things have never been “easy” for the hard working alt-Americana folk rockers based out of Portland, Maine. Seemingly faced with one set back after another, things came to a literal crossroads this past Februrary in Colorado when their tour van — along with all their instruments, sound gear, swag and merch — was stolen from a hotel parking lot. With everything necessary to make a livelihood suddenly ripped away, the guys had two choices: either head back east with their tails between their legs, or take a chance and travel on into the unknown while relying on the kindness of strangers and fans. With an overwhelming show of support via a GoFundMe page set up for the band, they choose to travel on and were miraculously able to complete the tour without missing a single date. Even more inspiring, after reaching their estimated GoFundMe goal of $20,000 in just two days, GOPR gave back all extra donations, paying them forward to a charity of each band members choosing.
Riding into Bearsville on Friday, it was the first time many fans in attendance were seeing The Ghost of Paul Revere. After being treated to an intimate opening set from singer/songwriter Daniel Rodriguez, one of the founding members of critically acclaimed folk act Elephant Revival, the ‘boys from Buxton’ took the stage shortly after 9pm. Comprised of Griffin Sherry on guitar and vocals, Max Davis on banjo and vocals, Sean McCarthy on bass and vocals and drummer Chuck Gagne, GOPR wasted no time in planting foreshadowing seeds, opening the set with “Love at Your Connivence,” a song about reckoning with the emotions of walking away from someone you love. Up next came the Davis sung “Two Hundred and Twenty-Six Days” before the band welcomed an old friend to the stage, multi-instrumentalist and New York native Jackson Kincheloe. A lanky long-haired cowboy, covered in tattoos and armed with a harmonica, Kincheloe allegedly “just showed up looking like this, knowing all the songs and was ready to go,” immediately making his presence felt on the rocking, up-tempo rendition of the seldom played “Fire in the Sky.”
I lost my will to carry on the day you walked away Now I’m chained to a bottle of whiskey praying the levees goin’ break Just burn my home and take all my things, send me to the lord above Because I know on the day that the judgement comes sure as hell not going up
Lyrics from “Fire in the Sky”
A few songs in and guitar player Griffin Sherry couldn’t help but comment on how well behaved the crowd was, almost daring them to cut loose a little. It was easy for fans to do just that on one of the stand out songs of the night, an extended take on the 2015’s “Two Weeks,” which easily doubled the length of the studio recording and featured the entire band locking in on a groove lead by drummer Chuck Gagne, who appeared to be having an absolute blast playing behind the kit.
After working their way through career spanning staples like “Good at Losing Everything,” “Little Bird,” “San Antone” and “Wild Child,” Ghost of Paul Revere would introduce one of the songs they are most proud of, “Ballad of the 20th Maine” which earned them national attention in 2019 when it was named Maine’s official ballad.
Between songs, banjo player Max Davis took the opportunity to talk about what it felt like playing there that night. That there are certain rooms that have a magic about them, a rich musical history, and that this is one of them and he could feel it, stating “There’s just certain feelings and there’s no lying about it. The people that have been in this space have charted in unknowns and you just hope that you’re also charting in one of those unknowns.” He would then introduce one of his favorite songs to play, “Montreal.”
Well the grass may be greener and the scenery cleaner, but your heart never found a home; Are we growing apart or are we growing up? Are we stuck in a dream or are we waking up?
Lyrics to “Montreal”
One of the things that has helped GOPR gain so many new followers since forming in 2011 has been their tasteful selection of cover choices. Known for putting their unique Holler-folk twist on classics like “Baba O’Riley,” “War Pigs ,”Nothing From Nothing” and even newer songs like Dr. Dogs “Shadow People,” considering we were in Levon Country, a betting man would have probably placed his chips on them doing something like “I Shall Be Released,” a song GOPR has played rather frequently over the years. However, on this night, the band upped the ante and took things in a meta direction, opting to play a cover-of-a- cover in the form of “Atlantic City,” which received one of the biggest ovation of the evening.
Watch video of Ghost of Paul Revere covering “Atlantic City” in Bearsville, NY 4/15/2022
Ghost of Paul Revere would also play “Travel On,” a “yet to be named” new song that featured Sean McCarthy handling the bulk of singing duties before closing out the performance with one final bit of foreshadowing, a powerful and thought provoking song called “This is the End.”
Tell my father it was worth it; Tell my sister not to wait for me
Just don’t ask me if I’m doin’ okay (’cause I’m not okay)
Tell my friends that I love them Oh, my friends, this is the end, this is the end”
Lyrics to “This is the End”
The following day, Ghost of Paul Revere would play a show in Jersey City, NJ before making an announcement on social media Monday that nobody saw coming. “It has been a wild ride filled with an abundance of trials, tribulations and joy. When we first got together eleven years ago, we never could have imagined that we would be given the incredible opportunity to share our music with all of you for this long. Over 1200 shows, 400,000 miles, 46 states, 6 countries and (soon to be) 9 albums later, our journey has finally brought us to the here and now,” the band wrote. “Change is hard, it can be a subtle breeze that pushes you in a specific direction, or a rogue wave appearing without warning from the darkness. For the sake of our own health, our families and you, our fans, we have decided that this year’s Ghostland festival will be our last show – the end to a fantastic journey performing together – as The Ghost of Paul Revere,” the post continued, describing a mix of sadness and gratitude that comes with the decision, and encouraged fans to join them for shows as they finish their final last ride together.
“Although it may seem like it, we want you to know that “This is [not] the end.” The songs and music will always be there to share and enjoy with one another. We are excited to journey into the next chapter of our lives and will continue to keep everyone posted about our future, individual endeavors. We hope to see each and every one of you throughout spring and summer for “The Last Ride,” our final tour, which will include a number of new and exciting announcements and show additions coming soon! We hope to see you there so we can sing the songs we all love and share these final moments with you at least once more.
Love you all and thank you for believing,
Griffin, Sean, Max, & Chuck”
Following the announcement, long time fans flooded the internet with photos and personal memories they’ve shared with the band. Coming from a small town in Maine, it’s clear the Ghost had a far greater reach and meant more to people than they probably realize. Honest songs with beautiful harmonies, the universal appeal of the hard-working everyman and full of untapped potential. With a handful of new dates already announced before their final show in September, you’re encouraged to go see this band while you still can.
NYS Music would like to thank The Ghost of Paul Revere for the music, memories, good times, and for always making time for us over the years. We wish each member the best of luck and success in all their future endeavors.
4/15/22 | Bearsville Theatre | Woodstock, NY
One Set (partial): Love at Your Connivence, Annabelle, Fire in the Sky, Two Weeks, Little Bird, Good at Losing Everything, Travel On, New Song, Ballad of the 20th Maine, Atlantic City, Wild Child, San Antone
Encore: This is the End
For more photos from their final performance in Bearsville, NY, check out the galley below, courtesy of Rock Journalist and NYS Music contributor Zak Radick.
Cortland Repertory Theatre has announced the activities for their 50th anniversary summer season. Running from June 8 to August 20, patrons will have the chance to see a variety of entertainment at the Little York Pavilion in Preble, NY
This summer, the Cortland Repertory Theatre will showcase three musicals and two plays, including “Hair”, “Over the River and Through the Woods” and “Kiss Me, Kate”. June 8 -18, the CRT will debut their rendition of the tribal rock musical “Hair”, featuring music by Galt MacDermot and lyrics by Gerome Ragni. The show examines what it means to be a young person in a changing world, with spotlights on identity, community and global responsibility.
From June 22 – July 1, patrons will enjoy a revival of “Over the River and Through the Woods” by Joe DiPietro. Originally produced in 2005, this fan favorite comedy tells the story of a young Italian man navigating moving away from his family as they do everything in their power to stop him.
From July 6 – 16, the second CRT revival will make its appearance with the return of “Kiss me, Kate”. Originally performed in 1984, this musical mixes unique characters with classic songs like ‘So In Love’ and ‘Too Darn Hot’.
From July 20 – 30, patrons can enjoy the regional premiere of Agatha Christie’s murder mystery “Murder on the Orient Express”. The stage version of this classic mystery will be a special treat to CRT audiences.
Ending the summer is a special production of Mary Poppins, running from August 3 – 20. Although based on the Disney film and stories by P.L. Travers, new songs and music will be added to enhance the musical’s magic. The classic childhood story will enchant those who see it.
Every show will be held indoors, as opposed to last year’s season, and CRT has taken great precautions to keep all attendees safe. New technology has been installed in all theatre facilities, including the Pavilion’s theatre and backstage area, as a way to filter air and reduce the amount of germs transmitted. Covid guidelines will be finalized at a later date.
Five-show summer subscriptions, as well as more ticket information, can be found here.
This new NYC 420 celebration coming to Queens will be an unforgettable event for all people; hip hop lovers, rastas and hippies can join in dance and share good vibes. This event is the longest running, largest, private cannabis event in the state, The New York Harvest Festival & Freedom Fair.
420 Celebration Brings Cannabis Culture to Queens, NY
The NYC 420 Celebration will provide a fine art’s gallery, cannabis culture vendors, speakers, workshops, multimedia, high end sounds, a fashion show, competitions (including NYC first Cannabis Cup), food trucks, full bar, outdoor smoking area. This event will be a profound combination of cultural diversity fusing musical genres and NYC legends.
Reggae Allstars such as The Original Wailers are headlining this multi genre event by bringing the classic tunes of Bob Marley. Similarly, joining the lineup is Tony Touch, the legendary “Mixtape King.”
The “Godfather of EDM,” DJ Keoki will also be joining the lineup with his iconic style. Also joining these historic performers are the Real Radio Rahim and his Old School Dance Party featuring Grandmaster Dee, DJ Jeffrey D, DJ Mad Marv & DJ Red Boy.
Join this tribal gathering where human interests and the natural spirit take precedence, the 25th Harvest Fest on October 7-10, 2022. There will also be a hosting of the longest running Cannabis Cup (competition) in America.
The Harvest festival also features guest speakers like Dan Goldman (Marijuana Tomorrow Podcast, NY Cannabis Alliance), Dana Beal (Cures Not Wars, Founder Global Marijuana March) and Louise Vincent & Michael Galipeau (Urban Survivors Union)
Tickets are only $25, and are also $10 after 11pm. For more information, here.
