In honor of hip hop’s 50th anniversary and lasting culture, Genius brought a return to their “IQ/BBQ” summer showcase. In the first edition of the annual event since Covid, hosts Miabelle and Jacques Morel took on the role of emcee, with DJ Saige, DJ Stacks, RNB House Party and DJ S’Wit serenading the crowd with memorable hip hop tracks.
Held at Queens’ Knockdown Center, the day-long festivities provided a fitting end-of-summer experience for guests to enjoy. While in the midst of a year-long celebration of hip hop, IQ/BBQ expertly combined the best of hip hop and urban culture to provide all-around good time.
Guests gather at center stage at IQ/BBQ. Photo by Ki Steiger-Dahl
In light, Knockdown Center’s large terrain set the stage for a diverse live music experience, allowing for the ambience to differ with each change of location. Consequently for performers, it left the crowd scattered. As guests warmed up to performances by opening acts Rich Greedy and Wynne, their attention split between a number of enjoyable experiences at Genius IQ/BBQ.
IQ/BBQ Brought the Culture
After all, aside from a rich lineup of acts, IQ/BBQ offered experiences like the So Fresh, So Clean Shop. Presented By Paco Rabanne 1 Million, attendees had the chance to snag free barber shape-ups by Groomed Guys, along with sneaker cleanings by Fresh Kicks NYC.
Photos by Kia Steiger-Dahl
In like manner, the outdoor Rap Cafeteria, presented by Showtime’s The Chi, created a true backyard barbecue vibe for Genius. This fun space featured picnic tables with designs that paid homage to iconic cities and eras from hip-hop’s first 50 years. Along with games, food from some New York City’s best food trucks and of course, great music.
IQ/ BBQ’s Rap Cafeteria offered delicious eats from some of New York City’s best vendors
Meanwhile, VIPs enjoyed sips of PATRÓN EL ALTO in the VIP Genius Lounge, which was adorned with famous song lyrics featuring PATRÓN.
Photos by Kia Steiger-Dahl
Performances
As the acts warmed up so did the crowd. However, New York City’s “too cool for school” attitude reared its head, as less experienced and less-known performers struggled to captivate the crowd. Yet as the evening waned and guests had eaten and drank their fill, the center stage began to heat up. Performances from Luh Tyler and Lola Brooke got the crowd going. While Armani White showcased true stage presence and talent in getting a stubborn crowd to come alive.
Photos by Spicy Rico
As a result, a now-perked up and fully gathered crowd waited patiently for the headliners, Clipse, to make their appearance. After a near hour-long wait Pusha T dawned the stage, feverishly spitting out lyrics from his Grammy-nominated release, It’s Almost Dry.
Pusha T came out to a very engaged crowd. Photo by Kia Steiger-Dahl,
After performing records performing a slew of solo tracks, he brought out his brother Malice as they performed one of their classic album cuts, “Popular Demand” to a now-fully engaged crowd. The energy levels remained high throughout their set as they ran through a number of hit records including “Mr. Me Too,” and “What Happened to That Boy,” before ultimately performing a run of deep album cuts and closing out with one of hip hop’s classic records, “Grindin’.”
Pusha T and No Malice are in the midst of a reunion 14 years in the making. Photo by Kia Steiger-Dahl.
As Pusha T and Malice performed their last record, the duo thanked the crowd for repeatedly showing the Virginia natives love. Just as suddenly as the electrifying performance began, it was over, and guests dispersed knowing that hip hop delivered them another memorable day.
Splitting the bill on a 23-date trek of North America which commenced in the Pacific Northwest in early August, dubbed the Summer Odyssey Tour, indie-rock heavyweight Beck and French pop rockers Phoenix descended upon the Hartford HealthCare Amphitheater in Bridgeport, CT this past Wednesday evening, September 6.
Beck | Photo Credit: Michael Dinger
No strangers to one another, Beck joined Phoenix during their Los Angeles residency at the Fonda Theater in 2018, performing the tracks “Lost Cause” (Sea Change, 2002) and “Jack-Ass” (Odelay, 1996). And this past June, the two artists joined forces on a new single titled “Odyssey,” with vocals from both Beck and Phoenix’s lead singer Thomas Mars. Prior to the collaboration, Phoenix released Alpha Zulu (Glassnote Records) in November of last year (their seventh studio album), while Beck most recently issued his fourteenth studio album Hyperspace (Capitol Records) in 2019.
Thomas Mars of Phoenix | Photo Credit: Michael Dinger
On a late afternoon filled with sweltering heat, the festivities kicked off promptly at 5:45 pm as the first of two opening acts, Sir Chloe, took to the boutique amphitheater stage nestled along the Long Island Sound waterfront. Despite the early start time on hump day, the quintet hailing from Bennington, VT, led by frontwoman Dana Foote, had amassed a strong contingent of die-hard fans along the steel barricade of the general admission floor area. Although their set was over all too quickly, the collection of young alt-rock musicians (rounded out by Foote’s brother Palmer, Teddy O’Mara, Emma Welch and Austin Holmes) made the most of their allotted 25-minutes while braving 90+ degree temperatures – particularly that of Foote, who rarely stood still.
Sir Chloe | Photo Credit: Michael Dinger
As the picturesque, 6,000-capacity venue that opened in July 2021 continued to fill up with fans of all ages, Natalie Laura Mering, professionally known as Weyes Blood (pronounced Wize Blood), was next up to perform support duties on behalf of Beck and Phoenix. Born in Santa Monica, CA and raised in Doylestown, PA, Mering is touring in support of her fifth studio album, And in the Darkness, Hearts Aglow (Sub Pop), released in late-2022. A talented artist whose musical catalog crosses several genres – chamber pop, indie pop, folk rock, noise music and experiment rock – Mering sported an elegant, off-white dress with a flowing cape while backed by a guitarist, bassist, drummer and keyboardist. Her set piece was decorated with numerous candelabras perfectly matching the romantic tone of her glorious, nearly 45-minute long set.
Weyes Blood | Photo Credit: Michael Dinger
The sun having mercifully set and temperatures finally bearable beneath the amphitheater’s massive canopy, co-headliner Phoenix entered stage left at 7:40 pm to a raucous ovation from the packed house. With a history dating to 1995, when Phoenix started releasing synth pop singles which were later featured in their debut album United (Rhino/Parlophone) released in 2000, the band has remained unchanged since their formation, comprised of the aforementioned Mars, Deck d’Arcy (bass, keyboards), Christian Mazzalai (guitar) and Laurent Brancowitz (guitar, keyboards). In Bridgeport, the French band was rounded out with touring musicians Thomas Hedlund (drummer) and Robin Coudert (keyboards, percussion).
With a stage backdrop of stunning visuals continually plastered across a jumbotron video wall, Phoenix offered up an 18-song set spread across five albums in their discography, with the most presentations (eight in total) coming from their 2009 studio album, and fourth overall, Wolfgang Amadeus Phoenix (V2 Records). Mars and his bandmates transformed The Amp with the lushness and beauty of their arrangements, exquisitely balancing swirling guitars and synthesizers on songs such as “Lisztomania,” “Too Young” and “Love Like a Sunset, Pt. 1,” with its guitar ostinatos and driving percussion.
Phoenix | Photo Credit: Michael Dinger
As the set turned for the homestretch, the beloved group from Versailles gifted their fans “Funky Squaredance,” with its country-inspired slide guitar couple with bluesey-funk and “Winter Solstice,” a tune drenched in vocal distortion and building synths. Before Phoenix’s night closed with “1901,” the tune which propelled the band to immense popularity and recognition, the charismatic Mars thrilled his fans by leaving the stage for a journey into the crowd, making his way to the rear of the venue, and back again. He paused several times along his route, interacting with ecstatic souls who would no doubt remember this night forever.
If Phoenix weren’t enough to satisfy your indie rock taste buds, there was still one headliner left – Mr. Beck David Hansen of Los Angeles, CA – who if you don’t know, rose to fame in the early-1990s after living in a rat-infested shed and dead broke. Armed with a Silvertone 1448 guitar made of particle board that he bought from the Sears catalog, the lo-fi, art pop musician guru would never look back as he released album after album to critical acclaim, beginning with the breakthrough single and worldwide hit “Loser” from 1994’s Mellow Gold.
Appearing onstage with musicians that have contributed to his success in one way or another during the span of his 35-year career, Beck’s set got underway at 9:40 pm with “Devils Haircut,” lifted from his fifth studio album Odelay (DGC Records) released in 1996. Beck would later bequeath upon his faithful listeners two more incredibly successful singles from said album including “The New Pollution,” and the final number of the set, “Where It’s At,” a tune during which he would be accompanied onstage by Phoenix, Weyes Blood and Sir Chloe for an epic party atmosphere conclusion, complete with a conga line.
Beck & Co. | Photo Credit: Michael Dinger
The crowd already in a fervor from the jump, a performance of the humorous ode to a girl named “Debra” from Beck’s seventh studio album released in 1999, Midnite Vultures (DGC Records) at the half-way point put us all over the top. Hilariously improvising his signature falsetto lyrics as the soul R&B-ballad pastiche went along – about meeting a girl named Jenny who works at JCPenney and who had a sister named Debra that Beck wanted to ‘get with’ – I had to reproduce some of them here:
I just wanted to do something nice for her, to show her how much I cared. So, I went down to Bed Bath & Beyond. And I went straight to the back, to the beyond section. And in the beyond section, there’s a little door. That’s where they keep all the potpourri and the scented candles and the apricot exfoliator. I bought all that shit. And I loaded it up in the car. And I drove down to the shopping center where she works. And I came to surprise her after work on a Wednesday night. I said “Lady, step inside my Hyundai.”
Beck | Photo Credit: Michael Dinger
The hits kept coming, including “Gamma Ray” and “Chemtrails” from 2008’s Modern Guilt (DGC Records/XL Recordings), “Lost Cause” from 2002’s Sea Change (Geffen), and of course a duet execution of “Odyssey” with Mars reappearing to contribute his share of the vocals. As the clock struck 11:00 pm and the show neared its denouement – having showcased more than two decades of material traversing eight albums (from Stereopathetic Soulmanure released 1994 via Flipside Records to Colors released in 2017 via Fonograf Records) – the summer party was officially over, and I was glad to have been invited. The Summer Odyssey Tour wraps on September 10 with an outdoor gig at the Merriweather Post Pavilion in Columbia, MD.
Phoenix Setlist: Lisztomania > Entertainment > Lasso > Too Young > Girlfriend > Alpha Zulu > Ti Amo > After Midnight > Armistice > Love Like a Sunset, Pt. 1 > Love Like a Sunset, Pt. 2 > If I Ever Feel Better > Funky Squaredance > Tonight > Winter Solstice > Rome > Trying to Be Cool > 1901
Beck Setlist: Devils Haircut > Mixed Bizness > The New Pollution > Qué Onda Guero > Girl > Wow > Nicotine & Gravy > Debra > Gamma Ray > Soul of a Man > Chemtrails > The Golden Age > Lost Cause > Odyssey (Beck & Phoenix cover) > Dreams > Loser > E-Pro > One Foot in the Grave > Where It’s At
Tommy Stinson’s Cowboys in the Campfire released a video for their new track “Here We Go Again,” alongside an upcoming Eastern US tour this September. The group will make a stop at New York City’s Bowery Electric on Sept. 9, and will continue with stops across Washington, DC, Winston-Salem, NC, and more.
“Here We Go Again” is the first track off Cowboys in the Campfire’s debut record, WRONGER. As a founding member of The Replacements, Tommy Stinson and his close friend Chip Roberts combined their talents to form the group alongside touring member Chops LaConte this year. “Here We Go Again” features Stinson on the ukulele, with the quirky video showing clips of tour life, Stinson getting a haircut, and the group across chicken coops and living rooms.
In a previous interview with NYS Music, Tommy Stinson discussed his love of performing, saying, “I gotta play for the peoples a little bit because it’s what keeps me alive.” Keeping Cowboys in the Campfire on the road is the group’s current priority, as they embark on their tour this September.
Tommy Stinson’s Cowboys in the Campfire is Tommy Stinson and Chip Roberts, with live accompaniments by Chops LaConte.
More information and tickets for the upcoming tour are available here.
This year’s annual end-of-the-summer celebration of music in Lake George at the Adirondack Independence Music Festival saw two evenings with moe. and a one evening with Dark Star Orchestra. The three-day festival held over Labor Day Weekend saw day-long music with bands alternating between two main stages.
photo by Allison Marie
The festival is always a smooth event, and as attendees we get to see the machinations of soundchecks and the work of loading and off-loading a stage, thanks to side-by-side stages. Emcee Jeff Morad from WEQX gave hourly hydration reminders as he thanked each band and announced the next act. The organization has it down, and it’s great to be there catching all the jams.
Photo by Derek Java
Day One saw a mix of regional and national acts. Standouts during the day were the always jammy Dogs in a Pile, a super fun band, and if you haven’t seen them, consider New Years Eve at Putnam Place. Keller Williams was blissful as always, starting his set with a great version of “Breathe.” Throughout a great loop-filled set (he is a master at building songs solo using loops), he dropped covers and originals, and standing out was a fun-filled “Freeker by the Speaker.” You can’t count any of the daytime bands out, though, as all day was filled with fun jams, people dancing, and bubbles floating through the air. Other daytime acts included Hilltop, Sophistafunk, Eggy, Lucid.
Photo by Derek Java
Headliners on Friday were the always incredible Dark Star Orchestra (DSO). Bringing an authentic sound to the date they reinterpreted, DSO channeled the Grateful Dead’s show on April 16, 1978 show from Huntington, WV, with clarity and wisdom. The sound was spot-on and the crowd danced and sang along all evening. We know the term “nostalgia act” gets some negative connotations, but for DSO, that is the mission, who make every show fun for spectators to guess the date of the show, and the more knowledgeable in the crowd can guess the direction the show is taking by the equipment being brought out by the players. Super fun evening with a classic Dead show performed by DSO.
Photo by Derek Java
Saturday of Adirondack Independence Music Festival saw more attendees and a continuation of killer music. Star-on-the-rise Karina Rykman brought the jams throughout her set, working off her new album, Joyride.
For listeners at ADK Fest, the first half of her 60 minute set saw only three songs, as she and her two bandmates, Adam November on guitar and Chris Corsico on Drums, set the festival alight, taking risks and diving deep into the jammy sections of her bass-led compositions.
Photo by Derek Java
Saturday also had a particular reggae vibe to it. Roots of Creation brought their fiery dub-ska, blending a mythos of Bob Marley-esque roots with Grateful Dead covers including “Row Jimmy” and “Fire on the Mountain,” lots of fun for all seeing this band.
Mihali brought his reggae vibe, too, bringing out a new tune or two, with Twiddle fans all smiles singing reggae-tinged Twiddle songs and Mihali’s own songs from his album Effection.
Photo by Derek Java
There was also a “foodie” aspect to the daytime bands on Ssaturday, with a blend of rock and jam by Creamery Station, Baked Shrimp, and stretching the metaphor, Melt. Fans of these bands and new listeners alike had a great day of music. Rounding out the daytime acts were Dumpstaphunk.
photo by Chris De Cotis
moe. has made ADK Fest the spiritual successor to moe.down, with a feel of Labor Day weekends spent in Turin at Snow Ridge Ski Resort throughout the weekend. Opening up with a pair of tunes usually played in reverse – “Okayalright” and “Wormwood” – moe. could have opted for “Not Coming Down” to complete the Wormwood trilogy, but shifted to “Downward Facing Dog” before inviting Ivan Neville from Dumpstaphunk to the stage for “Happy Hour Hero.”
photo by Dave Decrescente
Set 2 saw Mihali come to the stage for an intense and exploratory “Recreational Chemistry” (see video below), and moe. breaking out a set nearly full of old school songs, capped off with a classic “Jazz Wank” > “Buster.” For an encore, the addition of Nate Wilson to the lineup has led to the fresh covers making their appearance in the last two years, this evening including Traffic’s “Light Up or Leave Me Alone.”
Set 1: Okayalright > Wormwood > Downward Facing Dog, Happy Hour Hero^, Yellow Tigers -> Mar-Dema > Brent Black Set 2: Recreational Chemistry* > Sensory Deprivation Bank > Seat Of My Pants > Ups And Downs, Jazz Wank > Buster Encore: Light Up Or Leave Me Alone, Spaz Medicine ^ With Ivan Neville on keys. * With Mihali on guitar.
photo by Chris De Cotis
Sunday saw Jimkata keep the crowd swaying in the sunshine and get pumped up for moe. later that evening. What made Jimkata’s performance even more remarkable was the fact that they had performed in Virginia for a late night show the evening before, making the seemingly impossible journey from Virginia to Adirondack Independence Music Festival for a mid-day performance a testament to their commitment to their fans.
photo by Allison Mariephoto by Allison Marie
Neighbor graced the stage and dropped an instrumental cover of The Beatles/Joe Cocker’s “With a Little Help from my Friends. Prince Bowie featured Twiddle/Marble Eyes/Breakfast/Kung Fu drummer extraordinaire Adrian Tramontano on drums along with the Cool Cool Cool horns. Luke Bemand from lespecial joined the all star tribute group for Prince’s “Controversy.”
For moe.’s weekend closing sets, they opened up with “Water” as a nod to Lake George, and closed the set with “Meat” featuring Schleigho guitarist Suke Cerulo joining his one-time bandmates. Set two had no let up, opening with a slow burn of “Tubing the River Styx” > “The Pit”, a cover of Allman Brothers Band’s “In Memory of Elizabeth Reed” – featuring Neighbor/Pink Talking Fish keyboardist Ricky James – followed by “Silver Sun” and a solid 1-2 punch of “George” and “Lazarus.” An encore of “Gone” and “Plane Crash” capped a fantastic weekend of music in Lake George, an annual affair made for a band like moe. and live music fans from across the Northeast.
photo by Frankie Cavone
Set 1:Water, ATL, Donâtcha Know, In Stride, Skrunk, Meat^ Set 2:Tubing The River Styx > The Pit, In Memory Of Elizabeth Reed2, Silver Sun, George, Lazarus Encore: Gone, Plane Crash ^ With Suke Cerulo on guitar * With Ricky James on keys
Maya Donovan, released her newest single, “The Company,” on September 8, a song sure to appeal to audiences that share similar struggles, and with her blending of folk, jazz, and pop, it’s sure to perk up the ears of music listeners.
Maya Donovan has been expressing her emotions through music since she was a little girl. She mastered piano at seven years old, while also learning how to bring her melodies to life.
This song is no exception. Maya Donovan’s, “The Company” is a song that addresses her anxiety directly, personifying her fears and struggles as a real person. She discusses the constant feeling of being in limbo: unsure if the symptoms she experiences are just “in her head,” or a genuine illness.
The title, “The Company,” has two meanings, one being the unexpected companionship Donovan finds in her anxiety, and the other suggesting something more insidious. Donovan explains, “anxiety sometimes feels like it’s being orchestrated by this sinister network that I’m always trying to outsmart, a ‘company’ if you will, with a conspiracy to overthrow me from my own body.”
Maya Donovan crafts a powerful, relatable story for those who also struggle with their mental health, and the journey it takes to rediscover yourself on the never-ending mental health journey.
Donovan graduated from the prestigious LaGuardia High School for Performing Arts in New York City. The skills she learned while at this school are prevalent in all her performances at the Bitter End in Greenwich Village.
Maya Donovan’s latest single, “The Company,” is now available for streaming and download on all digital platforms. For more information on Maya Donovan, visit her website MayaSings.com.
Catch Maya Donovan this fall
Tuesday, September 12 – City Winery – The Loft , with Song Suffragettes
The Singers Talk is a first-of-its-king compendium of lengthy conversations conducted with dozens of vocal greats by Jason Thomas Gordon, the lead singer and drummer of buzzworthy LA-based rockers, Kingsize. Interestingly, Gordon is also the grandson of Danny Thomas, the early television sitcom pioneer who founded St. Jude’s, the world’s foremost hospital for child cancer patients, in 1962. All proceeds from the sale of this book will go to the hospital through its Music Gives to St. Jude Kids, a campaign created by the author.
The lengthy subtitle to Thomas’s book tells all – The Greatest Singers of Our Times Discuss The One Thing They’re Never Asked About – The Voices. Unlike guitarists, bassists and keyboardist who get to share their thoughts on their instruments through a plethora of specialty magazines and websites, how our favorite singers cultivate their unique sounds, and what they do to maintain them during high stakes recording sessions, grueling tours and over decades-long careers, is often a mystery. Interestingly, The Singers Talk also features exclusive interviews about many celebrated voices no longer with us. These include Steven Van Zandt on Little Richard, Butch Vig on Kurt Cobain, Clive Davis on Whitney Houston, Nile Rodgers on David Bowie, Wendy Melvoin on Prince and Jimmy Iovine on Tom Petty.
Gordon’s conversations with and about the vocal greats are steered by 20 questions he poses to each. These include where and when they began singing, their earliest influences and dream duet partners (living or dead), five favorite singers and several technical questions like how they warm up (if at all) and keep their voices intact on the road. Naturally, they also reveal the stories behind some of their most famous performances on record.
The Go-Gos’s Belinda Carlisle shares that it was Julie Andrews in the film Mary Poppins who inspired her to sing and that she never takes to the stage with consuming two Aleve tablets to fight inflammation that can compromise her performance. If Emmy Lou Harris’ early dreams came through, she would be a singing actress in musicals like West Side Story. The country rock great credits Gram Parsons and his amazing story songs to helping her find her voice. The original leather rocker girl, Joan Jett, was also all about movie musicals in her youth, especially Liza Minnelli in Cabaret. This was before she would fall in love with rock via Paul Rodgers’ singing in Free’s “All Right Now” and T. Rex’s “Bang A Gong.” This trio is representative of many singers interviewed here who say they keep their voices is shape while on the road by avoiding overly air-conditioned rooms and by traveling with one or more humidifiers! And while Chrissie Hynde also ascribes to the above road Rx, she was turned on to singing by the original punk, Iggy Pop. She says, ironically I trust, his success demonstrated that there was a space on the hit parade for “ugly Midwestern voices like ours.”
Producer Butch Vig shares that Nirvana’s Kurt Cobain hated to double-track his voice, claiming “it was fake.” The mercurial musician would also only be good for a couple of takes before he blew out his voice. But Vig did get Cobain to double-track by using a bit of psychology – by telling Beatlefile Kurt that his idol, John Lennon, did it on almost every record. The Doors’ Robbie Krieger credits some of Jim Morrison’s vocal punch to the size of his throat commenting: “Have you ever looked at the size of his neck? It’s as big as Pavarotti’s!” He also sets a long-discussed rumor straight saying that his singer’s spine-chilling performance on “The End” was indeed recorded while Morrison on L.S.D. Ozzy Osborne also brings up the legendary Italian opera star saying he always eats as apple before going on stage, just like Pavarotti himself did (it helps lubricated the voice according to Osborne). The Who’s Roger Daltrey feels he found his voice through the band’s songs, most notably, in the studio and live performances of the rock opera, Tommy. And rock’s most iconic scream, the one in “Won’t Get Fooled Again?” Does it obscure his singing talent? “It drives me nuts,” he says. “I’m getting to the age where it’s my least favorite song to sing.”
The recently-departed jazz great Tony Bennett claimed it takes seven years of steady work to learn how to sing properly and that his own influencers are not singers but great jazz sax players and pianists. Producer Nile Rodgers ascribes the success of David Bowie to his perfectionist preparation and thespian skills. Like his career and discography, his voice was also about constant change. Bowie would develop wholly new styles and approaches for the “characters” he took on in his songs. And the secret to Public Enemy’s Chuck D’s success? It’s that he wanted to be – and communicates very much like – a sports play-by-play announcer. “Rap carries the same rhythms as sportscasters like Marv Albert,” adds D. His technique has been helped by his recent study of Pilates and five-years of core training.
“Singing is so much more than hitting the right note,” Karen O of Yeah Yeah Yeahs. “It’s about connecting with the audience, connecting with something divine, connecting to your most primitive and deepest intuition, and to your nature as a human on this planet.” Adds Radiohead’s Thom Yorke, mid-interview, “This is the most geeked out I’ve ever talked about my voice!”
Josh Schwartz, well known in the jam scene as the tall baritone saxophone player and occasional singer from Turkuaz and Cool Cool Cool, has announced his solo project, JOSCH. Pronounced like his first name, JOSCH debuts with his soulful debut single, “Icarus In Motion.”
“Icarus in Motion” features Schwartz alone on all vocals and instruments, with the entire track his brainchild. With pre-production support from producer/songwriter Rob O’Block, Schwartz makes a grand entrance as a solo performer, channeling the likes of James Blake and Hosier.
A modern day reimagining of the ancient Greek myth of Icarus – who ignored his father’s warning and flew too close to the sun, melting the wax that held his wings together and plummeting him to his death into the ocean – Schwartz was inspired by “The Power of Myth” by Joseph Campbell, and spoke to NYS Music, sharing deeper insight into the lyrics of the track.
The lyrics are basically a modern-day retelling of the classic Icarus myth. I was partially inspired by Trump’s rise and (hopefully eventual) fall. The character in the song supposedly pulled himself up by his bootstraps (“You come from such humble beginnings/rough hands and dirty shoes/stranger to silver spoons”) but similarly to how some people in this country seem to think Trump did that, the details often tell a different origin story.
I was also envisioning the main character, Patrick Bateman, from American Psycho and typical Wall Street bros in general. I grew up with and went to college with lots of those types and was always amazed at the degree of materialism they had.
With the legend of Icarus taking on a deeper meaning, JOSCH presents “Icarus in Motion” has a departure from the high-energy power funk that Josh Schwartz is known to deliver on stage. “This song and the other tunes I have ready under JOSCH are more in the vein of electro-pop. Lots of synths, lots of emotions. If you’re expecting horn-driven funk, you’re certainly in for a surprise!”
Over hard-hitting drums and droning bass, behind-the-beat vocals on “Icarus” sing of a man with a hard upbringing (“rough hands and dirty shoes/stranger to silver spoons”) who rises to great financial success (“you soar on guilded wings/keep score with gods and kings”); in the process, he becomes addicted to and obsessed with the material goods and pleasures he can now afford (“hungrily grasp for more/the endless spoils of war”). Will the man in the song succumb to his own hubris and greed or will he realize the folly of his ways and get a grip on his dangerous habits? You’ll just have to listen to find out.
JOSCH is available on all streaming platforms now. Listen on Spotify.
In addition to the single, JOSCH will release an accompanying music video shortly after. Shot on 8mm film and directed by longtime collaborator Dani Barbieri of Two Truths Production, the video brings the imagery of Schwartz’s lyrics to life.
“Icarus in Motion” Lyrics
High above it all
Far from the commotion
But you’re about to fall
Icarus in motion
You come from such humble beginnings
Rough hands and dirty shoes
Stranger to silver spoons
And now you’re drowning in your winnings
You soar on gilded wings
Keep score with gods and kings
No time for self-reflection
When striving for perfection
Ambition suits you like the labels that you wear
(Labels that you wear)
On the way up, it’s all so thrilling
‘Til you remember nothing is under you but air
High above it all
Far from the commotion
But you’re about to fall
Icarus in motion
High above it all
Far from the commotion
But you’re about to fall
Icarus in motion
The universe just keeps on giving
Hungrily grasp for more
The endless spoils of war
They say that life is for the living
You’ve burned through twenty lives
Almost as many wives
The same universe that gave you wings
Can snatch them back before you blink
Your narcissism is a dangerous affair
(Dangerous affair)
On the way up, it’s all so thrilling
‘Til you remember nothing is under you but air
High above it all
Far from the commotion
But you’re about to fall
Icarus in motion
It’s always sunny when you’re flying high above the clouds
The 11thSummer Hoot was held August 25-27 at the Ashokan Center in Olivebridge, NY. Three days of family, friendship, camping, combined with music, music, music. Two performance stages (affectionally named Toshi and Pete after the Seegers), located at the base of Hoot Hill, showcased a plethora of local and national acts.
The Mammals
Tucked away in a lower-level location the Magical Music Campground hosted the Jubilee Jam tent. Jams ran continuously day and night for the many who brought instruments with them.
Jubilee Jam Tent
The Hoot utilizes the entire Ashokan Center. Music isn’t confined to specific performance locations. At the instrument petting zoo, the young (and young at heart) could be found creating their own special sounds. Impromptu collaborations were popping up everywhere you turned. Even backstage, musicians arriving could be seen joining in with those warming up before their set.
Future musician at the instrument petting zoo
Nature did not sit by silently for the Hoot. Floating on the sweet Hudson Valley air the rippling sounds of the Esopus Creek filled your ears while strolling through the grounds. With the setting of the sun, the crickets would emerge to accompany the music flowing from the stage, chirping in rhythm.
Jordan Hamilton
The Summer Hoot performers included The Shaker (feat. Simi Stone) opening the Hoot on Friday evening. Brooklyn-based Oliva K and the Parkers playing twice, on Friday and Saturday. Kingston’s Pulso De Barro sharing their Son Jarocho style of music. The City Stompers giving an exhibition of Appalachian Clogging with Furnace Mountain supplying the musical backdrop.
The City Stomperswith Furnace Mountain
Saturday night a bonfire singalong took people into the late evening. As the clock struck midnight, Cellist Jordan Hamilton performed an intimate set in the Pewter Shop. If you had the energy, the late-night jam at the Magical Music campground took you till the morning light.
Mike Merenda and Ruthy Ungar
To reach 11 years for an event is not an easy thing. The effort is huge. Without co-creators Mike (Merenda) and Ruthy (Ungar) none of this would be possible. To say they are the heart and soul of the Hoot is an understatement.
Pulso De Barro
Across the three day these two are going nonstop. Greeting everyone, introducing performers, and sitting in with many performers. Topping it off their band The Mammals closed out the Toshi stage Saturday night.
Oliva K and the Parkers
On the face of it, the Hoot is all about the music. But there is so much more. Creativity plays a special part. From original songs shared, yoga and breathwork sessions to calm your soul, along with food and crafts offered by local artisans.
Cole Quest & the City Pickers
Drawing from the Ashokan Center, the spirit of family and community is another cog that makes up the Summer Hoot. Many people brought their young children. Some people even brought their own parents. If you didn’t know the person next to you it did not matter. Everyone is family when you are at the Hoot.
Families enjoying the Summer Hoot
A musical chord can be referred to as a triad. Three notes played together achieving a harmonious outcome. The combination of music, creativity, and the spirit of family and community construct the chord that is The Summer Hoot.
The 2023 edition of Electric Zoo Music Festival took a turn into the history books this past weekend, with fans encountering hours-long Will Call lines, a main stage still under construction on Friday, and an overflow of attendees on Sunday.
Add in allegations of overselling the event by a reported 7,000, according to Mayor Eric Adams, and EZoo joins the ranks of Fyre Fest, AstroWorld, Curveball, and Woodstock 99 in the lore of music festivals gone awry.
It’s unfortunate that the organizers wanted to turn our city into a zoo, and we were not going to allow that to happen. And we will be dealing with them in the next few days based on their behavior and actions.
NYC Mayor Eric Adams
Electric Zoo 2023 was produced by Billy Bildstein of Avant Gardner and Cityfox, who bought EZoo creator Made Events, in July 2022 through an investment group for $15 million.
The weekend started on a low note for promoters, with the stage being deemed unsafe by New York authorities, leading to the full Friday of music being canceled, and refund information shared by Electric Zoo. In a statement, the promoters said,
Despite our tireless efforts and round-the-clock commitment, we have made the painful decision to cancel the first day of Electric Zoo. This year has presented unparalleled challenges for everyone. The global supply chain disruptions have impacted industries worldwide, and, sadly, our beloved festival has not been immune. These unexpected delays have prevented us from completing the construction of the main stage in time for Day 1.
Among artists whose sets were canceled on Friday were The Chainsmokers, Excision, Griz and New York born and raised, Eli Escobar.
Saturday saw the festival delayed gates opening until 230pm, with crowds waiting for five hours (if not longer) for Will Call tickets. Some fans were not able to get into the venue on Randall’s Island until nearly 8pm, leading one outlet to ask, “Is Electric Zoo the new Fyre Festival?”
Major safety hazard, disappointing, disgraceful honestly. It's 8pm and we aren't moving we're all going to miss it. All day traveling here for nothing. Just let us in. Never again. pic.twitter.com/JwobmeFesN
Although the EZOO team reassured fans, “Your patience and dedication mean the world to us, and we cannot thank you enough for being part of this incredible community,” fans were not placated, with some having flown in from around the country and world, nowhere to turn but to head home.
Then on Sunday evening, piggybacking off a cancellation and incredibly long wait times, promoters said the festival was full and could not accommodate any additional patrons. Fans crashed the gates, passing security checkpoints, nearly destroying the entry way on Randall’s Island, frustrated by the actions of the promoters.
Hundreds (thousands?) of people have rushed the @ElectricZooNY gates after being told that the festival had reached its capacity on the final night, and valid ticket holders would no longer be granted entry. pic.twitter.com/uJJ8XWIV1y
After the disappointment from the cancellation of Day 1, Electric Zoo kept the show running on Day 2, opening the gates two hours later than initially posted. Headliners Timmy Trumpet, Gryffin and the closing finale of Zedd left attendees smiling from ear to ear.
From glitter to sequins, fish nets and strobe light sunglasses, the fans inside were enlightened with character despite the issues outside the gate, showing their love for the electronic dance community.
To close out Saturday, German DJ and producer Zedd put on an outstanding finale with a crowd full of thousands screaming, clapping and dancing among themselves to some of his hit remixes “Alive by Empire of the Sun – Zedd Remix” and “Break Free” by Ariana Grande (feat. Zedd).
On Day 3 the festival was up and ready to go when the gates opened for attendees at 1pm. While the days prior led to confusion, frustration and disappointment, EZOO was determined to turn it around. The main stage known as Convergence added two more columns to the overhead screens which illuminated the overall feel and experience of the final day.
However, with more tickets sold than Randall’s Island could accommodate, promoters announced at 6:30pm that no more fans would be allowed to enter, even if they had a ticket. And with this, fans frustration hit its peak, and the gates were stormed.
Headliners included Tiesto, Major Lazor, a combined set of both well known artists Dom Dolla and John Summit, and leading finale Marshmellow. The on stage visuals of all artists performing reached with psychedelic imagery, strobes of color and front stage flames, smoke and fireworks enhanced the fans’ experience.
By this point, all stages were flooded with fans from front to back, savoring their last moments of Electric Zoo 2023 and not letting the oversold event and actions of promoters stifle the finale of what was intended to be a magnificient weekend for thousands of EDM fans.
Even with the delays and frustration, EZOO kept the show running for Day 2 and Day 3 to the best of their ability. The event performances left fans ecstatic, and for some the festival was worth the wait, while for others a weekend without music, but for all attendees, it was a weekend for the history books.
GriffinJaden ThompsonSo tuff so cuteBrina KnaussTimmy TrumpetDom Dolla x John SummitTiestoMarshmellow
Noah Kahan triumphantly returned to Central New York on Friday for a sold-out performance at Lakeview Amphitheater. It was Kahan’s second sell-out concert in Syracuse this summer, having previously played Beak and Skiff in June. Ruston Kelly opened the show.
Noah Kahan performs at Lakeview Amphitheater
Few in the music industry have seen the rise to success quite like Noah Kahan. The 26 year-old singer-songwriter has seen his popularity explode in recent months, selling out nearly every venue in his path. His successes are never more evident than in Central New York. Less than two years ago, Kahan performed at The Westcott Theater in Syracuse. Three months ago, he performed a sold-out concert at Beak and Skiff, and now, he has again returned with a sold-out performance at the much larger Lakeview Amphitheater.
Noah Kahan performs at Lakeview Amphitheater
As 8pm hit, opening act Ruston Kelly took the stage with his bandmates. The Nashville based singer-songwriter kicked his set off with “Cover My Tracks,” the opening number on his 2018 release Dying Star. The song was a good preview of what was to come during the 45 minute set. Kelly delivered a stream of well-written moderate tempo Americana style tracks, with Kelly showing that he excelled at telling a story while delivering his heart-felt lyrics.
Kelly showcased his ability to hype the crowd as well, performing two well-placed covers during his set. Early on, Kelly led the crowd in his rendition of Wheatus’ “Teenage Dirtbag” which had fans young and old singing along to the familiar chorus. Later in his set, Kelly delivered the Taylor Swift cover “All Too Well,” which had nearly everyone in attendance on their feet and singing along. Kelly would close out his set with “The Weakness,” the opening track on his latest release of the same name. The slow moving track would build in intensity until reaching an impressive crescendo.
Ruston Kelly performs at Lakeview Amphitheater
As the final stage preparations wrapped up between sets, anticipation through out the concert grounds kept building, with palpable anticipation for Noah Kahan’s arrival. Finally, just after 9:20, the house lights went dark and the four members of Kahan’s band took the stage. After a brief instrumental introduction, Kahan strutted to the front of the stage. With a wave and a smile, and a deafening roar from the crowd, the band launched into the high energy “Northern Attitude,” the lead track on Kahan’s 2022 release Stick Season. The opening song served as a preview for what was to transpire over the next 95 minutes. Nearly everyone in attendance sang along, in deafening fashion, to nearly every word. Kahan kept the energy flowing early, moving into “She Calls Me Back,” and “New Perspectives.”
Noah Kahan performs at Lakeview Amphitheater
Early in the set, it was clear Kahan could not contain his excitement. He urged the stage workers to turn on the house lights, so he could catch a glimpse of the crowd in front of him. “This is the largest show we’ve ever played, thank you all so much,” Kahan proclaimed, giddy with excitement. He took turns dancing with his band mates early in the set, skipping across the stage and jumping from the drum riser.
Noah Kahan performs at Lakeview Amphitheater
Through out the evening Kahan’s energy would give way to more serious subject matter. The singer-songwriter spoke of loneliness and isolation at times, and urged those in attendance to seek help when needed. He sang of his journey through therapy on “Growing Sideways,” and sang of a close friend’s similar struggles on “Call Your Mom,” a track Kahan himself said is often too emotional for him to perform live. Through the heavy subject matter, Kahan would lead his listeners back to more up-tempo sing-along tracks, at times urging their participation, to which the crowd feverishly obliged. After a brief encore break, Kahan and his bandmates would close out the evening with three more songs, including perhaps his biggest hit to date, “Stick Season.” It provided those in attendance one final opportunity to showcase their voices, and they too did not disappoint.
