What is the Best Show Ever? The answer to that is complicated, and varies from person to person. But comedian Cam Herdt brings that question to the forefront in his new podcast, ‘Best Show Ever.’
‘Best Show Ever’ invites guests to talk about concert-going careers, their first concerts, worst concerts, honorable mentions and the best show the guest ever saw, hitting on the things that made that show the best. This is more than a setlist breakdown, and instead a look into an epic evening through the stories these guests bring with them.
Comedian Cam Herdt loves talking about shows, specifically, the best shows ever. Listen as he invites special guests, musicians and music journalists to reminisce about their concert-going careers and share untold stories from the history of seeing live music.
The first season features podcasters, musicians and people Cam is close as guests, so as to get a variety of perspectives, talking about the jam scene, with many different acts brought up. The first two episodes drop on September 5, featuring Jeff Arevalo and Cam’s Dad, Mark Herdt.
The show is hosted on Osiris Media and available on YouTube, Apple Podcasts, Spotify & anywhere you can listen to podcasts.
Guests for Season 1 of ‘Best Show Ever’ with Cam Herdt
Dad & Jeff Arevalo 9/5 Megan Glionna & Ryan Storm 9/12 Aaron Schafer & Sam Grisman 9/19 Long Strange Putt & Long Strange Niche 9/26 Brian Murray & Willie Schlosser 10/3 RJ Bee & Leslie Mac 10/10 Tom Marshall 10/17
Each Sunday evening from 7-9 pm you’ll find EQXposure on WEQX, featuring two hours of local music from up-and-coming artists. Tune into WEQX.com this Sunday night to hear new music from Small Ghosts, Architrave, and Bars Homer.
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Small Ghosts- “I Might Disappear”
Small Ghosts is a noisey rock band from Troy, formed in 2022, featuring members from a number of well-respected northeast bands. Their first record BLEED was released in June.
Architrave- “Twitch of the Wing”
Architrave is a synth-pop duo from Ballston Spa, made up of Jennifer Maher Coleman and Paul Coleman. Their unique blend of synth and alternative sounds makes listeners really enjoy them, and their new single off of their upcoming album Out of My Mind and Into Yours is out now.
Bars Homer- “Lo”
Bars Homer is a solo project created by multi-instrumentalist Paul Lambert based out of Saratoga Springs in 2023.
Donald Mauskovic, Mano Mauskovic, Marnix Mauskovic, Nico Mauskovic make up the Mauskovic Dance Band. From Amsterdam, they swung through Rochester at the Bug Jar on Tuesday, August 29, part of their late summer US tour. The Mauskovic’s though are, like the Ramones, not really Mauskovic’s and not really related.
Though this mysteriousness only served to enhance their performance. The who’s, the what’s. the how’s, were not important. The only thing that mattered was the rhythm and the groove, and the Mauskovic’s were doling out heaping helpings of both. The energy emerging from the stage was immediate and the audience was converted to a dancing frenzy in no time. The band may not have been related, but they invited the Rochester crowd to their family gathering in the upside down apartment that is the Bug Jar. The party was underway and soon enough everyone was a Mauskovic.
Drums, percussion, synthesizers, and effects and echo laden vocals were stitched together by an ever-present and deliciously grooving bass, sometimes doubled up with a second more melodic bass. African, Jamaican and Brazilian sounds all seeped into the mix, bobbing heads, shuffling feet and moving everything in between. At one point supremely deep bass blasts even moved bodies at the cellular level.
Lyrics, sometimes in English, sometimes not, sometimes improvised, sometimes not, piled more into the mystery. Songs blurred together into never ending strings further dizzying the senses, breaking the crowd down into dancing mounds of putty waiting to be sculpted. When the dust settled though there was no doubt, that was a damn fun time on a Tuesday night in Rochester with the Mauskovic Dance Band.
A new recording of Cyndi Lauper’s “Come On Home” was released on September 1, with proceeds benefitting the Sound Mind Network, a non-profit organization helping those battling mental health issues and drug addiction. The recording features Billboard-charting artist Danni Baylor, with vocals by Cyndi Lauper.
Written by Lauper in collaboration with Jerome Baylor, “Come On Home” was produced by Sound Mind Network founder Joe Nicolo. Lauper originally released the song on her 1994 greatest hits album Twelve Deadly Cyns… And Then Some.
Proceeds from the song’s release will benefit Sound Mind Network’s Foundation and mission to break the stigma surrounding addiction, while helping those in need fulfill their potential.
“Come On Home” will feature alongside 10 other tracks on a compilation album for the Sound Mind Network. It will include artists such as The Bacon Brothers, Joan Osborne, Kathy Sledge, Taj Mahal and others.
The more we learn about mental health, the better we are as a society. This is an issue we have swept under the rug forever. My hope is that ‘Come On Home’ can raise money to eliminate the shame around mental health that has caused a lot of people to needlessly suffer.
Cyndi Lauper
Recorded at Joe’s Garage in Audubon, NJ, the song features Andy Meyer on drums, Jerome Baylor and Mitch Beer on bass, Glenn Hale on keyboard, Brian Fitzy and Bo Rains on guitar, Jay Davidson on horns, and Ryan “Gooch” Nelson on percussion.
I’ve been fortunate to spend an entire career witnessing the power of music and personal creativity. I am excited and honored to help empower the recovery community through Sound Mind Records. What Cyndi and Danni have done with this beautiful song, and what the other amazing artists are contributing, is truly something special. Their gifts of music are going to help so many others overcome their demons.
Joe Nicolo
The Sound Mind Network is dedicated to changing the way the world looks at drug addiction and mental health through music and the arts, according to Nicolo. The organization funds partner programs that empower those struggling to overcome their personal challenges and lead healthy and fulfilling lives.
“Come On Home” is available on all digital formats and for digital download as part of Sound Mind Network’s Healing Through the Arts program.
On Wednesday, August 30th, Lil Baby’s “It’s Only Us” tour made a stop at the iconic Madison Square Garden. Openers for the show included Hunxho, Gloss Up and Glorilla. The openers were a perfect precursor to Baby’s set as they all featured commanding tones, letting the crowd settle into the style of rap.
Lil Baby Performing at Madison Square Garden on the “It’s Only Us Tour.” Photo by: Lucas Kurzweil
Lil Baby started the show on an elevated platform, where he delivered his first two tracks of the night, “Never Hating” and “Stand On It.” From there, the show was split into five chapters. Chapter One was titled “WEST END” and included a guest performance from Rylo Rodriguez.
Glorilla Performing at Madison Square Garden on the “It’s Only Us Tour.” Photo by: Lucas Kurzweil
Chapter Two was called “TRAPPED.” Baby opened the chapter with his hit song “Pure Cocaine” and followed it up by bringing out Bronx Rapper A Boogie wit da Hoodie. A Boogie performed his popular songs “Jungle” and “Hello.” Chapter Three was titled “EARTH QUAKES” and during the chapter Lil Baby moved over from the main stage to a stage in the middle via a floating bridge. EARTH QUAKES was the shortest chapter of the show, featuring four songs.
Lil Baby Performing at Madison Square Garden on the “It’s Only Us Tour.” Photo by: Lucas Kurzweil
Chapter Four, “RICHES,” was arguably the most stacked part of the show. Baby cycled through famous tracks like “Woah,” “Yes Indeed,” “We Paid,” and “Drip Too Hard.” In addition to his hit filled chapter, Baby also shared the stage with two surprise guests. The first being Chicago rapper Lil Durk. Durk joined Baby to perform “Every Chance I Get,” and then played “Hellcats & Trackhawks.” During chapter four Baby also brought out Philly rapper Meek Mill, and with Meek’s guest performance came the classic “Dreams and Nightmares.”
A Boogie wit da Hoodie Performing at Madison Square Garden on the “It’s Only Us Tour.” Photo by: Lucas Kurzweil
The final chapter of Lil Baby’s “It’s Only Us Tour” was “SERENITY.” Baby started off the chapter with “Waterfall Flow” and returned to the middle stage to perform “California Breeze” before closing out the night with “Freestyle.” By the end of the show, fans were left in awe after seeing multiple modern day rap legends grace the Madison Square Garden stage on a magical August night.
Lil Durk and Lil Baby Performing at Madison Square Garden on the “It’s Only Us Tour.” Photo by: Lucas Kurzweil
Tickets to the rest of Lil Baby’s “It’s Only Us Tour” can be found on Ticketmaster.
Lil Baby Performing at Madison Square Garden on the “It’s Only Us Tour.” Photo by: Lucas Kurzweil
The summer of throwback shows at Darien Lake continued on August 20, as The Offspring’s Let the Bad Times Roll tour stopped in Western NY. With the tour carrying the name of their 2021 album, and 10th studio cut, Canadian punkers Simple Plan and Sum 41 tag along and create a little nostalgic tour.
After starting out in the mid 80s, I am sure that Dexter Holland only dreamed of the success he has had with The Offspring. 10 studio albums, nearly 1600 concerts, and a number of punk/alternative hits, these guys found their niche and rolled with, and never really cared what the naysayers were naysaying.
With no shortage of energy and fans, Simple Plan took the stage and shredded it for nearly an hour, hitting the stage to the Star Wars theme music. With that kind of entrance, you know you are in for a killer show.
From Montreal, the wrecking crew of Pierre Bouvier (vocals, bass, percussion) Chuck Comeau (drums, percussion), Sebastien Lefebvre (rhythm guitar, vocal, bass), and Jeff Stinco (guitar, backing vocals) were all in sync from the start, pumping the crowd up, running around the stage in classis 90s alternative/punk fashion. From the opening notes of “I’d Do Anything” to the finishing tunes on “Perfect,” Bouvier had fans jumping bouncing around like a mechanical Tigger toy and giving everyone around them the middle finger, or the Simple Plan salute as he stated. He gratefully thanked fans often as he recalled the last time Simple Plan was in town, back in 2005 for a Warped Tour stop and raved about how he loved Darien Lake and the fans (if he only knew about the parking issues).
With a new album out recently, the band played “Iconic” and dedicated to anyone and everyone who has struggled or is struggling with acceptance. Bouvier urged those individuals to proudly extend their hands and offer up the finger and let others know that they will be Iconic.
As the set was coming to an end, and about halfway through “I’m Just a Kid”, Bouvier took a seat at the drums as Comeau took to crowd surfing, in an attempt to high five as many fans in mosh pit as possible.
Setlist: (entered to Star Wars theme), I’d Do Anything, Shut Up!, Jump, Addicted, Welcome to My Life, Iconic (new song), All Star/Sk8er Boi/Mr. Brightside, What’s New Scooby Doo, Where I belong, Im Just a Kid, Perfect
Following up Simple Plan and preceding The Offspring is no easy task, but Sum 41 came out and absolutely crushed any doubts that anyone had. Another solid entrance, this time to AC/DC’s “T.N.T”, Sum 41, with frontman Deryck Whibley racking up the steps on his Fitbit, was just as motivated at their predecessors and continued to amp up the crowd in preparation for the headliner.
Guitar and bass solos by Dave Brownsound, Tom Thacker, and Cone McCaslin were huge part of this set, with Frank Zummo doing his best Animal impression on the drums. These Ajax, Ontario natives came to play and did just that for the next hour for fans of all ages. Near me was a father, probably in his late 40s, having the time of his life with his young child. The kid was dancing and having just as much fun and was all smiles for the entire set of Sum 41, even more so during their cover or Queen’s “We Will Rock You.” Memories that are sure to last.
Setlist: T.N.T (entrance music), Motivation, The Hell Song, Over My Head (Better Off Dead), We’re All to Blame, Walking Disaster, We Will Rock You (Queen cover), In Too Deep, Fat Lip, Still Waiting.
With the opening acts done for the night, the packed house in Darien was riding a musically induced high that wasn’t going down anytime soon. With some time to kill, the tour had a blimp floating around the seating area with special camera such as ‘kiss cam’, ‘fuck you’ cam, and of course a “headbanging” cam where fans could pose for the camera doing the assigned task. It was the first time I have seen this at a concert, and the crowd absolutely loved it. The “baby got back” cam and the “fuck you” cam seemed to be the most popular as women were shaking their rear ends to the infamous Sir Mix-a-Lot song and giving double middle fingers as the blimp floated by or camera team was nearby. Definitely a great use of dead time as the stage was prepared for the headliner.
Taking the stage around 9:30pm, Dexter Holland and the rest of The Offspring showed Darien Lake why they have been around nearly 40 years, as they helped bring punk rock into the 90s alternative vibes.
With 10 studio albums to pull from, the setlist could have been arranged in any form and fans would have still left smiling and riding that musical high. Tonight, “Come Out and Play” was the first song. Inspired by gang and school violence in the mid 90s, as well as Holland commuting through East LA for grad school, this and many track on 1994s Smash were about what was happening in front of him. Yet 30 years later, this particular track seems to fit to landscape just the same. Regardless, still a fan favorite as displayed on this night.
As the night went on, Holland was reminiscing just as Sum 41 did about playing Darien Lake on the Warped Tour and marveled at the number of fans that poured into the venue. Bills fan, Sabres fans, and music fans alike. According to his calculations and his people, the attendance at this show, which he called the ‘best thing to happen to rock and roll’, was just under 1.48 million people. This, of course would be a new world record for a concert. I would venture a guess that either he counted wrong, or he had people from the Board of Elections tallying the tickets.
Showcasing guitar skills, Noodles and Todd Morse both were demonstrating new tracks they have learned. With opening chords from classics like Black Sabbath’s “Iron Man” and GNR’s “Sweet Child O’Mine”, they both were dueling for bragging rights as Holland went right into his rendition of “Blitzkrieg Pop” from Ramones. This little number, paired with animated show on back drop screen was quite the display of talent from these punk rockers, as the sync was perfectly timed all night.
Let’s talk about that animation screen behind the band. A seizure inducing light show to rival the best, thought provoking animation (think classic 80s music videos, A-Ha, New Radicals artwork), and nonstop beats the entire night. The screen added an element to each set that took you back the first time you heard any of the bands. Truly a memorable show for those hovering around 50, and for those younger fans who are in the punk phase of their musical lives.
Setlist: Come Out and Play, All I Want, Want You Bad (with organ), Let the Bad Times Roll, Staring at the Sun, Original Prankster, Hassan Chop, Hammerhead, Bad Habit, Iron Man/The Trooper/Sweet Child O’ Mine/In the Hall of the Mountain King, Blitzkrieg Pop (Ramones), Gotta Get Away, Gone Away, Why Don’t You Get A Job?, (Can’t Get My) Head Around You, Pretty Fly (for a White Guy), The Kids Aren’t Alright, Encore: You’re Gonna Go Far, Kid, Self Esteem
Soca music, otherwise known as “The soul of Calypso’’ is a genre of upbeat music that was created in the West Indian Island of Trinidad & Tobago. The alluring rhythmic energy of soca can be enjoyed at carnivals, fetes, parades, and even at home. The lively tempo gives its audience no choice but to dance and be swept away by the vibrant music.
Trinidad and Tobago flag. Waving flag of Trinidad and Tobago 3d illustration. Port of Spain
On September 4th, Soca music can be enjoyed at the West Indian Labor Day Parade in Crown Heights, Brooklyn.
photo @newyorkcarnival
Soca music is a combination of Calypso and Indian music. Ras Shorty I, a Trinidadian musician sought to fuse the genres after the realization that calypso was becoming threatened by reggae music. Shorty created an energetic hybrid genre called solka, which later became known as soca. In 1973, the musician introduced soca to the world through his song, “Indrani.” Shorty established two different types of soca music known as Power and Groovy soca.
Power soca music is fast with tempos around 160 beats per minute. This upbeat soca encourages people to dance as a response to artists giving dancing instructions through their music. Groovy soca is slower paced with tempos around 115 beats per minute. Songs such as “Turn Me On” by Kevin Lyttle and “Tempted To Touch” by Rupee demonstrate this type of soca.
The creation of soca gave Caribbean Islanders numerous hits by popular artists such as Machel Montano, Destra, Alison Hinds, Atlantik, KMC, and Bunji Garlin, among others.
Montano, also recognized as the “King Of Soca” celebrated 40 years in the industry in September 2022. Montano was the first Trinidadian and youngest performer to win the Caribbean song festival in 1987. Additionally, the musician won the Young Kings Competition in 1991, the Party Vocalist Competition in 1995, and the Road March King Competition of Trinidad and Tobago in 1997. At the age of nine, Montano exposed the world to soca with his performance with the Mighty Sparrow, at Madison Square Garden. He is most known for his songs “Fast Wine”, “Like Ah Boss” “Vibes Cyah Done” and “Soca Kingdom.”
As soca became more renowned and spread to other Caribbean Islands such as Jamaica, Guyana, Barbados, Grenada, more sub genres were created. Other variations include ragga, Chutney soca, Raga soca, Afrosoca, Steelband soca, Parang soca, Bouyon soca, and Bashment soca. Chutney soca is directly connected to East Indian culture with lyrics featuring both English and Hindi. Raga soca fuses traditional soca with Jamaican dancehall beats and instruments any you will most likely hear the presence of electric bass and electronic drums in this subgenre. Like Raga soca, Afrosoca is also influenced by Jamaican dancehall beats, an intermixture of dancehall and Nigerian beats.
Steelpan soca is characterized by its heavy usage of steel pans. Unlike the other subgenres, Parang soca is the only subgenre to incorporate Spanish into its lyrics. Bouyon soca is influenced by rhythms of Dominica. Besides Trinidad, many Bouyon soca artists are from St. Lucia, Antigua, and Martinique. Finally, Bashment soca is a contemporary form of soca and based in Barbados.
Although in many soca songs, human vocals are the only melodic instrument, often you will hear electric bass, keyboard synthesizers, cowbells, and machine drums. Larger soca bands are more likely to have a brass section featuring the trumpet, trombone, and the saxophone in their productions.
Soca has transformed throughout the years and has become a genre that not only represents Trinidad but the Caribbean as a whole, loved internationally and has inspired music from Western culture. Artists such as Drake, Nicki Minaj, Chris Brown, Busta Rhymes have multiple top charted songs influenced by soca.
In a blazing whirlwind of country charisma, Lainey Wilson swept onto the stage at the New York State Fair‘s grand opening with an energy that ignited the night. The anticipation leading up to her performance was palpable, fueled by recent news of her meteoric rise in the music industry. Fresh off the heels of her breakthrough year, the Yellowstone Actress and Country Music Artist showed us exactly why she’s become a household name.
The New York State Fair, known for its rich history and large-scale celebrations, was the perfect setting for Wilson’s record-breaking concert attendance. As the sun dipped below the horizon, the massive crowd came to life, ready to experience a musical journey led by the the artist who has brought flare to the country music world by storm.
This past year has been a whirlwind of success for Lainey Wilson. From her chart-topping singles to her captivating performances, she has effortlessly woven her way into the hearts of country music enthusiasts worldwide. Her resume speaks volumes about the authenticity and artistry she brings to her craft. Standing among the roaring crowd at the NYS Fair, it was clear that Wilson’s star was still on the rise, burning brighter than ever before.
As the night unfolded, Wilson seamlessly navigated between her hits, old and new. Her dynamic stage presence and charisma kept the audience engaged from the first note to the last. The setlist was a blend of foot-stomping anthems like “Roadrunner” and soul-stirring ballads, showcasing the depth and versatility of her musical prowess. Whether she was belting out the infectious “Things a Man Oughta Know” or tugging at heartstrings with “Watermelon Moonshine,” Wilson’s emotional connection with her lyrics was palpable.
Lainey Wilson’s recently was the most nominated female artist getting 7 nominations for the People’s Choice Country Awards. Partnering up with Wrangler for a fashion collection also further underscored her influence in the world of music. Her ability to bridge the gap between traditional country roots and a contemporary sound has struck a chord with fans of all generations. This was evident as the crowd, spanning various age groups, sang along to every lyric, proving that Wilson’s music transcends boundaries.
In the end, as the final notes reverberated through the night air, it was clear that Lainey Wilson had left an indelible mark on the New York State Fair and its attendees. Her record-breaking concert attendance (53,200 fans) is a testament to her soaring popularity and the connection she has forged with her listeners. As we left the grandstand, the echoes of her performance lingered, a reminder of the power of music to unite and uplift.
In a world where music can be a guiding light, Lainey Wilson’s NYS Fair performance was a shining example of the magic that happens when an exceptional artist connects with their audience.
Brooklyn-based singer, songwriter, and producer Tim Atlas drops his new EP Le Soir, part one of a larger body of work. Tim Atlas floods a nocturnal hybrid of R&B, neo-soul, alternative, and pop with unrestrained emotion on this latest project. Gathering hundreds of millions of streams and inciting the applause of Complex, Earmilk, The Line of Best Fit, Spin, and many more, he opens up like never before on his 2023 EP, Le Soir.
“This E.P. is the first chapter of three. It’s a collection of songs that I wrote as a result of moving to NYC, a place that has always allowed you to fully be yourself. I never defined myself as one thing, so this record is a testament to that,” says Tim Atlas. He introduced Le Soir with the entrancing and electrifying “Knockin.” The EPalso features recent releases “Attractive” and “See Thru.”
Standout release day track “Sushi in Wyoming” is fueled by a slick drum pattern and glitchy synths. Tim states, “Driving cross country from LA to NY, we literally stopped in Wyoming for a night. At that point of the road trip, I couldn’t stomach another burger or gas station staple, so I opted for sushi. Sometimes the worst version of something you crave is better than the alternative. I wrote the title in my notes app so I wouldn’t forget that moment. It actually wasn’t bad.”
Tim is slated for a headline US tour that kicks off in September, with Bay Area band Pink Skies. For ticket information, visit here.
Brooklyn Celebrates! is one of New York City’s most beloved musical experiences. At the outdoor setting of the Bandshell stage, free admission and delicious locally sourced foods made city goers flock to the park for one last summer hoorah. The Head And The Heart’s long-standing luminary folk sound pulled in one of the largest crowds to ever attend the festival.
Photograph by Erin Reid Coker
One of August’s faltering days where rain overtakes the forecast to hint at autumn’s approach took place. The grass turned to mud, people huddled under trees dense with leaves for shelter, and umbrellas sprouted and flowered above heads in the crowd like colorful flower buds. Despite the wet chill in the air, people spent their entire days in the park in a slow burn of anticipation. A Brooklyn crowd cannot be beaten, for the kindest people mingled and introduced themselves over the common ground of an affinity for music.
Photograph by Erin Reid Coker
Between the spouts of drizzling rain the opener, Izzy Heltai, took the stage. The alternative folk singer provided a great introduction, for his sound was unique and the crowd received him warmly. Izzy’s lyrics were humanly raw with an unwavering braveness to them, braveness through vulnerability. The queer singer sang passionately about the cruciality of mental health and its interconnection with the queer community. He sang of relationships, places, and seasons from a very personal perspective. Though, it’s wondrous how the most personal ideas can be so universal, for each song was lifted up and represented by the audience. Heltai expressed his gratitude for the platform he commanded that evening, and for the opportunity to share the same stage as The Head And The Heart.
Photograph by Erin Reid Coker
After a brief intermission between sets and another rain shower, The Head And The Heart finally made their way onto the Bandshell stage. The murmurs of conversations abruptly shifted into eager cheers, and the tungsten lights turned blue in solidarity with The Head And The Heart’s most recent record Every Shade Of Blue. The sextet took their places behind their instruments and mics to begin the show.
Photograph by Erin Reid Coker
The Head And The Heart is an esteemed band in the music industry, having released their first record in 2011. They moved into a particular corner of folk music and consistently paid rent, delivering five total records of great esteem. Lead singer, Josiah Johnson, reminisced on the last time the band was at Celebrate Brooklyn! back in 2012. He spoke lightly about the band’s origin and journey since then and thanked everyone in the audience for supporting them all these years. Johnson introduced the rest of his band members; the impressive multi-instrumentalist and vocalist Charity Rose Thielen, guitarist Johnathan Russel, bassist Chris Zasche, drummer Tyler Williams, and pianist Kenny Hensely.
Photograph by Erin Reid Coker
Each of the members’ contributions to The Head And The Heart’s sound proved vital and intentional. They have a raw sound cultivated in production that isn’t lost but tastefully added to during their live sets. Dominant, messy, tuneful piano notes mixed with crisp and punctual percussion, all led by the melody of Rose’s violin strings, made for a distinct foundation for their collective musicality. If the emotional sensation of longing could be a sound, it would be The Head And The Heart song.
Photograph by Erin Reid Coker
Their song “Lost In My Mind” from their first self-titled album made a lasting impression on the show. Each band member’s stage presence was electrified, and the high-energy crowd fed off of it. Pockets of fans linked arms to spin and skip. Arms flung up towards the sky in praise. One audience member even lifted their head-phoned baby above the crowd, gently bouncing him to the beat of the music. Johnson shouted out the young fan between choruses to acknowledge, “baby’s first concert!” Even the trees that swallowed the stage seemed to dance.
As the sun set behind the gray sheet of rain, nature’s lights dimmed. The stage glowed through the light fog settling over the audience. Russel smiled up at the darkening clouds, “I swear it always rains when we come to New York.” The audience laughed at their state, soaked and content. For their last song on stage, Josiah made his way into the pit and through the audience. The Head And The Heart’s fans are very gracious. They made way for him and respected his space while he roamed.
Photograph by Erin Reid Coker
The band abruptly left the stage, but the audience would not accept a goodbye. There were too many songs people desperately needed to hear. Voices called out pleading for an encore. Shortly after their departure, the band returned.
They put on a three-song encore, the first of three being “The Orchid.” Lyrically, the song was a meditation on isolation and glimmers of hope that can only be spotted during dark stillness. It was so quiet in the audience that for the first time all evening, one could hear the wind brushing the trees. The last two songs were “Living Mirage,” and their most iconic song, “Rivers And Roads.” In a collective voice, the audience sang the song back to The Head And The Heart. The slow and drawn-out pounds of the drum counted out the remainder of the night. True to their sound, The Head And The Heart left Brooklyn longing for more.
