Grateful Dead drummer Billy Kreutzman, along with a cast of “kids” played a quick two show tour including one night at the scenic Pier 17 rooftop.
Along for the ride were “new kids” like Daniel Donato and Sierra Hull but also some “kids” who’ve been around the block with Billy like Tom Hamilton and Aron Magner.
The first set opened up with “China Cat Sunflower” and included crowd favorites like “Truckin” & “Cumberland Blues” closing with “Built to Last.”
In Grateful Dead fashion the second set was opened up with “Drums”. The band joined the two drummers to play an unexpected Bob Marley cover of “Could You be Loved”. The second set included a Talking Heads cover “Take Me to the River” as well as deadhead favorites like “Bird Song”, “Wharf Rat”, & “Unlce John’s Band,” closing the second set with “Franklins Tower”.
The crowd roared and cheered for this incredible band. They come back up to play an encore of “Wake up Little Susie” and “We Bid You Goodnight”.
54 years ago, Max Yasger leased out a farm field he owned for what would turn out to be one of, if not, the most noted music festivals in history. The Catbird Music Festival took to these hollowed grounds over August 19-20, in search of the spirit that is Woodstock.
The Lumineers
The name of the festival was inspired by the Catbird used in the original 1969 festival artwork. This being 2023 tie die, long hair, and bare footing could be seen co-joined with cell phones, microchipped wrist bands, and VIP and Platinum packages. No matter your status, the vibe from those attending made it impossible to distinguish 2023 from 1969.
Glamping
Camping was allowed at Bethel Woods, the first time since Mountain Jam 2019. You had your options of car camping, RV camping, or glamping in canvas tents offering either a twin or a queen bed. Throughout the grounds young and old, couples, groups and families intermingled as one.
Gala Music stage crowd
Over the course of two the days (August 19 – 20, 2023) at the Bethel Woods Center for the Arts, 23 musical acts performed on two stages. The scheduling of sets enabled people to stroll from stage to stage and not have to choose which performers to listen to.
Women took a prominent role in the festival with Adia Vicoria and Allison Russell closing out the Gala Music stage on Saturday and Sunday respectively.
Eggy played a funky and fun set to start off this full day of music. The Soul Rebels brought their authentic New Orleans, horns rich sound to Bethel. Dispatch played a reggae filled, groovy set which included a nod to the good ol Grateful Dead with a “Friend of the Devil” cover.
Trey Anastasio Band played a set filled with TAB and Phish classics including Moma Dance, About to Run, Wolfman’s Brother, and a guitar raising, feedback chasing First Tube to close out their set.
Previous attempts to emulate the original Woodstock Music and Arts Festival have not measured up. The Catbird Music Festival seems to have found the sweet spot. Let’s hope this bird will migrate back to the Hudson Valley in 2024 and build another nest of peace, love and music.
Day 1
Photos by Mickey DeneherJohn R. MillerJames BayBriscoeMargo Price49 WinchesterTrampled by Turtles Adia VictoriaBamd of HorsesThe War on DrugsThe Lumineers
Legendary Grateful Dead singer/guitarist Jerry Garcia touched many lives in his brief 53 years on Earth. Regarded as one of the most influential musical figures of all time, even 28 years after his passing, Garcia’s legacy and words continue to inspire and resonate with a whole new generation. An artist in every sense of the word, his creativity, curiosity, kindness, vulnerability, sense of humor and his unique ability to collaborate with almost anyone make him one of the most revered players of any era. Relatable to millions and a limitless source of inspiration for countless Grateful Dead-inspired tribute acts, while Jerry’s journey may be one of the greatest stories ever told, you could easily argue that even though he’s gone, the music never stopped.
Jerry Garcia’s Birthday Bash: NYS Dead Coalition featuring Organ Fairchild and Vinnie Amico of moe. performing at Lark Hall on 8/1/23.
Born Jerome John Garcia on August 1, 1942, in 1965 he would become one of the founding members of The Grateful Dead and from there, go on to become one of the most recognizable figures of the last century. One of the most recorded musicians in history, he’s also said to have played in over 25 side projects while releasing more than 30 studio albums. Since his passing on August 9, 1995, Deadheads around the world have respectfully anointed the “days between” his birth and death as a time to honor Garcia’s life and legacy. Fortunate to be living in a place both rich in local talent and Grateful Dead history, this year I wanted to try something a little different to convey my appreciation. With multiple venues across the area holding special Jerry-themed celebrations during the first 9 days of August, I charged up my camera, cleared out my memory cards and set off to hit as many of them as I could. If I told you all that went down, it would burn off both of your ears, but as best as I can remember, here’s how the Capital Region celebrated the Days Between in 2023.
Moe. drummer Vinnie Amico sat in with NYS Dead Coalition at Lark Hall on 81/2023.
Kicking off the weeklong celebration was New York’s own Organ Fairchild. Stopping by Albany’s Lark Hall on August 1st as part of “Jerry’s Birthday Bash,” the Buffalo-based band would pull double duty on the night. First playing a set that mixed originals songs in with Grateful Dead covers like “Picasso Moon,” “Cream Puff War,” and “He’s Gone,” Organ Fairchild would return later in the night with a few friends for an extra special NYS Dead Coalition set. Featuring Vinnie Amico of moe. on drums along with Tom Mahoney and Ron Permoda from the Utica-based Dead band Into The Now, the memorable performance featured stellar renditions of uptempo rockers like “Let The Good Times Roll,” “After Midnight,” “Cumberland Blues,” and “New Speedway Boogie,” while the back half the set was far more tender and introspective with our first “Bird Song” of the week, along with “Peggy-O,” “They Love Each Other” and a lengthy dose of “Love Light” that even Jerry Garcia himself would have been moved by.
Rockin’ on the River: It was all ‘Sunshine Daydreamin’ with Neon Avenue on 8/2/2023.
The next stop on our “Days Between the Capital Region” tour took us down by the riverside of Troy, where it was all ‘sunshine daydreaming’ with Neon Avenue. Headlining perhaps their biggest show yet as part of the Collar City’s annual Rockin’ On the River’ concert series, the energetic Clifton Park band more than rose to the occasion, delivering a phenomenal set of improvised jams on some of the Grateful Dead’s most beloved material.
Wharf Rats: Neon Avenue’s thoughtful setlist had fans dancing in the Collar City streets until sundown on 8/2/2023.
The picture-perfect weather brought out a huge crowd and songs like “Shakedown Street,” “Sugaree,” and “Scarlet Begonias” > “Fire on the Mountain” had both fans new and old on their feet and dancing all the way to sundown. Also mixing in hits like “Touch of Grey,” “Truckin,” and “Casey Jones,” for good measure, it was Neon Avenue’s thoughtful placement of songs like “Wharf Rat, “Sugar Magnolia” and “Magnificent Sanctuary Band” that yielded the most sentimental moments. Playing off their surroundings to great effect, perhaps the biggest cheers of the night came during the set closing “U.S. Blues.” Troy is said to be the original home of Uncle Sam after all.
View Grateful Dead and Jerry Garcia shows from across the years in New York State with our interactive map below!
Our third stop of “Jerry Week” took us back to Lark Hall for another milestone performance, this time for legendary Hudson Valley rockers The Deadbeats who were celebrating their 30th anniversary. After playing around the area nearly every week for the last three decades, the highly respected group of local musicians have amassed a devoted following and they came out in full force on this Friday night in August. Blasting off with “Bertha,” the energy was there from the start and never let up. Working their way through a nice combination of “Beat it on Down the Line” and “The Greatest Story Ever Told,” other highlights of the first set included our only “Candyman” of the week, as well as “Dire Wolf,” and another smokin’ rendition of “Cumberland Blues” before “Scarlet Begonias” > Fire on the Mountain” took us to halftime.
The Deadbeats celebrated Jerry and a milestone of their own at Lark Hall on 8/4/2023.
Returning for a lengthy second set that included an impressive ride through “Help on the Way” > “Slipknot” > “Franklin’s Tower,” The Deadbeats also managed to throw in a few Jerry Garcia Band surprises too, like “Rubin and Cherise,” “Midnight Moonlight” and “Ride Mighty High.” “Truckin” and “Not Fade Away” had the whole room moving and grooving, but really, anyone who was there will tell you the second set was all about the funked-out version of “Throwing Stones” that essentially stole the show and helped make the band’s 30th anniversary party so memorable. Kudos to all members of The Deadbeats, past and present, for helping keep Jerry’s spirit alive in Albany all these years.
The Deadbeats Mike Johnson has been ‘playing in the band’ for an astonishing 30 years.
The next show we had the privilege of attending was a special stripped down acoustic performance by 3 members of The Wheel. Taking place on the 28th anniversary of the day Jerry Garcia passed, the intimate cocktail hour gathering, also at Lark Hall, was easily the most unique and sentimental performance of the week-long celebration. Consisting of Bryan Gautie on guitar and banjo, Andy Morse on guitar and mandolin and Woodstock’s Misty Mountain Ramblers’ keyboardist Kenny Schneidman, all three members jelled together nicely and would take turns singing and cracking jokes between songs. Opening up with “Dark Hollow” and our only “Deep Elum Blues” of the Days Between, other highlights of the set included gorgeous renditions of “Friend of the Devil, “Black Peter,” “Catfish John,” and “Must Have Been the Roses.”
Ripple Effect: The Wheel Trio unplugged for a sentimental cocktail hour set at Lark Hall on 8/9/23.
With no rhythm devils or soaring electric guitar solos during the set, the real beauty was being able to fully concentrate on the actual songwriting and Robert Hunter’s timeless lyrics. Perhaps the trio’s biggest strength, however, was the combination of their voices together. Using three-part harmony to great effect, there were moments during the set that simply gave you the chills, particularly on “Bird Song” and the set closing “Ripple,” which you can watch below.
Watch fan shot footage of The Wheel Trio performing “Ripple” at Lark Hall on 8/9/23.
Afterwards the buzz was all about “the other” Grateful Dead-inspired show that was also happening in the area that night. Full of heart and still daylight outside, those who couldn’t get enough Jerry packed up the party and trucked on over to the Cohoes Music Hall where two sets of Bearly Dead was just getting underway.
Bearly Dead’s Dynamic Debut: The Boston-based band buzzed with high energy during their Cohoes Music Hall performance on 8/9/23.
Walking into to the historic (and allegedly haunted) Cohoes Music Hall is always a vibe, but I admit I wasn’t very familiar with Bearly Dead beforehand. Kicking off their show with our first “Here Comes Sunshine” of the week, right away you could tell these guys “really cook” and I could feel a sense of ease come over me as I knew after all this poking around, I ended up in exactly the right place. Working their way through fiery renditions of “Passenger,” “Mississippi Half-Step Uptown Toodeloo,” and the crowd favorite “Ramble on Rose,” it was clear that Bearly Dead were diligent students at Grateful University and they had done their homework. Bringing a fresh and energetic approach to these ageless tunes, the band first came of age in Somerville, MA in 2015 and would go on to do a 5-year Wednesday Night Residency at Thunder Road before the venue closed in the midst of the pandemic. Now taking their show on the road and touring nationally, Bearly Dead brought their A-game to Cohoes on August 9th. Immediately making a good first impression with first set staples like “Black-Throated Wind,” and “Tennessee Jed,” by the time the band linked together a monstrous “Terrapin Station” > “China Cat Sunflower” -> “I Know You Rider” jam sandwich to close the opening frame, no one needed further convincing that these guys are the good shit.
Sharing the Weight: Bearly Dead paid tribute to both Jerry Garcia and Robbie Robertson on 8/9/23
On the same day the world learned that legendary singer/songwriter Robbie Robertson of The Band had passed away, the second set began with a touching moment of acknowledgement to one of their other musical heroes. Introducing the first song by saying, “I think Jerry wanted a buddy to jam with today,” Bearly Dead then broke into a heartfelt rendition of “The Weight.” Stragglers still smoking outside must have been kicking themselves as they quickly rushed in to fill the noticeably empty floor, so in an effort to help them out a little, I quickly pulled out my phone and hit the record button. That footage can be seen in the clip below.
Watch fan shot footage of Bearly Dead covering “The Weight” during their Cohoes Music Hall debut on 8/9/23.
One of the most striking things that helps separate this band from others like it is that every member can really sing and with convincing passion. Perhaps Jerry’s most well-known solo song came next with “Cats Under the Stars,” before “Rhapsody in Blue,” and “Easy Wind” flowed beautifully into the iconic Grateful Dead anthem “Dark Star.” Seamlessly working in “Miss You” teases by The Rolling Stones, “Dark Star” would continue to burn straight into a poignant take on “He’s Gone,” and even further into “Uncle John’s Band,” before reeling in the 40 plus minute frame of uninterrupted music with the gorgeous bluesy b-side “Death Don’t Have No Mercy.” Picking up the pace once again, the dance party resumed one final time with a proper and appropriate “The Music Never Stopped” before segueing into one of the most powerful versions of “Morning Dew” I’ve heard in a long time. Simply cathartic.
Watch fan shot footage of Bearly Dead performing “Death Don’t Have No Mercy” at the Cohoes Music Hall 8/9/23.
As the Days Between celebrations came to a bittersweet close, a flood of emotions ran through my mind. Pardon the obligatory pun, but I couldn’t help but feel grateful and for so many different reasons. Reinvigorated and inspired. Even 28 years after Jerry Garcia’s passing, it’s clear the music he made is as relatable and as relevant today as it ever was and that Jerry’s contributions will never be forgotten. Over the course of the 5 shows, you were bound to hear some repeats, but considering how few there actually were is quite a testament to just how deep GD’s songbook is. I’m grateful for the musical community I live in that continues to play these songs, the talent that it takes to get up there and actually do it and to the amazing local venues that provide a platform for them to do it on. There will never be another Jerry Garcia, but if this 9 day period taught me anything, it’s that this music is absolutely timeless, “Weir everywhere” and that the Capital Region still has plenty of heart, I can hear it beat out loud.
Check out full setlists and photos of each show courtesy of NYS Music correspondent Zak Radick.
Organ Fairchild ft. NYS Dead Coalition | August 1, 2023 | Lark Hall | Albany, NY
Set 1: Morning Coffee, Over the Handlebars, Yum, Picasso Moon > Cream Puff War > He’s Gone, Chamelonious Monk with Layla tease
Set 2: Let the Good Times Roll, After Midnight, Cumberland Blues, New Speedway Boogie, Bird Song, Peggy-O, They Love Each Other, Love Light.
*Set 2 featured members of Into The Now and Vinnie Amico of moe.
Neon Avenue | August 2, 2023 | Riverfront Park | Troy, NY
Setlist: Shakedown Street, Touch of Grey, Sugaree, Scarlet Begonias > Fire on the Mountain, Truckin > Wharf Rat > Sugar Magnolia > Casey Jones, Magnificent Sanctuary Band, U.S. Blues
Encore: Brokedown Palace.
Deadbeats | August 4, 2023 | Lark Hall | Albany, NY
Set 1: Bertha, Beat It On Down the Line > Greatest Story Ever Told, Hard To Handle, Candy Man, Cumberland Blues, The Buzz, Dire Wolf, Scarlet Begonias > Fire On the Mountain
Set 2: Help on the Way > Slipknot > Franklin’s Tower, Crosstown Traffic, Truckin, Rubin and Cherise, Throwing Stones, Not Fade Away, Midnight Moonlight, Ride Mighty High
Encore: Ripple, US Blues
The Wheel Trio | August 9, 2023 | Lark Hall | Albany, NY
Setlist: Dark Hollow, Deep Elum Blues, Oh Babe It Ain’t No Lie, Jack A Roe, Dire Wolf, Rosalie McFall, Friend of the Devil, Deal, Black Peter, Bird Song, Catfish John, Must Have Been the Roses, On the Road Again, Uncle John’s Band, Midnight Moonlight, Cumberland Blues, Ripple
Bearly Dead | 8-9-2023 | Cohoes Music Hall | Cohoes, NY
Set 1: Here Comes Sunshine, Passenger, Mississippi Half-Step Uptown Toodeloo, Ramble On Rose, Black-Throated Wind, Tennessee Jed, Terrapin Station > China Cat Sunflower -> I Know You Rider
Set 2: The Weight[1], Cats Under the Stars, Rhapsody in Blue, Easy Wind > Dark Star[2] > He’s Gone -> Uncle John’s Band > Death Don’t Have No Mercy, The Music Never Stopped > Morning Dew
[1] Dedicated to Robbie Robertson [2] Contained Rolling Stones “Miss You” teases
John Cale, one of the true OGs of the international art rock underground, gave a masterclass in performance and reinvention before a packed house at BRIC Celebrate Brooklyn! Festival in Prospect Park on August 19.
At 81, Cale is still a striking and potent musical force, a true creator who is forever seeking new artistic horizons. He’s a man whose catalog has spanned everything from the proto-punk of the Velvet Underground to classical minimalism, gorgeous orch-pop balladry, the fiercest (and drunkenly deranged) hard rock rants to, on his first new studio album in a decade Mercy, shades of beat-driven hallucinatory electronica and experimental pop. This new collection finds the adventurous Welshman in the company of youthful collaborators like Weyes Blood, Laurel Halo, Sylvan Esso and Actress.
Belying his age, Cale was a most commanding force on stage – in fine voice, a sharp black Italian suit and dramatically spikey white hair, playing both keys and guitar for a 14-song, career-spanning set.
In a nod to his new album, many of the songs were kicked off with a rhythm machine like “Moonstruck (Nico’s Song),” his tribute to the Velvet Underground chanteuse whose best solo albums, like 1968’s The Marble Index, Cale produced. Another standout from the new album is “Night Crawling,” the first single which recalls his adventures with pal David Bowie in the New York City downtown of the 1970s.
Two of the most interesting and atmospheric numbers were “Rose Garden of Future Sores” and “Half Past France.” Both featured orchestral backgrounds, disorienting chords and spacey electronic effects. The latter was a 180-degree spins on one of the serene ballads from Cale’s acclaimed 1973 orch-pop masterpiece, Paris 1919. Its calm was transformed into a sinister ambient Krautrock noise nightmare. Its queasy string drone foundation was punctuated with bowed electric bass and an eerily harmonizer-effected vocal on the outro line: “We’re so far away, floating into space.” The same sonics were present for his funereal take on Elvis’ “Heartbreak Hotel,” a highlight from his 1975 album, Slow Dazzle.
Sonic dread never sounded so good.
Cale picked up the guitar and rocked strong and hard on old favorites like “Guts,” “Helen of Troy” and “Cable Hogue.” He returned to the keys to revisit a Velvet Underground staple to the delight of the crowd, Lou Reed’s junkie opus, “I’m Waiting for the Man.” Here, he perhaps deferred to the P.C. police by injecting the line “Hey buddy” for Lou’s “Hey White Boy.”
Another fantastic rearrangement was in store with another Paris 1919 ballad, “Hanky Panky Nohow.” Cale and his wonderfully tasty three-piece backing band made this already gorgeous song even more beautiful and relaxed – with a rhythm machine underpinning, a glacial pacing and an added sample of an operatic soprano female soloing on the song’s long coda. This and all tracks performed were complemented with video projections that made their atmospheric sounds even more so.
Cale’s set concluded with a raucous version of “Barracuda,” another punchy rocker from his album Fear featuring some very fine psychobilly guitar soloing.
The surprise of the evening was the set by the show opener Tomberlin, the nom de sound of contemporary folk artist/singer-songwriter Sarah Beth Tomberlin.
Now living and working out of Brooklyn, this Kentucky-born performer played a well-paced set of gentle tunes from her two Saddle Creek Records’ albums, the most recent of which, 2022’s I Don’t Know Who Needs to Hear This…, was recorded a few blocks away from Prospect Park at Figure 8 Studios.
Tomberlin is a confident performer with the kind of droll between song banter that easily won over the crowd, one that was surely there, in very large part, to catch a glimpse of Cale.
The most striking element is her voice. It has both a breathy quality that reminds me of another buzzworthy young performer, Snail Mail, and all power and range needed to bring across one of her dramatic lyrical twists. Her three-piece backing band provided sensitive accompaniment to all her songs, many that we’re mere whisps. Airy Frisell-like guitaring, lots of shimmering brush work on the drums and lush yet minimalist keys perfectly adorned her intimate story songs and their poetic lyrical turns.
Standout tracks in her set were the evocative “Sunstruck,” “Stoned,” “Memory” and the set closer, the sprawling psychedelic “Happy Accident.”
New York is a breeding ground for all kinds of talented individuals. The densely populated nature of NYC makes it challenging to achieve stardom there. With all of the people in this world, it can be difficult to differentiate yourself.
A major part of standing out deals with genetic makeup, upbringing and the place you grew to become familiar with your surroundings. However, New York encourages an unmatched hustle and rewards individuals who persevere with the utmost ambition. If you can make it in New York, you can make it anywhere.
DonMonique, or DonDada releases refreshing tunes every time she steps into the studio. She dismantles traditional hip-hop by dispelling the notion that there can only be one Queen of Rap. She appreciates her hometown for its hectic jungle atmosphere, nuances, and grounds for uncontained creativity. With an old soul and a Brooklyn drawl, this artist consistently asserts a quintessential New York sound every time she lays rhymes down on wax.
Where Brooklyn @?
Brooklyn has birthed a few legends within its time. This is not to say she’s reached legend stature yet, but DonMonique is taking all the right steps to disrupt the game of hip-hop as a whole. She first gained recognition and garnered major attention through her fashion choices and photoshoots.
For a while, she modeled for Pharrell Williams on a website called Karmaloop. A major turning point came about when she did a photoshoot in rare FUBU attire that made its way to Tumblr and had thousands of “notes” and reposts within hours. With a fashion outlook, she set the tone at a high level with crossover appeal between fashion and hip-hop with style and distinction.
Before becoming a hip-hop artist, Don immersed herself within important spheres of influence and made connections with people who are relevant within the genre. Her manager recommended that she avoid popping up in studios without anybody knowing her personally. By building rapport, networking and gradually placing herself on people’s radar she saw success. This whole process took about a year, but proved worthwhile as she focused upon relationship-building and creating a good reputation for her brand.
The Dutchess
When it was finally time to burst upon the scene, DonMo captured her moment in all of its glory. A common theme within hip-hop involves replacing certain powdery substances with the names of white females. On the song, “Pilates,” DonMonique name-dropped Kendall, Kylie and Miley. Furthermore, this song premiered on an Alexander Wang fashion show runway which caused it to gain additional traction.
Pilates took flight when Kylie Jenner posted the song on her Snapchat. Kylie has been known to post new music on her Snapchat account and the fact that this quality song mentioned her name must have made a good impression. Subsequently, people began to take notice of this young Brooklyn artist with only a few songs to her name.
Thereafter, she started working with artists like Danny Brown, Justine Skye and Chuck Inglish. She toured with Lil Debbie, opened Webster Hall for Lil Yachty and got Stelios Phili (the same man who helped produce Ferg Forever) to entirely produce her mixtape, Thirst Trap. Without a doubt, she has that New York pizzazz that many covet and few are able to generate.
Autonomous Maneuverability
DonMonique discovered her voice through trial and error. Much more than just a face in the crowd – she possesses originality and unmistakable flavor. Hence, a strong-willed woman who thrives upon independence and confidence carries complete control over her trajectory. She takes risks regardless of obstacles, embraces her sexuality and rejects the approval-seeking nature that many feel required to subscribe to in America. Furthermore, with spunk and determination, she emerges noticeably different from other artists and travels along her path with subversive femininity.
When it comes to developing songs, DonMonique takes a minimalist approach. By giving the people just what they need and not a drop more, she keeps the fans honest and insatiable. Her clever verses and raspy vocals allow her to wisely navigate the male-dominated industry and reach new wavelengths. As a calm, cool and cozy Brooklyn cat she comes up with music that keeps her audience directly in mind which ultimately boosts her credibility and relatability.
Hypnotic Radiance
DonMo provides a rugged, rough around the edges tomboyish vibe. As a hungry artist she provides gritty bars, deadpan delivery and brash rhymes. With a raw persona, she approaches the genre with titillating, enticing, menacing and genuine bars. Being a noticeably distinct person speaks volumes to her audience and those who are in tune take specific notice of her energetic hustle.
She stands firmly within the throws of an era where hip-hop connoisseurs continue to witness women gain much deserved respect. As a result, she serves as a symbol of empowerment and advocates about unity for women in the form of uplifting anthems and dialogue.
Her first mixtape, Thirst Trap dropped in conjunction with the Hot 97, “Who’s Got Next” showcase. The mixtape title plays on the phrase for social media posts that attract viewers and persuade them into leaving desperate comments. Thirst Trap also relates to the fact that her body of music paired with her physical body and outstanding style leaves the audience thirsty for more.
Before dropping her album,Black Kate Moss, DonMonique took a hiatus to appreciate the moment and rejuvenate herself in order to supply the best possible product for her consumers. The release date was pushed back so that she could concentrate on herself, reflect via introspection and develop her sound further.
As a rebirth effort, this move gave her a chance to reevaluate, appreciate the entire process, cherish her gifts and prioritize her health. She continues to innovate and receive incredible reception from her loyal New York fan base. She performed at the Bowery Ballroom and the Meadows last fall. Stay tuned to hear where she performs next.
Standing out as one of New York City’s most unique MCs of all time, the late Ol’ Dirty Bastard’s discography chalks full of city anthems, whether spawning from his time with Wu-Tang Clan or his solo career. Passing away in 2004, the Brooklyn native leaves behind a legacy as one of hip-hop’s best, presenting an eccentric, energized style of rap that couldn’t be recreated by anyone else.
Al Pereira/Getty Images
Raised in the Fort Greene section of Brooklyn, Ol’ Dirty Bastard’s raspy, crazily spewed vocals paired with his violent lyricism eventually made him a central figure of the majority Staten Island group Wu-Tang Clan and hip-hop as a whole. Made up of himself, Method Man, RZA, GZA, Raekwon, Ghostface Killah, U-God, Inspectah Deck, Masta Killa, and Cappadonna, the group first came together in 1992.
Enter the Wu-Tang (36 Chambers), the group’s first project would release in 1993 following the immense success of the single “Protect Ya Neck”, highlighting the immense talents he and the rest of the group had in store as one of New York’s rising talents.
His solo career came to fruition in 1995, as Return to the 36 Chambers: The Dirty Version, would drop on March 28, 1995, chock full of hits symbolizing the city of New York and more specifically his time in Brooklyn. With only Method Man’s solo effort coming out before his, the music industry was able to get its first glance into Ol’ Dirty Bastard’s career outside the infamous group.
Album cover for Return to the 36 Chambers: The Dirty Version by Ol’ Dirty Bastard (Photo via SoundCloud)
With Return to the 36 Chambers: The Dirty Version would come one of the rapper’s best performances, an ode to his city and former group through a song known as “Brooklyn Zoo,” as the hidden messages throughout go deeper into his life growing up in Brooklyn and his affiliation with other artists growing up.
Brooklyn’s Finest
Produced by himself and True Master, the track “Brooklyn Zoo” shot to the top of his discography following its release a month prior to his solo debut. This serves as the first real taste of Ol’ Dirty Bastard’s journey outside of the group and would end up being his highest-charting single released, peaking at 54 on the Billboard Hot 100 and spending 16 weeks on the chart.
Accompanying the track are two separate music videos. The most popular one, which features Wu-Tang members throughout the video, sees ODB loitering around an empty apartment building, most likely abandoned, chanting the malicious words of the track.
A second release, a short film with subtitles, came out with more of a storyline, with the rapper portraying a man completing his prison sentence and transitioning through his life returning home to gang violence. A majority of networks denied air of the film due to its explicit subject matter, but is known as the “Chinatown Version” with much of the film taking place in that section of NYC.
The music video for “Brooklyn Zoo”
Considered a hip-hop classic, the single goes deep into the “one-man army” that Ol’ Dirty Bastard calls himself, diving into his life growing up in the streets of Brooklyn as well, directly calling the region a zoo. The song’s many hidden meanings behind the title leave countless interpretations of ODB’s wordplay and past experiences.
“Shame on you, when you step through to the Ol’ Dirty Bastard, straight from the Brooklyn Zoo”
Other than its references to Brooklyn’s actual zoo in Prospect Park and the streets he grew up in, the track also mentions the second hip-hop group ODB was additionally a part of, Brooklyn Zu. Having an affiliation with the Wu-Tang Clan, Brooklyn Zu includes some of Ol’ Dirty Bastard’s closest colleagues 12 O’Clock, the rapper’s cousin, Buddha Monk, Raison the Zu Keeper, and others.
Since the group’s formation around the same time as Wu-Tang Clan, many of the members have been featured on ODB’s Return to the 36 Chambers: The Dirty Version, also releasing their own project Chamber #9, Verse 32 in 2008.
“Brooklyn Zoo” (Chinatown Version)
Dissecting the streets of Brooklyn for his listeners, the aggressive track truly encapsulates the one-of-a-kind style of rap/lyricism that ODB brings to the table. The countless New York interpretations behind the name of the track leave fans and avid rap listeners room to experience Ol’ Dirty Bastard’s work.
“Brooklyn Zoo” Lyrics
Shit Word, I’ll bust that n***a ass right now Ain’t no, none of them n***as can’t fuck with me What? N***a, you could never fuck with me, my n***a I’ll fuck you up right now, what? What? What? (Fuck you n***as) Bust your motherfucking ass, boy I ain’t no motherfucking joke You know who you talking to? (Yo, word up, bust that n***a ass, word up) Ol’ Dirty Bastard, you know what I’m sayin’? I’ll fuck you up right now Yeah, what? What? What? (Serve that n***a, yo) He ain’t sayin’ nothin’, fuck him (he ain’t sayin’ nothin’, fuck him)
I’m the one-man army, Ason I never been tooken out, I keep MC’s looking out I drop science like Cosby dropping babies Enough to make a n***a go crazy In the G building, taking all types of medicines Your ass thought you were better than Ason, I keep planets in orbit While I be coming with deeper and more shit Enough to make you break and shake your ass As I create rhymes good as a Tastycake makes This style, I’m mastered in N***as catching headaches, what? What? You need Aspirin? This type of pain you couldn’t even kill with Midol Fuck around, get sprayed with Lysol In your face like a can of mace, baby Is it burning? Well, fuck it, now you’re learning How I don’t even like your motherfucking profile Give me my fucking shit, ch-ch-blaow Not seen and heard, no one knows You forget n***as be quiet as kept Now you know nothing Before you knew a whole fucking lot Your ass don’t wanna get shot (shot) A lot of MC’s came to my showdown And watched me put your fucking ass low down As you can go, below zero Without a doubt I never been tooken out By a n***a, who couldn’t figure Yo, by a n***a, who couldn’t figure Yo, by a n***a, who couldn’t figure (Brooklyn Zoo) How to pull a fucking gun trigger I said, “Get the fuck outta here” N***a wanna get too close, do the utmost But I got stacks that’ll attack any wack host Introducing, yo, fuck that n***a’s name My Hip Hop drops on your head like rain And when it rains it pours, ’cause my rhymes hardcore That’s why I give you more of the raw Talent that I got will riz-ock the spot Mc’s I’ll be burning, burning hot Whoa-hoa-hoa, let me, like, slow up with the flow If I move too quick, oh, you just won’t know I’m homicidal when you enter the target N***a get up, act like a pig trying to hog shit So I take yo’ ass out quick The mics, I’ve had it my n***a, you can suck my dick (dick) If you wanna step to my motherfucking rep Ch-ch-bloaw-blaow-blaow, blown to death You got shot ’cause you knock, knock, knock “Who’s there?” Another motherfucking hard rock Slacking on your macking ’cause raw’s what you lack You wanna react? Bring it on back (back)
Shame on you, when you step through to The Ol’ Dirty Bastard, Brooklyn Zoo Shame on you, when you step through to The Ol’ Dirty Bastard, Brooklyn Zoo Brooklyn Zoo (what?) Shame on you, when you step through to (my n***a) The Ol’ Dirty Bastard, Brooklyn Zoo Shame on you, when you step through to The Ol’ Dirty Bastard, Brooklyn Zoo Shame on you, when you step through to The Ol’ Dirty Bastard, Brooklyn Zoo
What? My n***a Shame on you Shame- Shame on you when you step through to Shame on, shame on, shame on you when you step through to Shame on you when you step through to The Ol’ Dirty Bastard, Brooklyn Zoo Shame on you when you step through to The Ol’ Dirty Bastard, Brooklyn Zoo What? My n***a
Legendary Icelandic post-rock band Sigur Rós played a sold out show at King’s Theater in Brooklyn on Friday, August 18. The band played accompanied by the 41-piece Wordless Music Orchestra.
The incredible stage design featured a variety of lighting fixtures, both to light the orchestra’s sheet music and to provide a warm visual. A heavy atmosphere floated over the crowd, and fans sat captive in their seats throughout the entire performance. The lights pulsed and danced gently with the ambient sounds of the music. The only interruption from the rapturous ensemble came at the end of each song, when the crowd would let out big cheers.
King’s Theatre is easily one of the most beautiful concert venues in New York, and provided the perfect setting for Sigur Rós and their orchestra to hypnotize the audience into sheer bliss. This show proved to be an experience quite unlike any other, and there’s no doubt fans will be reminiscing on this for quite a while.
You can listen to the band’s music here and view their upcoming tour dates here. Check out the gallery below by staff contributor David Reichmann.
This may well be the final go-round for The Fugs, the satirical and politically-charged group of musical anarchists founded way back in 1964 in the East Village by poets Ed Sanders and Tuli Kupferberg and drummer Ken Weaver.
For those not in the know, The Fugs were probably the furthest edge of the counterculture musical spectrum. They were a whip-smart, motely group known for their comical, and often lewd, noise rock lullaby/sendups of America’s hypocritical political and corporate structures, and their singularly vehement protests of the Vietnam War, something expressed in tunes like “Kill for Peace.” An FBI memo on The Doors labeled The Fugs “the most vulgar thing the human mind could possibly conceive.” Actually, they were, and continue to be at heart, a goodtime band whose messages are contained in hooky singalong-worthy works. In concert, these are delivered with the kind of slapstick comic timing that can warm and thoroughly engage even the chilliest audience.
With the release of their latest and reportedly final album Dancing in the Universe, The Fugs have reunited for a short series of what may be their final shows, at NYC’s City Winery and Woodstock’s legendary Byrdcliffe, America’s first art colony.
Today, the group is led by its last original member, Ed Sanders. Sanders is an insanely productive writer acclaimed for his many volumes of poetry, historical works and fiction like my own favorite, the five-volume Tales of Beatnik Glory. He may be best known to the general public for his 1971 best-seller, The Family, the consummate work on Charles Manson and the Tate-LaBianca murders.
On Friday, August 18, 84-year-old Sanders led The Fugs through a spirited two-set, 27 song performance at the rustic barn at Byrdcliffe in Woodstock, where the poet has lived since the mid-1970s.
The Fugs of today are far more polished than the 1960s edition. A lot of the credit for this goes to Scott Petito, the group’s bassist who has also served as their recording engineer and producer since the group reformed, after a 15-year hiatus, in 1984. The ensemble was completed by guitarist/singer Steven Taylor, an ethnomusicologist and longtime accompanist to poet Alan Ginsburg, and drummer/singer Coby Batty.
The group kicked off their first set with a blast of East Village past, “Slum Goddess.” This is a Ken Weaver-penned ode to a saucy and sexual free girl of the L.E.S. past, one whose “skirt is not much wider than her garrison belt.” This was followed by one their best-known offerings, “CIA Man,” a Kupferberg tune Sanders observed was “as true in 2023 as it was in the 1960s.” Sanders the poet came to the fore with a solo recitation of his nihilist opus, “Nothing.” Taylor performed a solo rendition of one of the standout tracks on this latest album, “God Bless Johnny Cash.” The set also included two new songs from their recent album produced from cassette demos recorded with Kupferberg before his death in 2010, the wonderful “I Want to Be Healed” and “Where Have All the Commies Gone?” The Fugs’ “R&R Hall of Fame” is a humorous response to Jann Wenner’s stance of forever barring the band for consideration in Cleveland’s fame rock hall.
The Fugs of today are far more musically adept than their original editions, especially as it relates to vocal harmony. Their unique three-part harmony swaddled the second set tracks, “Swinburne Stomp” and “Ah, Sunflower.” The thought-provoking “End Times” was an Ed Sanders’ tune inspired by a voice mail message about depression by another Woodstock songwriting legend Tom Pacheco, one where Taylor’s vocals gave off a Lou Reed vibe. In the introduction to the psychedelic “The Garden is Open,” Sanders told how it was The Fugs who gave Jimi Hendrix one of the two prototype wah-wah pedals they were gifted, a few days before he headed off to London and stardom. Sanders used it to make a rare positive commentary about America: “No country that can invent the wah-wah pedal can be all bad.”
Agreed, Mr. Sanders.
The Fugs continued to dig deep into their beefy discography with the 1966 single, “Frenzy,” and an update on Tuli’s anti-war classic, “Kill for Peace.” Another Kupferberg original from the newest disc, the melodic “Protest and Survive,” struck a blow for optimism in the face of our world’s problems, while “Crystal Liaison” was the perfect parody of the psychedelic “hogwash” of the 1960s, with lines like “In the great bowling alley of your mind, I am your Pin Boy.”
As for all the hoopla of this being The Fugs final spin on disc and in concert, it’s not very certain according to producer Petito. “It seemed like every album since their 1984 was going to be the last,” laughs Petito. And from the sharpness of his mind and humor and his energy, one can imagine the godly productive Sanders rounding up the troops for another round of musical blows against the empire in the not-too-distant future.
Friday, August 18th was a chilly summer evening. Seneca Niagara Casino in Niagara Falls transformed into a haven of country music enchantment as the iconic Brad Paisley took the stage.
Despite the uncharacteristically cold breeze that swept through the outdoor venue, Paisley’s fiery performance warmed the hearts of all in attendance. The atmosphere crackled with anticipation as the clock struck 8pm. The night unfurled with a symphony of soul-stirring melodies that echoed against the backdrop of the cascading falls.
Paisley, a virtuoso of the six-string, began his sonic journey with the precision and charisma that have cemented his status as a true guitar maestro. The strings of his guitar seemed to sing in harmony with his soul, transcending the chill in the air and enveloping the audience in a cocoon of musical warmth. With each strum, Paisley painted vibrant stories of life, love, and heartache, showcasing his prowess as both a gifted lyricist and an instrumental virtuoso.
A true highlight of the evening came when Paisley honored the valiant members of the military. In a poignant display of gratitude, he invited these heroes onto the stage, creating an atmosphere of unity and reverence. As he strummed the opening chords of a poignant ballad, the stage became a canvas of emotions, painting a vivid picture of resilience and sacrifice. The crowd stood united in heartfelt applause, their spirits lifted by the power of music to transcend barriers and celebrate the human spirit.
Throughout the evening, Paisley effortlessly navigated his extensive repertoire, treating fans to a spellbinding 23-song setlist that spanned the breadth of his illustrious career. From chart-topping hits that had the crowd swaying in unison, to soulful ballads that hushed the venue to a reverent silence, Paisley has the ability to wield his guitar as an extension of his very soul.
As the night unfurled its final moments, and Paisley bid his farewells under the moonlit sky, the air was filled with a sense of fulfillment and satisfaction. Despite the nip in the air, the crowd left the venue with spirits soaring and hearts aglow, having experienced a musical journey that transcended the ordinary.
Brad Paisley’s performance at the Seneca Niagara Casino was a masterclass in musical finesse and a heartfelt homage to those who serve. With his deft guitar work and emotive storytelling, Paisley took a cold and windy night and turned it into a warm tapestry of sonic artistry. As the echoes of his final chords faded into the night, it was clear that this evening would be etched into the memories of all fortunate enough to bear witness to his musical magic.
It was a big night for rock fans in Syracuse on Wednesday, August 16th, as The Goo Goo Dolls brought their Big Night Out Tour to Lakeview Amphitheater. O.A.R. opened the show.
It’s been a long road for The Goo Goo Dolls. The Buffalo natives formed in 1986 and have maintained their core two members, John Rzeznik (vocals, guitar) and Robby Takac (vocals, bass guitar) since day one. They are now joined by Craig Macintyre, who took over drumming duty in 2014. Along the way, the band have released 14 studio albums and have an impressive 19 top-ten singles. The band saw their popularity explode in 1997 with the release of “Iris,” which was included on the City of Angels soundtrack. The song spent an impressive 18 weeks on the Billboard Hot 100 airplay charts.
The evening kicked off with a set by Maryland rockers, O.A.R. The amphitheater was already well on its way towards full when O.A.R. took the stage at 7:15pm. The band launched in to “Love and Memories,” off their 2005 release Stories of a Stranger, which brought those in attendance quickly to their feet. It was clear early on that many in attendance were passionate followers of the band, as many made their way to the front of the amphitheater to sing and dance along. The band wasted no time playing their familiar hit “Shattered” early on in the set. The band would close out their set with the ever popular “Crazy Game of Poker” which saw the front pit section jump up and down and throw playing cards in the air.
After a lengthy stage change over, the Goo Goo Dolls took to the stage at 9:10. The band took no time breaking out the hits, opening with the high energy “Broadway” off 1998’s Dizzy Up the Girl. It was the perfect upbeat opener, and quickly it was clear the band was excited to be there. Rzeznik and Takac bounced from one end of the stage to the other, with smiles fixated across their faces.
Early in the set, Rzeznik paused to thank the fans of his band who have been there since day one, as well as to pay homage to legendary Syracuse rock club, The Lost Horizon. “I remember coming here in 1986 and playing at the Lost Horizon, and just being amazed that anyone actually came to see us.”
The remainder of the 25 song set saw the Goo Goo Dolls perform their various classics and fan favorites, like “Slide,” “Here is Gone,” “Black Balloon” (which saw fans toss black balloons in the air) along side newer hits like 2023’s “Run All Night” and “Yeah, I Like You.” Along the way Rzeznik took multiple opportunities to thank the crowd and convey his appreciation, proclaiming “I can’t believe I still get to do this, and I want to thank you guys…” before performing one of the band’s earliest hits, “Name.” As the evening neared a close Rzeznik introduced the second to last track as “One you all will know” before playing a cover of Tom Petty’s “I Won’t Back Down,” a track the Goo Goo Dolls and O.A.R. recently teamed up to record in the studio. The band would then close the evening with their 1997 smash hit, “Iris”, much to the crowd’s appreciation. It truly was a big night out for rock fans.
