The night’s theme was R&B, and DJ TGIF brought them rhythm with him. Opening the show with some of the best R&b from the 80s, 90s, and 2000s, there was not a body that wasn’t grooving to the beat. As a local favorite, he vibed with the crowd well for his two hour set. There were plenty of free t-shirts given out after his set by Alive at 5 volunteers and Overit Studios.
The summer series was closed out with the highly anticipated Montell Jordan. Locals came in a bit anxious from the previous week as Rakim had cancelled an hour before his set. Montell Jordan did show up and show out for the large Albany crowd.
Montell’s set was the shortest of the season at 45 minutes, about half of all the other main acts this series. His set had a lot of ups and downs as he cut many of his hits short. Montell said that since he had recently become a pastor, he could not sing any more of his songs that were more sexual in nature. He commonly started a track and cut it off after about 30 seconds, leaving some of his adoring fans with a look of dissatisfaction.
To fill the void of those unsung songs, he performed a lot of covers. Showing love to the East Coast, he covered Notorious B.I.G.’s “Hypnotize.” He also represented his West Coast Roots with a spin of “California Love.”
The show ended on a high with him singing his most well known hit “This is How We Do It.” The crowd couldn’t get enough of him. He had already performed different versions of the song to open his set, and they were finally left with it played the whole way through. He stayed behind after the show to sign autographs for fans.
Rock’s finest were on display on Aug. 5 at Artpark in Lewiston, as Jason Isbell and the 400 Unit took the stage, with S.G. Goodman opening. The band was touring in support of their recent release, Weathervanes.
It has been quite the journey for Jason Isbell. The former Drive By Truckers guitarist left the band in 2007 to pursue a solo career. He writes often about his sobriety journey that he started in 2012 in hopes of serving as an inspiration for others. He is often lauded as one of this generation’s best songwriters. While performing with the 400 Unit, he is backed by Sadler Vaden (guitars), Derry DeBorja (keyboards, accordion), Chad Gamble (drums) and Will Johnson (guitar, percussion). Longtime 400 Unit bass-player Jimbo Hart sat this tour out due to personal reasons.
Jason Isbell performs at the Artpark in Lewiston.
The evening would open with a set by S.G. Goodman. Promptly at 8 pm Goodman’s bandmates took to the stage and jumped right in to the groovy “Work Until I Die.” After a lengthy instrumental introduction, Goodman took to the stage and the song’s indie garage-rock sound took off. Goodman, from Hickman, Kentucky, joked with the crowd between songs. “I’m sure by the sound of my voice, you can tell I’m not from around here,” she said with a laugh and a heavy southern accent. Goodman’s songwriting really shined, as she performed tracks like “Space and Time,” a song recently covered by Tyler Childers. As the set came to a close, Goodman paid tribute to Waylon Jennings, with a cover of “Waymore’s Blues.”
S.G. Goodman performs at the Artpark in Lewiston.
At promptly 9:10 the house lights dimmed and Isbell’s familiar anchor-dove logo illuminated above the stage. Moments later Isbell and his bandmates took the stage and immediately launched into the crunchy guitar riff of “When We Were Close,” a track chronicling Isbell’s friendship with the late Justin Townes Earle. The crowd quickly stood to their feet and their energy began to build like a pot of water coming to a boil, coming to a complete boil by the third song, “King of Oklahoma.” The powerful, anthemic song saw the audience sing back the song’s chorus in near deafening fashion.
Jason Isbell performs at the Artpark in Lewiston.
As the evening moved on, Isbell’s strength as a song writer became more and more apparent. He has the ability to place the listener directly into the scene of the song, while singing songs dealing with not only his own personal struggles, but issues plaguing society as a whole. The song “Save the World” touches on the need for gun law reform, while “King of Oklahoma” tells the tale of the protagonist struggling with a painkiller addiction. Then, there are more personal songs to Isbell like “Cover Me Up” which addresses coming to sobriety, and Isbell grappling with his own mortality in “If We Were Vampires.”
Sadler Vaden performs at the Artpark in Lewiston
Isbell and his bandmates shined musically through out the evening as well, with Isbell and Vaden often trading guitar solos. Derry DeBorja added unique layers of sound with his keyboard and accordion playing. Perhaps the pinnacle moment of the evening was the band’s performance of “Miles.” The song, reminiscent of a Crosby, Stills, Nash and Young track, saw layers of sound build upon each other and featured dual percussion, with Gamble and Johnson both taking seats behind a kit. This only further drove the song’s intensity, which peaked with the crash of a gong.
Jason Isbell performs at the Artpark in Lewiston
Like all good things, this evening had to come to a close. The band closed with “This Ain’t It,” which saw Isbell and Vaden partaking in one last guitar solo dual, much to the crowd’s delight. It was a fitting way to close an evening of classic rock sounds.
Carly Rae Jepsen sold out two nights (August 7 and 8) at the Rooftop at Pier 17 in New York City, but the first show on Monday was cut short due to sudden thunderstorms. Before abruptly ending the show and thanking her fans, she told them, “No one is getting electrocuted tonight!” Carly added a last minute intimate show that same night at Rockwood Music Hall, delighting 500 fans with the unexpected addition. She also added a matinee show at Pier 17 for fans who missed the first night, honoring all ticket purchases and offering refunds to those who couldn’t make the matinee.
Carly Rae Jepsen plays last minute intimate show at Rockwood Music Hall. Photo by Alex Perkins
Poolside opened for Carly with a DJ set. Check out our gallery of images from the first night below.
Rising Central New York star Sydney Irving took to the stage at Spiedie Fest in Binghamton on Sunday Aug. 6, providing direct support to headliner Gavin DeGraw. It was the last day of the annual three-day festival, which showcased great food (including spiedies, of course), hot air balloons, arts & crafts, as well as musical performances from acts such as John Waite, Tommy DeCarlo, Scotty McCreery, and Cooper Greer.
At just twenty years old, Sydney Irving has already proven that no stage is too big. The 2022 Syracuse Area Music Award winner for best new artist has already performed on the main stage at Spiedie Fest on two other occasions; in 2019, opening for Starship feat. Mickie Thomas and again in 2021, opening for Martina McBride. On Sunday she was joined by her band, The Mojo, feauring Luke Hart (guitar), Evan Tennant (drums), Randy Tennant (bass guitar), and Carl Stokking (guitars, vocals). They have quickly become a mainstay on Syracuse’s Locals Only radio, with the recent release of their single “I Don’t Wanna Fight You.”
Concert goers on Sunday could not have been greeted with more perfect summer weather, as warm temperatures and sunshine greeted fans as they arrived. Fans filled the concert area long before the advertised start time and a quick scan of the audience along the stage barrier showed a mixture of Gavin DeGraw and Sydney Irving t-shirts.
Just after 4:30 pm Irving and her bandmates took to the stage and immediately launched into their track “Seasons Change.” The catchy and upbeat pop-rock track released by the band in 2021 set the stage for what was to come on this afternoon. Irving quickly grabbed a captive hold of the audience, a feat often difficult to achieve by most performers at larger festivals. She worked the stage with the charisma and stage presence like she was a 20-year veteran, engaging the crowd in sing a longs, dances, and synchronized claps. The band took the party atmosphere to another level by kicking oversized beach balls into the crowd.
Through out the band’s sixty minute set, they intertwined cover songs with their own original music, with the band paying homage to the musicians they attribute to their own songwriting style. They got the crowd up and dancing on Taylor Swift’s “You Belong To Me,” and Irving and her bandmates put their own spin on the Dolly Parton classic, “Jolene.” Guitarist Luke Hart also put his talents on display with a blistering guitar solo during Tom Petty’s “Running Down a Dream.” However it was the band’s original tracks that were the true highlights on this afternoon. Songs like “Don’t Want to Fight You” and “You Can’t Forget About Me” showcased Irving’s talents as a songwriter and fit in the setlist flawlessly, alongside the cover tracks.
As the set wound to a close, Irving and her band mates performed the Ramones classic “Blitzkrieg Bop.” The high energy track had the crowd singing and clapping along, and left those in attendance highly energized as they awaited the evening’s headliner.
If you missed Sydney Irving & the Mojo’s set at Spiedie Fest, don’t fret. The band have a slew of performances scheduled, including on Aug. 19 at the Dreamland Theater Music & Arts Festival in Utica. See the band’s full sleight of shows here.
Released in 2002, Wiretap Scars was the first full-length album for El Paso, Texas punk rock band, Sparta. After a few EPs and side projects, Jim Ward and company went all in to produce this album. While it was not met with the highest praise, the album and its members were applauded for getting this one out after a rough demise of a previous project.
Members have come and gone, passion has come and gone, and then returned again. Two constants have remained with Sparta: lead vocalist Jim Ward and his partner in crime Matt Miller (although not from day one, he has been around long enough). When Wiretap Scars was conjured up, all band members contributed to writing, making it a complete group effort, which is something Ward really wanted.
With the tour coming to an end, Miller and drummer Neil Hennessy made a stop in Rochester on Aug. 5, playing the rustic basement-styled Montage Music Hall. Off the beaten path, Montage seems like a dive bar as you walk by, but once you enter, you are taken into a special place, not like Narnia, but special in its own right. Posters of artists of yesteryear adorn the walls, stickers are plastered on board near the “ticket counter” that promote smaller bands, radio, stations, etc. This little gem of a venue hosts small acts, big acts, loud acts, and quieter ones. It is also a venue used during Rochester International Jazz Festival. A smaller elevated stage, with simpler lighting, this was a perfect landing spot for Sparta.
In fashion, Ward, Miller, and Hennessy played Wiretap Scars in its entirety, without interruption. Being new to the band, I was intrigued by it all. The vocals, Hennessy on drums, and the intimate setting were all perfect and the overall sounds were reminiscent of the late 90s alternative flavors. While they identify as punk rock, there is nothing stopping the alternative feels.
With the high energy “Cut Your Ribbon” starting the show-off, the 150 or so fans were immediately sucked into the time warp of the album and were not slowed any as the songs kept coming. When the final track was completed about 45 minutes later, fans were left wanting more. Young fans and those presumably in their mid-40s cheered on Ward as he talked about tearing up Rochester after the show. With Sunday off, they have some time to see what the city has to offer.
Continuing for another half hour or so, Sparta kept the energy alive, playing tracks from more recent albums including the self-titled album, Trust The River (2020), and Threes (2006). Unlike many other bands, Ward and Sparta do not do encores. He said it in part due to him being lazy, but mainly “just play the whole fucking set.” No need to get dolled up and splash on fresh cologne or chug half of a beer. Alas, there is no encore on this night.
In a recent interview, Ward talked about how he likes that the band, either past or present, isn’t a one-man show. Ideas are bounced off each other, and he trusts the musicians with their feedback. During the pandemic, which sadly coincided with the new album release, Ward would create some music and send it off to Miller and ask him to make some music to go with it as a guitarist. For him, it was easier to do that, because the body language of either party could not be read. He felt that element led to a lot of compromise.
I learned a long time ago to not say never.
Jim Ward, on working with a band together in a studio again
Twenty years later, Sparta has given itself new life. Wiretap Scars is one of those albums that may have gotten lost on you, but lucky for all of us, we have 24/7 access to their music with streaming services. Give them a listen for the first time or pick up where you left off and keep on rocking.
Setlist: (from Wiretap Scars) Cut Your Ribbon, Air, Mye, Collapse, Sans Cosm, Light Burns Clear, Cataract, Red Alibi, Rx Coup, Glasshouse Tarot, Echodyne Harmonic, Assemble the Empire
Breaking the Broken, While Oceana Sleeps, Empty House, Miracle, Atlas
It was a reunion of sorts on Thursday at the Lakeview Amphitheater in Syracuse, as hard rockers Godsmack and Staind joined forces for an impressive twin bill. The pair of Massachusetts-based bands have toured extensively together since 1998.
The tour was designed in part to celebrate the 25th anniversary of Godsmack. The band, who released Lighting Up the Sky (2023) earlier this year, has announced that this will be their last studio release, however, lead singer Sully Erna has gone on record to state the band will continue touring. Boasting an impressive resume of eight studio albums with over twenty million albums sold, the band has maintained the same four members throughout the twenty-five years of existence. Frontman Sully Erna (vocals, guitar, percussion) is joined by Tony Rombola (guitar), Robbie Merrill (bass guitar), and Shannon Larkin (drums).
The evening’s festivities kicked off with a thirty-minute set by Mix Master Mike. Known for his years as the turntablist with the Beastie Boys, Mix Master Mike was able to fill the amphitheater with early energy and excitement, as he played a mixture of Beastie Boys tracks along with other hit tracks primarily from the 1990s.
After a brief set changeover, the back side of the stage was illuminated to show various screens and projection monitors. As Staind took to the stage the screens would display cinematic-style scenes and images tying in to the songs being played. Staind launched into their new single “Lowest In Me” from their forthcoming release Confessions of the Fallen. Aaron Lewis (vocals, guitar) quickly put his signature vocals on display, showcasing one of the more familiar voices in rock music. His bandmates proved to be no slouches either, as Mike Mushok (guitars) jumped, thrashed, and head-banged throughout the set.
The band would perform for 75 minutes with a set that included several hit tracks from the early 2000s, such as “Outside,” “It’s Been Awhile,” “Fade,” and “Epiphany.” As the set neared a close, the amphitheater filled with the familiar bass guitar rumble of the song “Mudshovel,” the band’s breakthrough track in 1999. This brought the crowd to their feet, singing and screaming along with Lewis, as he strutted about the stage.
After the set a white sheet would drape over the stage, hiding the set up behind. As it came time for Godsmack to take the stage, Mike Master Mike was projected across the screen. Several arena rock anthem tracks were played to further build excitement. Eventually, the sheet would drop to reveal a black sheet with the familiar Godsmack sun logo. A few seconds later, and with a burst of fireworks, the headliners would take to the stage. Godsmack immediately launched into the high-energy title track of their 2018 release When Legends Rise.
The band would keep the energy going as they moved on to 1000hp, playing in front of a slew of flames and other pyrotechnics. During the band’s hit track “Voodoo” the flames would again make a return, as fireballs would rise from the stage, almost as if they were dancing with the song’s cryptic rift. As the set moved on, Larkin’s drum riser would to the front of the stage, and be joined by a second drum set. Erna would then take a seat behind the kit and the pair would then put on an impressive percussion battle on “Batalla de los Tambores.”
After a brief encore break, Erna would return to the stage and take a seat behind a piano. He talked about the importance of community and discussed the band’s charity, the Scars Foundation, a nonprofit organization designed to provide mental health services to local communities. Erna would then perform the beautiful track “Under Your Scars.” The song not only showcased Erna’s talent as a songwriter but also his diverse musical ability and his strength as a person. His bandmates would then return to the stage for the evening’s final two tracks, “Bulletproof” and “I Stand Alone.”
Playing to a packed house at Darien Lake Amphitheater, Country rapper Jelly Roll brought his Backroad Baptism to Western NY on Aug. 3. Fans in attendance were in for one hell of a show by Jelly Roll and opening acts Struggle Jennings and Caitlynne Curtis.
While I did not make it in time for the opening acts, I did manage to catch the end of Struggle Jennings set. Not knowing much about him, I did talk to a few fans, and he seems to have a good following, as everyone I spoke with said that he is a regular on their streaming services. What I did get from his set was that, like Jelly Roll, Struggle Jennings (William Curtis Harness Jr) has a troubled past with prison time included. Lucky for him and for us, he has found the right path and is making the most of every opportunity. He has a voice that one cannot just describe, yet it matches his style and muse perfectly.
Wake up tomorrow and make it the best fucking day of your life
Struggle Jennings
Like his successor on stage, Jennings is a humble dude. He spoke about how everything happens for a reason, and you need to take advantage of every opportunity that is thrown your way, and he used his own daughter as an example. With him being incarcerated, and the mother of his child passing away, his daughter was in and out of foster care and dealt with her own demons along the way, but kept her head up and graduated with high honors and is heading off to college.
After dabbling in the rap and hip-hop markets for about ten years, the Tennessee native entered the country market and immediately made a name for himself. His unique vocals, inspirational messages, and powerful range have led him to be one of the most recognizable names in music today. With his current tour barely underway, Jelly Roll is riding high on music charts as well, with his latest album Whitsitt Chapel sitting at number two in iTunes’s top 100 country albums and is up there on Billboard rock/alternative chart as well.
Getting back to the show at Darien Lake, Jelly Roll hit the stage around 9 p.m., with his drummer welcoming him with a solid little beat. He starts the night off in absolute style, with “The Lost,” “Hate Goes On,” and “Halfway to Heaven,” with the latter heating up with pyrotechnics joining the party. It is clear at this point the next 90 minutes are going to be loud, fun, and hot. Talking about his roots and how he came to country music, Jelly Roll spoke about the power of 90s country and unleashes a mash-up of covers starting with the very vocal Toby Keith.
Naturally, the crowd sang along as he rolled through four or five songs. At this point, I think the only fans left sitting were way back on the lawn. The crowd was pumped up and made Jelly smile from ear to ear. He talked about Buffalo and the area and of course the well-known Bills Mafia. He played Darien Lake on Tuesday, after a Buffalo Bills Monday night game and he said the crowd was something he had yet to see, with the Mafia out in full force. He added that it really made an impression on him about the passion that Bills fans have.
Onward with the music, he does a couple more covers, starting with a mix of The Animal’s “The House of The Rising Sun.” Very much making it his own, he nailed the melancholy rhythm and with some effects of the fire towers on stage, this arrangement instantly becomes a talking piece. His next cover was that of Lynyrd Skynyrd’s “Simple Man,” which holds a special place in Jelly’s heart. With an acoustic vibe, this piece was done perfectly and with the crowd chiming in for the final verse, the mix became complete.
As Jelly Roll finished his set, one can look around and see what a diverse group he gathers. Out on the lawn, there are grown men, chugging Bud Light and rocking t-shirts. You see the younger crowd, discretely vaping and dancing to every beat. There are groups of older folks who you might have thought took a wrong turn on the way to bingo, yet they are having a time listening to this 38-year-old rapper turned country star. Jelly Roll is the star that doesn’t just attract country music fans of a certain demographic. He manages to lure in everyone with his humbleness, simple messages, and simple charm. While he has been in the music business for several years, Jelly Roll is now just making his mark and defining who he is in the field of music.
our windshield is bigger than the rearview mirror for a reason. Cuz what’s in front of you is much more important that what’s behind you…”
Jelly Roll
Set list: The Lost, Hate Goes On, Halfway to Hell, Creature, Dead Man Walking, Son of a Sinner, Country Medley/mix, She, Dancing With The Devil, Teaks Could Talk, Dirty South, Bottle And Mary Jane, Need a Favor, House of Rising Sun medley, Wheels Fall Off/Kill a Man, Fall in the Fall, Simple Man (Lynyrd Skynyrd), Smoking Section, Save Me
Jam band supergroup LaMP performed their late night Phish afterparty at The Cutting Room on Wednesday, August 2nd. LaMP consists of Scott Metzger joined by Russ Lawton & Ray Paczkowski of Trey Anastasio Band.
The room was packed and attendees were ready to boogie following Phish. The band played a very tight, rocking, funky set. The whole show was rather funky and Scott’s guitar playing as the only axe man in the band reminded me more of Trey Anastasio’s playing more than Scott’s guitar parts in Joe Russo’s Almost Dead. There were incredible peaks and moments of dissonance, but mostly very tight and danceable funkiness.
Truly a supergroup with three incredible musicians. With these three in the room, you’re bound to dance!
Darien Lake Amphitheater witnessed an electrifying spectacle Friday night as Fall Out Boy took the stage and delivered a concert experience that left the sold-out audience in awe. Joined by the dynamic rockers Bring Me The Horizon, as well as the talented acts Royal & The Serpent and Games We Play, this event was nothing short of an adrenaline-fueled rollercoaster of emotions and musical excellence.
As the sun began setting on the picturesque outdoor venue, Games We Play kicked off the night with an impressive set, warming up the crowd and setting the tone for what was to come. Their energy and catchy tunes got concert-goers moving and set the stage for an evening of non-stop entertainment. While only having a few songs to perform, Games We Play did a crowd-engaging cover of “Mr. Brightside” which got the spark going.
Next up, Royal & The Serpent took the stage and proved why they are a band to watch. With an eclectic mix of indie-pop and alternative sounds, the group the audience with their raw, emotional performance. Lead vocalist Ryan Santiago’s vocals soared through the amphitheater, leaving a lasting impression on the fans.
Bring Me The Horizon, the British rock sensation, took the Darien Lake Amphitheater by storm, cementing its status as one of the most captivating and innovative acts in the contemporary rock scene. From the moment they stepped on stage, it was evident that they were on a mission to leave an indelible mark on their audience. Led by the enigmatic frontman Oliver Sykes, Bring Me The Horizon’s performance was a masterclass in showmanship and musical prowess. Sykes’ raw and emotionally charged vocals pierced through the air, commanding the attention of every person in the amphitheater. His dynamic stage presence drew the audience into an intense and immersive experience, transforming the concert into an intimate connection between the band and their fans.
The band’s ability to seamlessly blend different genres was on full display, as they effortlessly transitioned between heavy metalcore anthems and more melodic, atmospheric moments. Tracks like “Shadow Moses” and “Can You Feel My Heart” showcased their heavier side, igniting mosh pits and fervent headbanging, while songs like “Drown” and “LosT” showcased their ability to craft emotionally resonant and introspective pieces.
Perhaps one of the most remarkable aspects of Bring Me The Horizon’s set was their unwavering authenticity and vulnerability on stage. As they performed intensely, it was clear that the band was baring their souls to their fans. This authenticity fostered a sense of unity between the audience and the musicians, making the concert feel like a cathartic and shared journey.
In addition to their emotive performances, Bring Me The Horizon also used their platform to address important social and environmental issues. Between songs, Sykes took a moment to speak passionately about mental health awareness, urging the audience to support each other and seek help when needed. The band’s commitment to using their music and influence for positive change resonated deeply with the audience, further solidifying their place as more than just a rock band.
As Bring Me The Horizon concluded their set, the anticipation for Fall Out Boy reached a fever pitch. The pop-punk veterans did not disappoint, rotating through a diverse selection of songs with each set. Fans were elated to hear the rarely played “The Takes Over the Breaks Over,” a classic from their 2008 record Infinity On High. But the surprises didn’t end there. During the medley, lead vocalist Patrick Stump treated the audience to an acoustic, shortened version of “Get Busy Living or Get Busy Dying (Do Your Part to Save the Scene and Stop Going to Shows)” from their iconic 2006 album From Under The Cork Tree. The crowd went wild, relishing in the nostalgic moment.
Fall Out Boy’s impeccable musicianship and stage presence were on full display, proving why they have remained a staple in the alternative rock scene for years. Patrick Stump’s soulful vocals, Pete Wentz’s electrifying basslines, Joe Trohman’s killer guitar riffs, and Andy Hurley’s powerhouse drumming came together in perfect harmony, elevating the concert to a whole new level.
Fall Out Boy’s signature “Magic 8 Ball” portion of the evening had become a fan-favorite since the tour began, with the band usually performing one obscure song from their repertoire. This night, they went above and beyond, playing two hidden gems. The first was the live debut of “You’re Crashing but You’re No Wave,” a long-awaited treat for die-hard fans. The second was “27,” a beloved fan-favorite from their 2013 post-hiatus record Folie à Deux.
The camaraderie between the band members was palpable, with moments of lighthearted banter and genuine appreciation for their devoted fans. It was evident that Fall Out Boy was not just performing; they were sharing an experience with their audience, creating an emotional connection that extended beyond the music.
This show at Darien Lake Amphitheater was an unforgettable night of musical marvels. With their energetic performances and raw emotion, both Fall Out Boy and Bring Me The Horizon demonstrated why they are two of the most celebrated acts in the rock scene. The show’s sold-out status was a testament to the unwavering passion of their fans, who were treated to a night of timeless classics and unforgettable rarities. This concert will undoubtedly be remembered by all who attended as one epic night.
Fall Out Boy Setlist: Love From the Other Side, The Phoenix, Sugar, We’re Goin Down, Uma Thurman, A Little Less Sixteen Candles, a Little More “Touch Me,” Chicago Is So Two Years Ago, Grand Theft Autumn/Where Is Your Boy, Calm Before the Storm, This Ain’t a Scene, It’s an Arms Race, Disloyal Order of Water Buffaloes,Heaven, Iowa, The Take Over, the Breaks Over, Headfirst Slide Into Cooperstown on a Bad Bet, Fake Out, Get Busy Living or Get Busy Dying (Do Your Part to Save the Scene and Stop Going to Shows), Golden (Partial; Piano Medley), Don’t Stop Believin'(Journey cover) (Piano Medley), Save Rock and Roll, Baby Annihilation, Enter Sandman(Metallica cover) (Partial), Dance, Dance, Hold Me Like a Grudge, You’re Crashing, but You’re No Wave, 27, My Songs Know What You Did in the Dark (Light Em Up), Thnks fr th Mmrs, Centuries, Saturday
Bring Me The Horizon Setlist: AmEN!, Teardrops, Happy Song, DiE4u, MANTRA, Shadow Moses, sTraNgeRs, Drown, LosT, Can You Feel My Heart, Throne
The first time I saw P!NK in concert was at Madison Square Garden in the mid-2000’s, back then she stunned me with her performance, showmanship, talent, and the overall concert experience was like no other, not to mention the aerial acrobatics I’d never seen anyone do on her level.
When asked at the time what was the best female performer I’d seen or best show I’d seen at the Garden, the answer would always be Pink. Her connection to the audience and everything she puts into her show made her just stand out.
Last night I was lucky enough to see her again at Citi Field in Queens along with 40,000 other fans. She’s currently on her “Summer Carnival” tour, and what a Carnival it was. From the stage design, the outfits, the atmosphere, the crowd of all ages, most dressed in pink, it was a sight to be seen. With support from Grouplove, followed by a full band set by Brandi Carlile who always raises the bar.
From the moment Pink burst onto the stage, she commanded the audience’s attention with her unparalleled stage presence and unwavering energy. Clad in her signature acrobatic attire, she immediately launched into her first hit, “Get the Party Started,” setting the tone for the exhilarating journey that was about to unfold. Proving time and again she is still a powerhouse of a singer and a performer who can take on the best and stands side by side with other giants on tour now like Taylor Swift and Beyonce.
The Summer Carnival Tour was a perfect blend of Pink’s iconic hits and tracks from her latest album, showcasing her musical evolution over the years. From emotional ballads like “What About Us” to powerful anthems like “Try” and “So What,” Pink effortlessly navigated through a spectrum of emotions, proving why she remains one of the most versatile and celebrated artists of her generation.
Setlist: Get the Party Started, Raise Your Glass, Who Knew, Just Like a Pill, Try, What About Us, Heartbeat, Turbulence, Don’t Let Me Get Me, Make You Feel My Love (Bob Dylan cover), Nothing Compares 2 U w/ Brandi Carlile (Prince cover), Just Give Me a Reason, F**kin’ Perfect, Just Like Fire, Please Don’t Leave Me, Kids in Love, When I Get There, I Am Here, Irrelevant, Smoke, No Ordinary Love (Sade cover), Are You Gonna Fall?, TRUSTFALL, Blow Me (One Last Kiss), Never Gonna Not Dance Again, Last Call, So What
