NYS Music 2023

Category: Features

  • Best of Hip Hop 2023: MVW and Valee No Longer Looking for Valeedation

    With hip hop firmly entrenched within pop music, artists tend to chase a sound in search of mainstream validation. However, every so often, a sound usually existing within its own niche crowd, that captures ears for its inventiveness. In making Valeedation, the duo of Valee and Staten Island native MVW have created their magnum opus (for now) and firmly established their sound within hip hop’s redundant landscape.

    Valee (left) and MVW (right) have teamed for of the unique projects of 2023.

    Background to Valeedation

    Prior to this 2023 release, MVW’s hip hop journey began with two Valee assisted albums released in consecutive years. Despite its fresh perspective, MVW’s prior albums included their share of Hills and Valleys, while maintaining a sense of novelty. While Valee has long-established a niche audience in hip hop for his slick-talking, luxurious idioms, he lacked a go-to producer to consistently bring the best out of him. Correspondingly, as the classically trained MVW cast a wide net for artists to feature, he would not find a better match for his minimalist style than Valee. In essence, Valeedation is a continuance of the unique language that they’ve developed through their shared artistic vision. 

     

    Valeedation Review

    After all, cultivating and establishing a style of production is no easy task. Namely, MVW’s prior efforts maintained an ebb-and-flow between minimalist instrumentation and raging vocals. While this kept the listener on edge, to did very little for the albums sequencing. Conversely, on Valeedation, it all comes together as MVW along with Valee bring about his most cohesive effort yet.

    Valeedation is MVW’s most cohesive effort yet.

    Introduced to the world with the release of singles “Pistachio” and “Tailor Swift,” MVW juxtaposes Valee’s nonchalant delivery with meticulous instrumentation blending into a sound coined as “museum rap.” In light, setting the tone for the album’s easy-going feel.

    Throughout Valeedation, Valee’s usual off-beat, luxurious discourse finds refinement, resulting in extremely digestible-yet-unique songs. For instance, Valee’s concentrated flows and rhymes carries is a tone setter for much of the album. Meanwhile, MVW is meticulous with his isntrument placement, with violins and pianos taking turns in rhythmic dominance. Moreover, records like “Yo Yo,” “Ain’t Exotic,” “Metro PCS” “Shrimp Fried Rice,” — and standout track “Liquid”– leave the Valeedation with a lasting feel-good identity. Thus, even when MVW and Valee deviate rhythmically on songs like “Tailor Swift,” it is only a quick detour before returning to its sonic seance. Together with a host of agreeable features — including standout showings from Tony Shhnow (“Yo Yo”) and Zeelopers (“Metro PCS”) — Valeedation stands as diverse musical oasis.

  • In Focus: Punk-Rock Icon Patti Smith Returns to the Brooklyn Steel for Birthday Show

    This past Friday, December 29, punk-rock icon, singer-songwriter, poet, artist, and New York Times Bestselling author Patti Smith graced the stage at the Brooklyn Steel for two nights. Patti returned for her birthday show, this time commemorating turning 77. Fans from all generations came to see Patti’s incredible, lively performance at Brooklyn’s intimate, 1800-capacity venue.

    Patti Smith, photographed by Sarah Hyun

    Patti Smith, though raised in South Jersey, moved to NYC at the ripe age of 21 to study art and poetry. Her bestselling novel, Just Kids, which details her experience living in NYC, brought a new wave of people—especially younger ones—to Patti’s fanbase and show. Although Patti is not currently touring, she frequently returns to NYC to play with her band which consists of Lenny Kaye, Jay Dee Daugherty, Tony Shanahan, and Jackson Frederick Smith (her son!).

    Patti Smith, photographed by Sarah Hyun

    Patti opened the night with an extraordinary rendition of “So You Want to Be a Rock ‘n’ Roll Star.” Scaling around the stage with incredible ease and her nimble dance moves, Patti made the crowd go wild with her performance. Her silver braids almost seemed to glow under the stage lights, drawing all eyes to her throughout the whole concert. One fan screamed, “I love you Patti! I’m your number one fan!” 

    After playing “Free Money,” Patti stopped and began conversing with the crowd about how confusing TV remotes are. “It’s unbelievable right? You need one to put the TV on, the other for volume, and the other to get the Netflix or whatever you want on. It’s taken me hours just to get the TV on.” A fan screamed “Happy Birthday!” where Patti responded with, “Not yet! Don’t age me any faster than I am.”

    Ending the night on a powerful note, Patti played “Because the Night” and “People Have the Power,” where she brought out her daughter Jesse Paris Smith and her high school friend Laura to sing. Patti Smith is truly legendary, and her show was nothing short of that.

  • Jamming Into The Night: Dogs In A Pile Post-Phish Extravaganza at Sony Hall

    On Thursday, Dec 28, Dogs In a Pile took center stage at Sony Hall, just a stone’s throw away from Madison Square Garden, where Phish kicked off their much anticipated four-night New Year’s Eve Run. Branded as “The Dog Pound” by the band themselves, fervent fans flocked to the venue, securing their spots before Phish even finished their encore. The eclectic crowd, covered in classic Phish donut wear, Aztec patterns, and tie-dye attire, brought an energy that permeated the air.

    Having traversed the entire country on a busy fall tour, Dogs In A Pile had recently graced various New York venues, from Lafayette to Trumansburg, and Williamsburg. Smiles were seen all around as Keyboard player Jeremy Kaplan kicked off the night with a solo opening number, a classical-sounding ballad that set the tone for the night—soon joined by Jimmy Law (guitar and vocals), Joe Babick (drums and vocals), Sam Lucid (Bass), and Brian Murray (guitar and vocals).

    Taking the stage shortly after midnight, fans were jumping, jiving throughout the venue from the rails to the back. Dogs In A Pile’s unique sound is a harmonious blend of the unfamiliar and the strangely familiar. Elements of funk, jazz, and classic psychedelic rock ring out, and their songs are carefully constructed, invoking a circus of sound and feeling. The show was complemented by vibrant lighting, captivating The Dog Pound until the wee hours of the morning, almost reaching 4 AM.

    A special moment came when the band paid homage to the maestros themselves. The iconic notes of “Harry Hood” rang out, showcasing the band’s technical prowess and precision. With an encore of their popular song “Truck Rum”, the evening winded down and fans retreated home just before sunrise. The echoes of this night continued to reverberate. Dogs in A Pile kept the Phish party alive and elevated it to new heights- a testament to the band’s overall aura and momentum.

    For fans in Saratoga Springs, Dogs In A Pile will be at Putnam Palace on 12/30 & 12/31 for what’s sure to be an incredible New Year’s Eve celebration!

    Setlist: G Song, Tillie, Feel Like A Stranger, Look Johnny II, You Didn’t Hear It From Me, Let U Go, Go Set > Gumball, Spun > Drums > Harry Hood, Craig and Pat, Appleseed, Linus and Lucy

    Encore: Trunk Rum

  • Four Men in Four Men’s Land: Phish Return to MSG to Close out 2023

    The four men of Phish returned to Madison Square Garden, their live music home base, to begin another four night run to close out another successful year. It was already their eighth visit in 2023 and their nice-round-number eightieth of their career. It all started with a show almost exactly 29 years prior, with their first traditional four-nighter 25 years ago.

    Needless to say, the band felt right at home on the Midtown Manhattan stage. There’s really no need to warm up to the room that plays like their living room, and their comfort was evident from note one. The final shows of the year began with “No Men in No Men’s Land,” with the nod and wink appropriate lyric, “You’re happy that we’re here.” which received a huge roar from the anticipatory crowd. The band found room to let loose as a unit right away, with Mike Gordon’s bass driving the early action.

    From there the set would take a sharp nostalgic turn, diving deep into the bands early catalog. Classic Phish fare from the irreverent barbershop-esque “Halley’s Comet,” to some of their earliest “hits” like “Sample in a Jar” and “Bouncing Around the Room” provided the crowd a trip down memory lane. Solid takes on other favorites “Runaway Jim,” “Axilla Part II,” and Son Seals’ “Funky Bitch” set the table for a strong finish.

    Sticking to the early material, “Bathtub Gin” would provide the first real fireworks of this New Year’s celebration. Gordon once again pushed the agenda in the early going as the rest of the band remained within “Gin’s” lines. Page McConnell flinched first, moving to his clavinet while Trey Anastatio added sustained wails on guitar. McConell dug into some of his weirder tones and the whole thing got a bit dissonant. John Fishman pushed it forward with a marching beat and eventually locked into a dark groove with Gordon. The dark turned bright in a flash as Anastatio discovered a happy rocking theme that brought the whole thing back into the “Bathtub” to wrap it up neatly.

    “Ghost” would top off the set with some more interesting improvisation, all four members combining to find an interesting theme. They quickly worked it to a peak which they sustained at for an incredible high energy workout. Gordon mixed in some “No Men’s” lyrics into the chaos but it all settled back into the “Ghost” groove as the first set of the run came to a close.

    “The Howling” got things started in set two, as howling sounds bounced around the room, echoing in surround sound.

    “A Wave of Hope” followed, and started innocently enough. The band coasted along for a little bit until you could almost hear the safety line being cut. The whole band dropped any semblance of a connection to the source material, diving into the deep end into a slow ooze. From there they entered mind meld territory, flipping from theme to theme without cue and without hesitation, like it was scripted. The pace quickened, slowed and sped up again. Dark, bright, rocking, cosmic, it was a journey and the map was being drawn in real time. The stage was surrounded by points of white light in a spastic swirl as Anastatio carried the final segment into bliss territory. They found their way to a slick transition into “Rift,” one of a few solid segues on the night.

    A quasi-classic “Mike’s Song” > “Simple” segment gave the set more solid anchors to hang some cred on. Gordon played around with the rocking groove as the lights rode the deep end waves, undulating high above. As a counterpoint to the one-ness found throughout “A Wave of Hope,” in “Mike’s” the band fractured, fragmenting and deconstructing pieces of the jam. It got heavy and industrial, but never lost the underlying groove. It roared up to an unusual “Mike’s Song” peak that had hints of “Tweezer Reprise” hidden just beneath the surface.

    The ensuing “Simple” again provided a contrast, staying spacey and ambient for most of it’s runtime. And as that time ran low, it transitioned excellently into a rocking “Blaze On” set closer, which featured solid in-the-pocket jamming from the whole unit.

    Between new songs, old songs, and a full smattering of influences on display, Phish was setting the table nicely as they invited their fans into their home away from home to celebrate another year in the books. But with a long four-song encore that had multiple “ok now it’s over” moments, they were the hosts who couldn’t let their guests leave without a few proper good-byes. They welcome another party in the next three nights at the Garden. Shows 81 through 83 and year 2024 await. But who’s counting?

    Setlist via Phish.net

    Phish – Madison Square Garden – Thursday, December 28, 2023

    Set 1: No Men In No Man’s Land, Halley’s Comet, Sample in a Jar, Runaway Jim, Bouncing Around the Room, Axilla (Part II) > Funky Bitch, Bathtub Gin > Ghost

    Set 2: The Howling > A Wave of Hope -> Rift > Mike’s Song > Simple > Blaze On

    Encore: mercy, The Squirming Coil, Weekapaug Groove > Say It To Me S.A.N.T.O.S.

    Trey teased San-Ho Zay in No Men In No Men’s Land. Mike quoted No Men In No Men’s Land during Ghost. Mike’s Song contained sound effects used earlier in the show during The Howling.

  • Craig Greenberg Releases Soulful Single “Song of December”

    NYC native and “troubadour piano man” Craig Greenberg has released his new soulful track “Song of December,” encompassing the feelings that come with the creative process and pushing forward.

    Over the past 15+ years, Craig Greenberg has been a staple on the New York City music scene, capturing and building on the spirited ivory traditions of greats like Billy Joel, Ben Folds, and Randy Newman with sparkling, soulful new musical twists, a larger than life personality and his insightful, dramatic sense of storytelling. He has independently released five albums (his most recent EP, Between the Sea and the Sky, released in Dec 2022), and has performed upwards of 1000 shows from New York to Israel, since his start playing in bars while living in Chile, and later Spain, in the early 2000s.

    He has received praise in American Songwriter, the Huffington Post, and Relix Magazine, and has been played on radio stations all around the country and internationally. In 2021, his song “Oh Caroline” was placed in the semifinals of the International Song Competition and his music video for “Between the Sea and the Sky” received a Europe Music Video Award in March 2023, and placed finalist in the Around International Film Festival (Paris) in June 2023. He has performed with esteemed musicians such as Jackson Browne, Chris Barron (Spin Doctors), Jane Wiedlin (the Go Go’s), Louise Goffin, and Jerry Joseph.

    “Song of December” is a layered track that brings the listener on a journey, with his iconic piano and booming percussions. “It’s a song about the struggle of the creative process, and about finding inspiration to push through that struggle. It’s about looking back at the challenges of the year and looking toward a brighter tomorrow, so it is indeed a hopeful song,” he said. He started writing the song back in 2017 and finally finished it just in time for December.

    Greenberg lays all his emotion out in this track, bringing in a multitude of instruments that play together in perfect harmony. With intricate lyrics and soulful vocals, he paints the picture of his struggles with being creative but knows, in the end, everything is going to be okay.

    “Song of December” is available to stream now.

  • DMVU and Toadface Unite for a Dangerous Night in Buffalo 

    EDM artist DMVU and Toadface have teamed up to bring an innovative tour that had a special appearance at Buffalo Iron Works on December 16. The two producers performed all night at Buffalo Ironworks on the It’s Dangerous To Go Alone tour that included a surprise guest appearance for fans. 

    DMVU, Photo Credit: Maddie McCafferty

    Local talent LURK3R and Thromb started off the night with their infused dubstep. They brought downtempo bass music to Ironworks while still supplying the audience with heavy mixes. 

    Toadface later took on the stage and immediately hit fans with his swampy bass lines. He performed various songs off of his EPs including “Seratonin Machinegun” and “Stone Monkey.” His growth over the past few years has allowed him to develop more into his sound. 

    Toadface, Photo Credit: Maddie McCafferty

    Toadface messes with ambient mystical soundscapes that makes his production style unique. His fun toad visuals play into this as well giving a sense of funk into traditional dubstep. His ability to fuse in elements of trap music make these amphibious grooves have their own twist. 

    After, Denver based artist DMVU hit the stage and elevated even more on blending rap with dubstep. His love for hip-hop and rap shows through his innovative mixes. DMVU’s intro was full of lo-fi tunes and heavy sax, the vibes brought effortlessly to the crowd. 

    DMVU, Photo Credit: Maddie McCafferty

    DMVU then began mixing his love of both old school and new school rap. There is something about hearing your favorite rappers over a chill bass beat that does something for the soul. He also mixed in some of his well-known songs into his set such as “Killa Sound.” 

    DMVU, Photo Credit: Maddie McCafferty

    It’s Dangerous To Go Alone

    The late night set is where these DJs really took it to the next level by performing together. In honor of their joint EP It’s Dangerous To Go Alone, both DMVU and Toadface joined on stage for an epic set. They played countless songs including, “Uncut Diamonds,” and “Jungle Dub.” 

    DMVU, Photo Credit: Maddie McCafferty

    Their separate sounds are unique enough but when they come together it provides groovy dubs that are addicting to listen to. They somehow raised the bar even further when they brought out special guest Distinct Motive who had the crowd cheering with excitement when he played his hit “Shake Junt.” The rest of the night consisted of the DJs switching off and on from the decks. 

    Photo Credit: Maddie McCafferty

    This night at Ironworks was one for the books. And more EDM nights are to come with Churma going to Luna Lounge December 29 and Rusko will be performing a NYE show at Town Ballroom. Get your tickets here.  

    Toadface
    Toadface
    DMVU
    DMVU
    DMVU
    Distinct Motive

  • Tsavo Highway “Find a Way”

    Western New York rock/jam band Tsavo Highway has released their latest single, “Find a Way,” the first with a solidified lineup.

    Formed just over a year ago and led by the soulful vocals of Emily Scripps alongside guitarists Christian Dobosiewicz and Peter Kern and rhythm section of bassist Brian Calisto and drummer Dan Keegan.

    Tsavo Highway

    “Find a Way” was recorded by Producer Zach Tilton at his home studio. The nearly 6 minute long track is at first poppy with a mid-90s indie rock feel. Grooves build and flow into the next, while vocals from Scripps weave fluidly alongside the tempo.

    When we brought the tune to the band it clicked immediately. Everyone had an idea of how to make the song come to life. Christian with his twang in the way he plays the guitar’s lead lick in the chorus, Peter with his added trills and guitarmony in his solo, Brian with the most epic leading bass line, and Dan with his perfectly timed drum fills. Once everyone brought their individual takes and magic to the song, it came together as this wonderful, authentic, catchy tune. 

    Emily Scripps, Tsavo Highway

    Written by Scipps and Dobosiewicz, Emily shares that she wanted the song to have a feel of being at a train station – which explains the child’s train whistle making an appearance at the right times. The station here is symbolic to the middle ground in the journey of life.

    “You’re waiting at this middle ground for a sign, a feeling, a glimpse (a train) of something telling you you’re on the right track,” said Scripps. “You can feel it, hear it, you know it’s near, you hope it’s near, you’re calling out for it because it’s just within your grasp. So with this in mind I wanted the overall tone/sound of the song to reflect happiness but not in a sense of comfortability, but more a sense of happiness in being hopeful.”

    Tsavo Highway

    From playing intimate venues to larger stages, Tsavo Highway has a genuine passion for music that shines through every note they play, leaving audiences captivated by their raw talent and heartfelt performances.

    Learn more about Tsavo Highway and stay up to date with showing in 2024 here.

  • Louis Cato Performs “Winter Wonderland” on Stephen Colbert

    Recently, singer, songwriter, and multi-instrumentalist Louis Cato performed “Winter Wonderland” on a special holiday edition of The Late Show with Stephen Colbert.

    Photo: Scott Kowalchyk/CBS.

    GRAMMY-nominated and internationally acclaimed multi-instrumentalist Louis Cato has been keeping audiences engaged on The Late Show with Stephen Colbert since its inception in 2015, and was promoted to the bandleader of the group last summer. Since the age of two, Cato started appreciating music with the purchase of his first drumset, citing artistic influence from southern gospel from his native North Carolina. He has an undeniable talent for crafting sonic landscapes into timeless masterpieces. Releasing his first record STARTING NOW in 2017, Louis Cato produced and mixed the entire record by himself. 

    His newest record Reflections is slow, spirited, and heavenly, showcasing his kind and empathetic essence. Cato is not just a solo artist though, he has worked with an array of other established musicians, like Snarky Puppy, Jon Batiste, Q-Tip, A Tribe Called Quest, and many more, mixing in his artistic capabilities and talents with theirs. With the voice of an angel, melodies that pull you in, and the funk of James Brown, Cato’s sound is unmistakable.

    NPR Music just named “Unsightly Room” from the LP one of the Best Songs of 2023, raving “While other artists released big studio productions, Cato’s simple guitar and haunting voice reaffirm the power of back-to-basics songcraft and storytelling. It’s a deceptively sweet song with an earworm melody, but something truly horrifying is lurking in the shadows.”

    For more information about Louis Cato, visit here.

  • Watch Darlene Love and Jay Thomas on classic Christmas episodes of The Late Show with David Letterman

    Before signing off for the holidays, David Letterman would have on two regular guests for a Christmas show to end the season.

    Letterman Christmas

    With Paul Shaffer and the CBS Orchestra looking on, comedian Jay Thomas would regale the crowd with, as Letterman put it, “the best story I’ve ever heard,” about an encounter with Clayton Moore, the actor famous for playing The Lone Ranger. It became a holiday tradition for the 17 years until the Letterman retired in 2015.

    After Thomas delivered the punchline, he and David Letterman would alternate throwing a football at the meatball on top of the Late Show Christmas tree. To wrap up the show, and the year for the Late Show, Darlene Love would put on a big production with her holiday show stopper, “Christmas (Baby Please Come Home).”

    Jay Thomas passed away in 2017, but his humor lives on. Watch below to see the joke over the years.

  • Book Review: “The Police: A Visual Biography”

    There’s no escaping The Police; they’re everywhere. Individually, members of The Police continued to tour this past fall and winter, and garnered quite a bit of social media and press coverage with their music and publishing projects. A new book is now out by Laura Shenton for Wymer Publishing, The Police; A Visual Biography.

    Featuring photography, text and layout that is visually appealing, The Police; A Visual Biography is a historical treat for Police fans as it chronicles their humble beginnings up to achieving world wide recognition and creative fame.

    The Police a Visual biography

    This coffee table book includes some little known tidbits about the band and some of their song origins. It includes rare press clippings from their unknown days, encompasses their musical journey to becoming what we now know them to be, and includes a discography and member’s solo projects. During their ascension, their record sales, tour grosses and GRAMMYs surpassed even that of the Rolling Stones. The Police would make history becoming the best band of their day, with “Every Breath You Take” still being the most radio played song in American history.

    The Police gained traction here in New York at CBGB’s and in the Hudson Valley as relatively unknowns in 1979, also appearing at The Chance in Poughkeepsie. The song “Roxanne” would make its debut on U.S. radio here in the Hudson Valley on WDST, Radio Woodstock, 100.1.

    Within three months, The Police had two singles and an album in the U.S. Top Ten.

    In a phone interview I had in October, Andy Summers spoke of The Chance fondly, recalling how grateful they all were to get the gig and to be touring America at the time. “What it signified was how we had to maintain our spirit and do a raging show despite a small audience possibly due to a snowstorm at the time.” 

    Although meeting and forming in the UK, New York has been lucky to have shared in The Police’s early days, because it was also here in New York City and the Hudson Valley that The Police started creating such excitement for their unique sound in America and subsequently the world.

    The Police a Visual biography

    Laura Shenton is widely known for her music profile non fiction books, including profiles on Emerson Lake and Palmer, Kate Bush and Supertramp among others. 

    Featuring Alan Perry Concert Photography and Bill O’Leary Timeless Concert Images, the author’s voice is evenly paced, respectful of her subject, and engaging. Her interest in writing this book comes through and a recommended book on The Police.

    The Police a Visual biography

    This particular book differs from others on The Police in how thorough and methodically dates, press clippings, memorabilia, concert posters, song origins, tours, and the creative process is described, as well as how solo projects are detailed, and music reviews, awards, nominations and the discography is presented. The author included many quotes from band members giving us a good idea of their musical journey and lets us know the favorite song they all share.

    As James Adams stated in 1983 and his quote is included in this book, “The Police are a band. Long may they arrest us.”