Kings Theatre has announced the venue will be hosting the world premiere of Spider-Man: Into The Spider-Verse Live in Concert on Friday, March 17, 2023, at 8 p.m.
The screening of the Academy Award-winning animated film from Sony Pictures Animation will be accompanied by a live orchestra, band, and turntables playing music from the score and soundtrack. The film follows Brooklyn teen Miles Morales, who after being bitten by a radioactive spider gains Spider-Man-like powers. The film was directed by Bob Persichetti, Peter Ramsey, and Rodney Rothman, written by Phil Lord and Rothman,and produced by Lord, Chris Miller, Avi Arad, Amy Pascal, and Christina Steinberg.
Original music was composed by multiple Golden Globe nominee Daniel Pemberton, who will be on hand for the world premiere concert in Brooklyn. In a statement, he said “Spider-Man: Into the Spider-Verse is one of my favorite score scores I’ve ever written. I always had a dream the first place this would ever be heard would be Miles’ home – Brooklyn. So, I am ridiculously excited we get to perform the world’s very first Spider-Verse concert in the iconic borough where the story begins, bringing together on stage a full orchestra with a band, synths, AND a set of turntables for the world premiere performance this March.”
The film received widespread praise and attention for its visual style, characters, story, voice acting, and soundtrack. The highly anticipated sequel, Spider-Man: Across the Spider-Verse is scheduled for a theatrical debut in June 2023. The Kings Theatre is a live performance theatre in Brooklyn with a seating capacity of 3,200. In 1929 it was opened by Loew’s Theatres as a movie palace. The venue then closed in 1977, sitting empty until a complete renovation began in 2010.
Tickets for the world premiere of Spider-Man: Into The Spider-Verse on March 17, 2023, are on sale now.
In the early stages of a 24-date North America excursion that kicked-off last week, The Smile (a side project by Radiohead members Thom Yorke and Jonny Greenwood, along with Sons of Kemet drummer Tom Skinner) came to New York City this past weekend for a set of three consecutive shows.
Thom Yorke (Hammerstein Ballroom) | Photo by Michael Dinger
The run began with two nights at the majestic Kings Theatre in Brooklyn (November 18-19) and the third at Hammerstein Ballroom in Manhattan (November 20), a turn-of-the-century opera house. NYS Music was front and center for The Smile’s opening night at King’s Theatre on Friday evening and the NYC finale at Hammerstein Ballroom Sunday night.
The Smile, who take their name from a collated poem in Ted Hughes’ 1970 literary work Crow: From the Life and Songs of the Crow, are touring in support of their 13-track debut album that was released in May 2022, A Light for Attracting Attention (XL Recordings). Furthering the Radiohead connection, the record was produced by longtime Radiohead collaborator Nigel Godrich. Born during the 2019 COVID lockdown, as many creative endeavors have, The Smile released a string of singles and eventually, the announcement of a world tour.
The current trek marks the first shows on American soil for Yorke and Greenwood since August 2018, when Radiohead wrapped up their world tour in support of 2016’s A Moon Shaped Pool. Yorke was slated to tour North America in 2020 with stops at Kings Theatre behind his excellent solo album Anima, but this tour was ultimately postponed and canceled as a result of the pandemic.
Supporting The Smile for the tour’s duration is Robert Stillman, a multi-instrumentalist and composer born in Maine who has called the United Kingdom his home for the past decade. Like his tour mates (with whom he contributed to their album), Spillman is presenting new material from his eighth studio album What Does It Mean to Be American? (Orindal Records/KIT Records), released in January 22.
Robert Stillman (Hammerstein Ballroom) | Photo by Michael Dinger
Taking the stage at approximately 8:15 pm each night, dressed in white from head to toe, Stillman unassumingly acknowledged the audience for a moment before taking to his synthesizer. For approximately 30 minutes, Stillman mesmerized the audience each night with a deliberate looping process between his synthesizers and a tenor saxophone, curating an eclectic sonic palette drawing on elements of jazz, drone and psychedelia.
Kings Theatre (Friday, November 18)
On Friday night, fans lined up early ahead of doors at Kings Theatre in Flatbush, donning various Radiohead, Thom Yorke, Sons of Kemet and other associated apparel. The recently renovated classical movie theater is an exquisite example of how a modern music venue can be incorporated into a historic space. The cavernous venue, decorated with red velvet and ornate gold accents, boasts a deep sonic experience that continually attracts artists of all genres who want their music experienced in such a gorgeous space.
The show got underway with Yorke, Greenwood and Skinner taking to the front of the stage as they basked in a thunderous ovation, with a return of gratitude to the fans. With Yorke behind a familiar piano, Greenwood on bass guitar and Skinner behind the kit, “Pana-vision” started the festivities. The song begins with a swirling piano arpeggio before a dark, jazzy rhythm kicks in. Yorke drives the song with his signature falsetto as his voice swells and calms for several waves of the song. The band then dove into a tight rendition of “Thin Thing”, a psychedelic Kraut-rock song which highlights The Smile’s style perfectly. The music is “stripped back” in a sense that it is confined to a trio, but the blend of dissonant vocals, driving punk rock infused strings, and jazzy percussions creates a dense palette which overwhelms in a live setting.
In addition to the songs from A Light for Attracting Attention, the band has been playing many unreleased songs on this tour. On Friday at Kings Theatre, Stillman joined the band and contributed his saxophone for two such songs “Colours Fly” and “People on Balconies”. Other new songs performed Friday were “Bending Hectic” and “Read the Room”. The main set ended with the vintage punk sounding “You Will Never Work In Television Again”, which got fans bouncing all over the venue. The final song of the night was surprisingly long-time favorite Thom Yorke solo song “Feeling Pulled Apart By Horses”, self-released back in 2009.
Although doors were more than two hours away, a large (and rapidly growing) contingent of fans already lined the West 34th Street sidewalk in Midtown Manhattan on a near freezing late Sunday afternoon. Mercifully, at 6:30 pm, the shivering fans hoping to get a spot on or near the stage rail were ushered into the warm confines of the Hammerstein Ballroom lobby, housed within the Manhattan Center. Extensively renovated in 1997, elaborate architectural decorations adorn the historic venue which seats 2,500 (all of which would be sold out tonight) – complete with box seats, three balconies, a proscenium arch and a hand-painted ceiling mural 75-feet above depicting an “orchestra of angels on a heavenly stage”.
At approximately 9:20 pm, The Smile took to the stage, with Yorke pausing along the stage apron as the audience’s applause and wild cheers rained down. After assuming their stage positions (Yorke at stage right, Greenwood at center stage and Skinner on his kit at stage left), The Smile commenced their 90-minute set backed by a large video screen displaying broken, horizontal line patterns. Bathed in red stage lighting, the first of ten offerings from A Light for Attracting Attention was “The Same”. With Greenwood seated at the piano, Yorke took up his vintage Guild Starfire II bass and let his haunting, signature falsetto do the rest.
Thom Yorke (Hammerstein Ballroom) | Photo by Michael DingerJonny Greenwood (Hammerstein Ballroom) | Photo by Michael DingerTom Skinner (Hammerstein Ballroom) | Photo by Michael Dinger
Throughout the evening, Yorke and Greenwood seamlessly interchanged their instruments, each playing guitar, bass and piano. Ensuing magnificent presentations of “Thin Thing”, “The Opposite” and “Speech Bubbles”, guided by the loose-limbed Skinner and his punishing rhythmic dialogues, Yorke briefly addressed the audience as he took his seat at the piano for “Pana-vision”. “We’re a new band called The Smile, but I guess you knew that”. Up next was “A Hairdryer”, with Greenwood bowing his Fender Precision bass during the opening refrain of the 8-minute masterpiece.
The night’s only snafu followed approximately one-third into the show, a technical malfunction that led to “Waving a White Flag” being scratched from the set. While two other tracks (“Open the Floodgates” and “Free in the Knowledge”) from The Smile’s debut album were not performed Sunday night, fans were treated to three new, currently unreleased songs – “Bending Hectic”, “Read the Room” and “Bodies Laughing”.
Up next was “Skirting on the Surface”, developed from an unreleased Radiohead song and featuring Greenwood’s guitar arpeggios. As Yorke introduced “People on Balconies”, he acknowledged The Smile fans in attendance a second time. “I very much enjoy being back to New York City. We wish we had another week, or two, at least”. After welcoming Robert Stillman and his sax back to the stage, The Smile gave us “The Smoke” and “You Will Never Work in Television Again”, a banger in every sense of the word. Following an encore break, the last fifteen minutes of the epic show comprised “Just Eyes and Mouth”, “Colours Fly” (with Stillman rejoining the band) and “Feeling Pulled Apart by Horses”.
The Smile will continue their string of U.S. dates until a pair of Los Angeles concerts on December 21 and 22 close out the run for the year. A 2023 show has also already been announced at the Bluebird Theater in Denver on February 16.
Kings Theatre Setlist: Pana-vision > Thin Thing > The Opposite > Speech Bubbles > Free in the Knowledge > A Hairdryer > Waving a White Flag > Colours Fly (with Robert Stillman) > We Don’t Know What Tomorrow Brings > Read the Room > Skrting on the Surface > Just Eyes and Mouth > People on Balconies (with Robert Stillman) > The Smoke (with Robert Stillman) > You Will Never Work in Television Again (with Robert Stillman) > Encore: Open the Floodgates > The Same > Bending Hectic > Encore 2: Feeling Pulled Apart by Horses (Thom Yorke song)
Hammerstein Ballroom Setlist: The Same > Thin Thing > The Opposite > Speech Bubbles > Pana-vision > A Hairdryer > Bending Hectic > We Don’t Know What Tomorrow Brings > Read the Room > Bodies Laughing > Skrting on the Surface > People on Balconies (with Robert Stillman) > The Smoke (with Robert Stillman) > You Will Never Work in Television Again (with Robert Stillman) > Encore: Just Eyes and Mouth > Colours Fly (with Robert Stillman) > Feeling Pulled Apart by Horses (Thom Yorke song)
Producer, keyboardist, lyricist, composer and performer Idan Raichel is a global music icon who has brought his inspiring example and soul-stirring music to some of the planet’s biggest stages. As the leader of The Idan Raichel Project, Idan acts as a musical ambassador representing a hopeful world where artistic collaboration breaks down barriers between people of different backgrounds and beliefs.
The global music superstar appears with his full Idan Raichel Project band in the Bay Area, Los Angeles, NYC and Boston this November. For the very first time, audiences in the US will get to experience the full 15-piece Idan Raichel Project band, which has never performed in the US in this complete configuration before.
The Idan Raichel Project’s spectacular live show has enchanted audiences worldwide. They have headlined in some of the world’s most prestigious venues, including New York’s Central Park Summer Stage, Apollo Theater, Town Hall and Radio City Music Hall, Los Angeles’ Kodak Theater, the Sydney Opera House, Zenith in Paris, London’s Royal Albert Hall and many international festivals. They have also performed across Europe, South & Central America, Hong Kong, Singapore, India, Ethiopia, South Africa, Ghana, Japan and dozens of other countries for enraptured audiences of all backgrounds.
Over the past 19 years, Idan has collaborated with American pop stars India.Arie, Dave Matthews and Alicia Keys, not to mention a wide range of artists who are household names in their native countries: Portugal’s Ana Moura, France’s Patrick Bruel, Italy’s Ornella Vanoni, Germany’s Andreas Scholl, and Mali’s Vieux Farka Touré to name but a few. The Tour presented by Teev Events
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 DingerMark Ibold of Pavement | Photo by Michael DingerSteve West of Pavement | Photo by Michael DingerScott Kannberg of Pavement | Photo by Michael DingerBob Nastanovich of Pavement | Photo by Michael DingerRebecca 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
Winding down their 14-date tour of North America, in support of their fourth album Crawler (Partisan Records) released in November 2021, avant-garde punk rockers IDLES from Bristol, England made a stop at the majestic Kings Theatre in Brooklyn, this past Thursday night, September 15. Unable to tour for their previous studio album (2020’s Ultra Mono) due to the COVID-19 pandemic, IDLES brought with them plenty of new material to offer its steadily growing legion of fans, present company included.
Joe Talbot of IDLES | Photo by Michael Dinger
Arriving more than an hour before the 7:00 pm doors on a chilly September late afternoon, a signal that autumn would soon be upon us, excited concertgoers were spotted congregating on nearby sidewalks, hastily exiting their Ubers beneath the grand marquee or frequenting the nearby bar that doubles as a tattoo parlor. As patrons filed past the security check point, many had a sheer expression of awe on their face 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 the ornamental 50,000 square foot ceiling, along with the glazed and gilded walls paneled in American walnut.
Kings Theatre marquee | Photo by Michael DingerKings Theatre ceiling | Photo by Michael Dinger
Approximately 15 minutes before the night’s opening act would take the stage, IDLES fans continued to pack the lobby. Many of which checked out the merch table, grabbed a drink from the array of bars strategically placed on all levels 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 pipe organ | Photo by Michael Dinger
An American hip hop group formed in Tempe, Arizona in 2013, Injury Reserve are rapper Ritchie With a T and producer Parker Corey. However, the current duo was once a trio, until the sudden death of friend and founding member Stepa J. Groggs on June 29, 2020, at only 32 years of age. Having already supported Black Midi on a tour of the West Coast earlier this year, Injury Reserve’s musical genre is best described as experimental, or abstract hip hop – think beat machines with endless cords.
Albeit for blinding flashes of strobe lights, Injury Reserve performed in near darkness, with their figures appearing in silhouette, or barely discernible at all. Notwithstanding, as the steadily increasing crowd took their seats or joined the general admission floor, they cheered and applauded loudly at every opportunity. Ritchie With a T and Corey would perform ten songs over the course of nearly 45-minutes, all taken from their second studio release By the Time I Get to Phoenix, self-released nearly one year ago. The only song not played from the album was the third track titled “SS San Francisco.”
Injury Reserve | Photo by Michael DingerInjury Reserve | Photo by Michael Dinger
After a 30-minute turnover of the stage by IDLES’ crew, the quintet comprised of Joe Talbot (vocals), Mark Bowen (guitar), Lee Kiernan (guitar), Adam Devonshire (bass) and Jon Beavis (drums) unassumingly appeared in the dark shadows a few ticks past 9:00 pm. With its cinematically suspenseful introduction and a perfect number for opening the show, the first of IDLES’s 18-song set was “Colossus,” from 2018’s Joy as an Act of Resistance, which would also find Kiernan tip toeing along the narrow barricade in front of the stage apron. With one foot perched up on his monitor, prior to launching into the evening’s second offering “Car Crash” (Crawler), about Talbot’s real-life experience in a near-fatal accident, he instructed the entire floor audience do split apart, forming a no man’s land down the middle. Then, on his command, each side came crashing back into one another (like a car crash) in a fevered, giant mosh pit like I have never seen before.
Lee Kiernan of IDLES | Photo by Michael DingerIDLES | Photo by Michael Dinger
For the remainder of their 90-minute set, sweaty, beer-covered bodies would often sway in unison as IDLES filled the entirety of Kings Theatre with a raw emotion that emanated from songs across their ever-growing discography, including the rallying cry of “Grounds” (Ultra Mono), the cathartic “Mother” (Brutalism, 2017), “The Beachland Ballroom” (Crawler) about the iconic Cleveland venue, the violent vigor of “Never Fight a Man With a Perm” (Joy as an Act of Resistance) and the grittiness of “Crawl!” (Crawler). Oftentimes, when Talbot was not prowling the stage in concentric circles or jogging in place, he could be seen engaging with his fans directly by looking straight into their eyes, as if he were singing to them only. I was also fortunate enough to catch his gaze on more than one occasion.
Lee Kiernan & Adam Devonshire of IDLES | Photo by Michael DingerMark Bowen of IDLES | Photo by Michael Dinger
There were too many highlights in the IDLES set to count, and all five members were in prime form. But the moment that seemed to electrify the fans the most was not when Kiernan stood atop the crowd’s shoulders hugging a pink cowboy hatted fan, but when Bowen climbed his own way into the crowd, microphone in hand, as he led the frenzied crowd through the bridge section of the anthemic “Danny Nedelko” (Joy as an Act of Resistance).
Despite being a self-described “angry band” from the U.K., IDLES have built a really loving community amongst their fans. People constantly look out for out for each other, and tonight’s show was no exception. The final concert of IDLES’ “Back To Normal Tour,” before trekking to New Zealand and Australia in late-October, will be at the Sea.Hear.Now festival in Asbury Park, New Jersey on September 18.
Injury Reserve Setlist: Outside > Superman That > Footwork in a Forest Fire > Ground Zero > Smoke Don’t Clear > Top Picks for You > Wild Wild West > Postpostpartum > Knees > Bye Storm
IDLES Setlist: Colossus > Car Crash > Mr. Motivator > Grounds > Mother > Divide and Conquer > The Beachland Ballroom > Never Fight a Man With a Perm > Crawl! > 1049 Gotho > The Wheel > Television > A Hymn > War > Wizz > I’m Scum > Danny Nedelko > Rottweiler
The internationally-acclaimed hit theater show The Simon & Garfunkel Story will stop by Kings Theatre on March 3, 2023 at 8PM during the coast-to-coast U.S. tour. The immersive concert-style theater show chronicles the amazing journey shared by the folk-rock duo, Paul Simon and Art Garfunkel. It tells the story from their humble beginnings as Tom & Jerry to their incredible success as one of the best-selling music groups of the ‘60s to their dramatic split in 1970. It culminates with the famous “The Concert in Central Park” reunion in 1981 with more than half a million fans in attendance.
Using state of the art video projection, photos and original film footage, the show also features a full live band performing all of their hits, including ‘Mrs. Robinson’ (featured in the 1967 film The Graduate), ‘Cecilia’, ‘Bridge Over Troubled Water’, ‘Homeward Bound’ and many more.
With more than 100 million album sales since 1965, Simon & Garfunkel’s perfect harmonies and songs that poignantly captured the times made them one of the most successful folk-rock duos of all time. Over the years, they won 10 Grammy Awards and were inducted into the Rock and Roll Hall of Fame in 1990. In 1977, their Bridge Over Troubled Water album was nominated at the 1977 Brit Awards for Best International Album. In 2003, Simon and Garfunkel were awarded a Grammy Lifetime Achievement Award and the following year saw their “The Sound of Silence” awarded a Grammy Hall of Fame Award.
Tickets for The Simon and Garfunkel Story are on sale now here.
From October 6 to 8, Kings Theatre in Brooklyn will host the national R.E.S.P.E.C.T. tour, which celebrates the iconic Aretha Franklin and brings the ultimate concert experience.
After a national search for the perfect cast, the performers were recently finalized. Brooklyn native Trejah Bostic will lead the band, and vocalists Meghan Dawson, Nattalyee Randall, and Ashton Weeks will also act as hosts. Directed by Broadway’s Christina Sajous (Spongebob Squarepants, Spider-Man: Turn off the Dark), the show follows the life of Aretha Franklin using her biggest hits to tell her impressive story.
I am super excited to be a part of this amazing cast and I’m looking forward to going on this journey and experiencing all the beautiful audiences that we will come to meet.
-Trejah Bostic, Lead Singer
Audiences at the Kings Theatre can expect to hear fan favorites such as “Natural Woman,” “Think,” “I Knew You Were Waiting for Me,” “Chain of Fools,” and many more to celebrate the Queen of Soul. The soundtrack, with musical direction from Darnell White, explores the human condition intertwined with the timeless music from Franklin.
The Kings Theatre in Brooklyn recently reopened in 2015 and provides the perfect venue for large-scale entertainment such as the R.E.S.P.E.C.T. tour, with over 3,000 seats available. The architecture was inspired by the French Renaissance Revival style of the Palace of Versailles and the Paris Opera House – making it a beautiful addition and atmosphere for any entertainment.
All shows from October 6 through 8 will begin promptly at 8:00 pm and tickets range from $35 – $75. For tickets and more information about the R.E.S.P.E.C.T. tour, visit the Kings Theatre website, here.
Brooklyn-based indie rock band Big Thief played an intimate performance to a sold out Kings Theatre on Friday night. This was the first night of two-night residency for the band which has been touring in support of their new double album, Dragon New Warm Mountain I Believe in You, since late-January.
Left to right: Buck Meek, James Krivchenia, Max Oleartchik, and Adrianne Lenker of Big Thief performing at Kings Theatre. Photo by Lindsay Brown
Canadian composer and musician, Kara-Lis Coverdale (K-LC), opened the night with a moody electronic set. K-LC will be on tour with Big Thief for the month of April while they make their way out west for a number of shows going through June.
Big Thief started their set with title track “Change” off of Dragon New Warm Mountain I Believe in You, playing a mix of songs new and old throughout the evening including “Not” and “Certainty”. Dragon New Warm Mountain I Believe in You is the indie rock band’s fifth studio album which was released February 11, 2022, featuring 20 tracks. In addition to celebrating the recent release of Dragon New Warm Mountain I Believe in You on tour, guitarist and vocalist Adrianne Lenker announced that drummer and producer James Krivchenia dropped his second solo album Blood Karaoke this past week.
Buck Meek and James Krivchenia during Big Thief’s set at Kings Theatre. Photo by Lindsay Brown.
The indie rock band took several opportunities to address the crowd during the show, thanking everyone for their support and singing along. One of the most notable moments was guitarist and backing vocalist, Buck Meek, reminiscing about his days spent busking in New York City parks with Lenker a number of years ago to a now sold out King Theatre which seats over 3,000 people.
Another highlight of the evening was Lenker inviting her little brother, Noah, on stage for their last song, “Spud Infinity” where he lends his talents with a jaw harp to add a bit of twang to the track. Meek commented after the song, “I wish we could keep playing all night, but we’re actually out of time so goodnight!”
Big Thief at Kings Theatre, Friday, April 15 – Setlist
Change, Dried Roses, Certainty, Cattails, Shoulders, Black Diamonds, Forgotten Eyes, Not, Dragon New Warm Mountain I, Believe in You, Sparrow, Simulation, Swarm, Flower of Blood, Secret Side of You (Buck Meek song), Like a Rose (Lucinda Williams cover), Rock and Sing, Happy With You, Shark Smile, Real Love, Spud Infinity (with Noah Lenker)
Thank you all for making it out here…and Kara-Lis Coverdale…take care of yourselves, take care of each other. Thanks for coming. Love you! Bye!”
Adrianne Lenker closing out the night with genuine thank you to all.
Adrianne Lenker of Big Thief at Kings Theatre. Photo by Lindsay BrownMax Oleartchik of Big Thief at Kings Theatre. Photo by Lindsay BrownBuck Meek of Big Thief at Kings Theatre. Photo by Lindsay BrownJames Krivchenia of Big Thief at Kings Theatre. Photo by Lindsay BrownBuck Meek and James Krivchenia of Big Thief at Kings Theatre. Photo by Lindsay BrownLeft to right: Buck Meek, James Krivchenia, Max Oleartchik, and Adrianne Lenker of Big Thief performing at Kings Theatre. Photo by Lindsay Brown
Heading into nearly 35 years as The Australian Pink Floyd Show, the band returns with a new live show with the “All That’s To Come” Tour with 50-dates in North America and will stop in New York on September 16th in Brooklyn at Kings Theatre and September 21st at Kodak Center in Rochester.
The Australian Pink Floyd Show is the first Pink Floyd tribute show that brought their music to life in a worldwide platform. The band is viewed as more than just a tribute band due to three decade run with their note to note perfection and extraordinary audiences.
The 10-member band has performed in over 35 countries and has sold over 4 million tickets worldwide since the creation of The Australian Pink Floyd Show in 1988. The band has taken the stage with Rick Wright, performed at David Gilmour’s 50th birthday and interviewed with BBC radio.
One of the most revered and well-reviewed tribute bands in the game brought a powerful performance…With haunting performances of ‘Welcome to the Machine’ and ‘Time,’ the Australian Pink Floyd had the crowd in a dreamlike state of ecstasy.
Rolling Stone
The Australian Pink Floyd Show lineup for the tour consist of Jason Sawford (keyboards), Dave Fowler (guitar, vocals), Steve Mac (guitar, vocals), Paul Bonney (drums), Ricky Howard (bass, vocals), Chris Barnes (vocals), Mike Kidson (saxophone), Lorelei McBroom (backing vocals), Lara Smiles (backing vocals), Emily Lynn (backing vocals).
Tickets for most shows are on sale now; visit https://www.aussiefloyd.comfor ticketing information and more details.
ALL THAT’S TO COME 2022 NORTH AMERICAN TOUR DATES
Thursday, August 4: Thousand Oaks, CA @ Fred Kavli Theatre
Friday, August 5: San Diego, CA @ Humphreys Concerts By The Bay
Saturday, August 6: Costa Mesa, CA @ Segerstrom Center for the Arts
Sunday, August 7: Paso Robles, CA @ Vina Robles Amphitheatre
Tuesday, August 9: Santa Rosa, CA @ Luther Burbank Center for the Arts
Thursday, August 11: San Francisco, CA @ Orpheum Theatre
Friday, August 12: Lincoln, CA @ Thunder Valley Casino
Sunday, August 14: Airway Heights, WA @ Northern Quest Casino
Tuesday, August 16: Bellingham, WA @ Mt. Baker Theatre
Wednesday, August 17: Woodinville, WA @ Chateau Ste. Michelle
Friday, August 19: Salt Lake City, UT @ USANA Amphitheatre
Saturday, August 20: Las Vegas, NV @ The Smith Center
Sunday, August 21: Chandler, AZ @ Chandler Center for the Arts
Tuesday, August 23: Denver, CO @ Arvada #
Thursday, August 25: Oklahoma City, OK @ The Criterion ^
Saturday, August 27: Houston, TX @ Cynthia Woods Mitchell Pavilion
Sunday, August 28: Dallas, TX @ Music Hall at Fair Park
Thursday, September 1: Kettering, OH @ Fraze Pavilion
Friday, September 2: Atlanta, GA @ Cadence Bank Amphitheatre at Chastain Park
Saturday, September 3: Clearwater, FL @ Ruth Eckerd Hall
Sunday, September 4: Fort Lauderdale, FL @ AuRene Theater at Broward Center for the Performing Arts
Monday, September 5: Orlando, FL @ Hard Rock Live
Wednesday, September 7: Highland Park, IL @ Ravinia ~
Thursday, September 8: Minneapolis, MN @ Mystic Lake Casino Showroom
Friday, September 9: New Buffalo, MI @ Four Winds Casino
Saturday, September 10: St. Louis, MO @ The Factory
Sunday, September 11: Milwaukee, WI @ The Riverside Theater
Monday, September 12: Grand Rapids, MI @ Meijer Gardens +
Wednesday, September 14: North Bethesda, MD @ Strathmore
Thursday, September 15: Youngstown, OH @ Covelli Centre
Friday, September 16: Brooklyn, NY @ Kings Theatre
Saturday, September 17: New Haven, CT @ Westville Music Bowl
Sunday, September 18: Red Bank, NJ @ Count Basie Center
Wednesday, September 21: Rochester, NY @ Kodak Center
Thursday, September 22: Boston, MA @ Rockland Trust Bank Pavilion
Friday, September 23: Lancaster, PA @ American Music Theatre
Saturday, September 24: Bensalem, PA @ Parx Casino
Sunday, September 25: Wilkes-Barre, PA @ F.M. Kirby Center for the Performing Arts
Tuesday, September 27: Kitchener, ON @ Centre in the Square ^
Thursday, September 29: Windsor, ON @ Casino Windsor #
Friday, September 30: Toronto, ON @ Danforth Music Hall
Saturday, October 1: Laval, QC @ Place Bell
Sunday, October 2: Trois- Rivières, QC @ Amphithéâtre Cogeco
Tuesday, October 4: Halifax, NS @ Scotiabank Centre
Thursday, October 6: Alma, QC @ Centre Multisport
Friday, October 7: Quebec City, QC @ Centre Videotron
Saturday, October 8: Riviere-du-Loup, QC @ Centre Premier Tech Arena
Sunday, October 9: Sherbrooke, QC @ Maurice O’Bready
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
