NYS Music 2023

Category: Features

  • Connie Diiamond Captivates as the Queen of Drill

    All that comes around – goes around. The cyclical nature of magnetic individuality remains inevitable. Basically, you must trust people to be who they will be. 

    DMX offers incredible wisdom on one of his last interviews ever recorded on Drink Champs with N.O.R.E. and DJ EFN.

    With that, nobody moves a crowd like the energetic empathetic. Never pathetic, incredibly poetic, and most definitely unapologetic comes Connie Diiamond from the Bronx. Additionally, as far as evolution exists, this woman adapts to the times. Rhymes galore and much more in store – she even cleared Ludacris’ “Move” sample through the door. 

    Nevertheless, amazement sets in when people move the right way. How wondrous the process of finding oneself. No outside source will bring you happiness quite like the gifted spirit within your being.

    https://twitter.com/HipHopDX/status/1636055512847638530

    Boss Maneuvers

    Indeed, Connie Diiamond operates within the same wavelength as Nipsey Hussle – who cleared the “Hard Knock Life” sample from Jay-Z. From winning slam poetry contests in high school to collaborating with Ludacris – this nose-to-the-grindstone BX woman continues to strive. Poetic visions and many revisions allowed her to become the fan-proclaimed “Queen of Drill.”

    Individuality and Expression

    Undoubtedly, as an emcee – Connie Diiamond will go toe-to-toe with anyone. As a classy individual, she stands on moral grounds and principles. With the utmost self-confidence – she does not mind being the only woman in the room. Otherwise, this artist knows her worth and will never sell solely sex for attention or become reliant on a sex symbol status.

    Essentially, Connie Diiamond functions much like your typical American citizen. She works at the hair salon suite that she owns during the day and chases her dreams at night. Her craftsmanship knows no limitations as haircuts fund her musical aspirations. 

    Moreover, the reason why this artist will reach the heights she seeks revolves around her incredible sense of self-worth. As a humble and supportive individual, she continues to put in her 10,000 hours. She accepts the things that occur for what they are, stays in her lane and keeps pushing. 

    Initially, she rose in popularity due to her freestyle ability to hop on anyone else’s track and make it her own. As she progresses and learns elements of sound structure, how to make certain types of songs, and stay afloat in the industry – she will be dangerous and not one to be tested on the mic. 

    With positive reinforcement from her friends, family, and fans – it is impossible for her to lose. Many times, people automatically repost her songs due to the authenticity of the sounds. Somebody that radiates positive energy will always receive reciprocal energy – tenfold. 

    Finally, when it comes time to record, she locks in and blocks out any external influences. Clearly, this laser-sharp focus and multi-hyphenate approach earn dividends. Her song with Damian Lillard of the Portland Trail Blazers made it into NBA 2K23. Stay tuned to see what may come next from her!

  • Hearing Aide: Micky James ‘Loner of the Year’ EP

    On July 21, 2023, NYC by way of Philadelphia artist Micky James released his new EP, Loner of the Year. The album features Micky’s signature sound – a mix of glam and grit, paired with glittery guitars and themes of nostalgia throughout. As indicated by the title, Micky dedicates his five-track EP to the loners.

    “I want people to know that it’s important to embrace all of the things that make each and everyone of us unique,” states Micky in a recent interview with PEOPLE. “It can be frightening sometimes to free our most authentic selves, only by carving our own path can we feel truly liberated.”

    The album opens with “New York Minute,” an upbeat, nostalgic tune, reminiscent of 2000s pop-rock. The catchy, somewhat gritty melody establishes a summertime feel to the album. The song serves as a celebration of misfits and their individuality, all while reminding listeners that life moves fast, so enjoy the dysfunction that comes with being young.

    The album’s title track, “Loner of the Year,” further captures the complicated emotions that come with accepting our authentic selves. Despite the melody’s upbeat feel, the lyrics tell a story of a hopeless sort of loneliness, a narration of difficulties experienced by many. The song’s message, paired with its pop tune, is reminiscent of a coming-of-age movie soundtrack, with an optimistic twist at the end, reminding all of us that life goes on, and such loneliness can pass.

    “James Brown,” the third track on the album, has an edgy, raw feel, but still brings out the nostalgic sound of 2010s pop-rock. In contrast to “Loner of the Year,” “James Brown” shows an embrace of uniqueness rather than disdain.

    Of all the tracks on Loner of the Year, “Girl Talk” best showcases Micky James’ strong vocals. The flirtatious pop anthem compels attention from the listener through a range of James’ well-rounded, broad, captivating vocals. The song’s catchy melody conveys a sense of confidence through lyrics like “keep my name on your lips now honey,” in comparison to the anxiety in “Loner of the Year,” unveiling an emotional journey throughout the album.

    “Losing You” concludes the album with an engaging summer breakup anthem, capturing the complicated emotions associated with it. James conveys the struggle between understanding a relationship must come to an end, all while reminiscing on the good times and memories, making it “never a good time to say goodbye.”

    The album maintains its nostalgic ambiance and consistently upbeat 2000s/2010s pop-rock vibe from start to finish. Whether seeking a track to unpack intricate emotions, or a catchy melody just for summer ambiance, Loner of the Year offers a brief yet enjoyable musical experience.

    About Micky James

    Born and raised in the shadows of Philadelphia and NYC, Micky James developed a passion for music and the theatrical at a young age and aspired to become a performer. His music and personal style embody a sound and aesthetic that is nostalgic for a bygone era in rock-n-roll music, all while conveying a contemporary pop ambition.

    His vocals are reminiscent of notable voices like David Bowie and Julian Casablancas, referencing the uniquely dark, enigmatic, and romantic attributes associated with those artists. While James’ flamboyant fashions are reminiscent of the glamour and swagger of past rock icons, his work is both equal parts style and substance.

    Inspired by the energy of iconic ’60s and ’70s rock bands, he creates a modern, fresh approach to a timeless genre. “I wanted to take pieces of nostalgia and give it a contemporary twist,” he explains, successfully taking his vision and turning it into reality. In July 2020, Micky James released “Kings,” which garnered critical acclaim, with one critic calling it “a defiant uprising of the generationally damned and distinguished, as well as the most authentic rock n roll you’ve heard in years.”

    Listen to Loner of the Year here.

  • Album Review: Nas is Good but Hit-Boy Makes ‘Magic 2’

    Rarely does a rapper of Nas’ stature enhance his legacy with a late career-run. After all, hip hop is spearheaded by the youth and for many a fans, the output of the twilight years only diminish artists overall catalogue. Even so, with the help of Grammy-winning producer Hit-Boy, Nas has carved out his latest run as one of hip hop’s few evolving legacy acts. Since the release of King’s Disease in 2020 the duo have combined for five projects in the last 3 years. And with their latest effort, Magic 2, Hit-Boy quells any final notion of Nas albums not having great beats. Stylistically, the 11-track album sees Nas continue his career victory lap, this time with Hit-Boy bringing the flair.

    Embed from Getty Images

    Magic 2 Review

    In between the King’s Disease album series — where a fourth edition is in the works– Nas and Hit-Boy’s extensive studio time has yielded another series of enthralling album cuts. While Esco remains the pre-eminent figure, this latest effort showcased Hit-Boy’s ability to elevate an already stamped legend and broaden him rhythmically.

    I feed the people ’cause I love the people/ Two series at once, yea let’s run the sequel.

    – Nas, “Office Hours”

    Short and succint, the album contains two features. The first, notably burying the hatchet with former rival 50 Cent on the project’s second track, “Office Hours.” A Queens connection, the duo boast about their respective journeys to the top, impact on the culture while the former rivals big each other and their hometown. The latter sees Nas exchange bars with one of contemporary rap’s hottest stars in 21 Savage on the album’s outro “One Mic, One Gun.” Backed by Hit-Boy’s grandiose horns, 21 Savage delivers a flowingly introspective verse to close out the album as the two rappers do an excellent job of playing off of each other. In this case, 21 serves as the contemporary star awaiting folklore status, while Nas plays the role of timeless legend.


    It’s cool to be mainstream, I rather be timeless that’s if we keeping it P.

    – Nas, “One Mic, One Gun”

    Overall, Magic 2 sees Nas at his most tame lyrically. Rather, prioritizing his varying contemporary flows and cadences while rhyming over a wide variety of beats. Hit-boy harnesses Nas’ toned approach to rap and juxtaposes it with a slew of rhythmic horns (“Ervin Magic Johnson,” “One Mic, One Gun”), keyboards and old school synths (“What This All Really Means,” “Black Magic,” “Pistols on Your Album Cover”). The production is an excellent backdrop to Nas’ story-telling style as throughout the project the veteran MC flips between rehashing old tales and staying current. Although the album lacks many truly standout records, it also does not have any bad ones and is an overall solid project.

    Album’s Best

    I done hooked up with a beast, never stingy with the beats.

    – Nas, “What This All Really Means”

    Hit-Boy steals the show in this latest joint-effort. While fans of Nas will always be up for hearing him rap, the production helped accentuate what was otherwise a mild lyrical output for the Queensbridge native. This isn’t to say that there aren’t moments of magic as the project’s latter half has a few excellent album cuts (“Slow It Down,” “Bookeem Woodbine”). However, the production had a fresh and grand feel as even the boom-bap records sounded current. To his credit, Nas knocked each record out of the park with razor sharp flows and delivery.

    Album’s Worst

    Ultimately, Magic 2 will serve its purpose as a holdover until the release of King’s Disease IV. However, the lack of a standout record is conspicuous when judging the album in its totality. Moreover, along with the contemporary feel of the production and delivery, seemingly came the present-day need for bad punchlines. Markedly, Nas spinkles a slew of these throughout the album which forces you to think, did Nas really say this? Namely, the first bar on the opening track “Abracadabra” is “Durag energy, I’m on a wave, you n-ggas cap.” Then on “Ervin Magic Johnson” he raps, “have you jammed up like what you spread on toast.” Not to mention the “my scrotum is golden” line he spews on what is otherwise a great song in “What This All Really Means.”

  • Metallica’s Thunderous Return: Night 1 of Metal Madness at Metlife Stadium

    On Aug. 4, 2023, metal giants Metallica descended upon Metlife Stadium in East Rutherford, New Jersey, to kick off the North American leg of their highly anticipated M72 Seasons Tour. With a stellar lineup that featured opening acts Pantera and Mammoth WVH, the night promised to be an unforgettable metal extravaganza. Drawing a staggering crowd of 80,000 enthusiastic fans, the stadium was electrified with the raw energy that only true heavy metal can deliver.

    Metlife Stadium, known for its impressive capacity and state-of-the-art facilities, was the perfect venue for this massive event. To make the experience even more immersive, the stage was set up “in the round,” which means it was located at the center of the stadium, allowing fans from all sides to have a clear view of the action.

    Before Metallica took the stage, fans were treated to two opening acts that set the stage on fire. First up was Mammoth WVH, the creation of the multitalented Wolfgang Van Halen, son of legendary guitarist Eddie Van Halen. Mammoth WVH brought their A-game, delivering a powerful performance that showcased their explosive musicianship and remarkable stage presence. Hits like “I’m Alright,” “You’re to Blame,” and “Don’t Back Down” had the crowd headbanging and singing along.

    Following Mammoth WVH, the atmosphere became even more intense as the audience eagerly awaited Pantera. The band took the stage with the incomparable Zakk Wylde on guitar and Anthrax drummer Charlie Benante joining the lineup. Despite the tragic losses of two original members, Dimebag Darrell and Vinnie Paul, their legacy lives on. Surviving members Phil Anselmo and Rex Brown, along with Wylde and Benante, teamed up to deliver a ferocious set. Fan favorites like “Strength Beyond Strength,” “I’m Broken,” “Walk,” and “Cowboys From Hell” sent waves of nostalgia through the crowd.

    Metallica kicked off their two-hour set with “Creeping Death.” They immediately unleashed their signature sound, sending shockwaves through the stadium. The M72 Seasons Tour featured a unique concept, with the band playing two nights in each city, but ensuring that both shows had completely different setlists. The first night at Metlife Stadium featured powerful renditions of songs like “72 Seasons,” “Fade to Black,” “Nothing Else Matters,” and “Battery,” each one resonating with the crowd’s insatiable appetite for metal.

    The pinnacle of Metallica’s performance was marked by the arrival of the iconic track “Master of Puppets.” In response, the atmosphere within the stadium ignited into a frenzy, with mosh pits erupting spontaneously. As Kirk Hammett, Rob Trujillo, Lars Ulrich, and James Hetfield poured their energy into the performance, the crowd’s reaction was nothing short of electrifying. The combination of powerful guitar riffs and thunderous drums seemed to unleash a tidal wave of raw excitement.

    Setlist: Creeping Death, Harvester of Sorrow, Holier Than Thou, King Nothing, 72 Seasons, If Darkness Had A Son, Fade to Black, Shadows Follow, Orion, Nothing Else Matters, Sad But True, The Day That Never Comes, Battery, Fuel, Seek & Destroy, Master of Puppets.

  • Hearing Aide: The Hot Sardines ‘C’est La Vie’

    The Hot Sardines, an authentic New York City-based jazz band, released their newest album C’est La Vie on Aug. 4. The album arrived with ten highly complex tracks including covers and reinventions of jazz classics as well as original songs written by Elizabeth Bougerol and Evan Palazzo.

    The co-writes of C’est La Vie founded the lively Hot Sardines back in 2011, getting their start by playing various underground parties in Brooklyn. Since then, they have released six albums in total, all aiming to reinvigorate classic jazz music for the modern-day ear and spread their brand worldwide. With flourishing success taking them away from home time and time again, the band decided to record more music leading Bougerol to more thoroughly explore French influences which quickly took over what is now C’est La Vie.

    The new album is a bilingual project with tracks both in English and French, providing listeners with newly interpreted classics from “Moon River” to “La Vie En Rose” along with various impressive, original compositions. When it came to the track’s production, Bougerol and Palazzo called on collaborators from all over the world ranging from Los Angeles all the way to Beijing. The pair aimed to create a stripped-down sound to help them record nearly one-hundred-year-old songs remotely with modern technology while keeping their original spirit and polish alive. With transient instrumentals and Bougerol’s timeless voice, the album takes listeners on a beautiful musical journey and sets a relaxing tone encapsulating the essence of the motto “C’est La Vie.”

    The album is complete with track after track of slow and smooth jazz numbers supported by strong string and horn instrumentals with Bougerol’s voice slicing through it all. The co-founder’s vocal talent and control can be heard in every song and even takes on the Audrey Hepburn classic “Moon River.” Though the reinvention begins with seemingly risky harmonies presenting themselves as shaky and out of place, when the song picks up with a more classic jazz nightclub vibe and a laid-back tempo, it begins to truly shine. The classic lyrics continue to express the heartbreaking contradictions of relationships, but the musical composition supports the album’s title and overall message, conveying a newer interpretation to not take those heartbreaks so seriously because c’est la vie.

    When it comes to original songs sprinkled throughout, “Adieu L’amour” stands out among the rest with its diverting and more serious sound. From the very start, the song seems to mix with Latin American styles with its faster pace and conga drum-like sound. Where the song continues to divert is in its lyrics, which have outward emotions of spite and blame against the love whose lies “closed the door” possibly going to show that living by the shrug of the shoulder motto of “that’s life” isn’t as easy or as possible as it seems. What brings the track back to the unity of the jazz album is the strength of the band’s playing and Bougerol’s controlled vocals occasionally slipping into French.

    Throughout the album, there are numerous other highlights including a hushed “La Vie en Rose” duet between Bougerol and Bob Parins along with “Meet Me at the Bottom of the Bottle” which ends the album on a fantastic note. C’est La Vie is now available on various platforms along with a touching music video for “Moon River” directed by Greg Mottola.

    On top of their new album, The Hot Sardines have also lined up tour dates for 2023-2024 which began on July 15th and will continue sporadically through April. The band will visit locations all over the United States, Tokyo, and Toronto, including select stages across New York State including a debut at the infamous Carnegie Hall.

    Hot Sardines 2023-2024 Tour

    July 15 Huntington, NY  Chapin Rainbow Stage

    September 12-16 New York, NY  Birdland

    September 23 Morristown, NJ  Morristown Jazz & Blues Festival

    November 10-11 Charlotte, NC  Charlotte Symphony Orchestra

    November 27-30 New York, NY  Joe’s Pub

    December 7 Amherst, MA  Bowker Auditorium

    December 16 Tannersville, NY  Orpheum PAC

    December 19-21 Tokyo, Japan  Blue Note

    January 19 Richardson, TX  Eisemann Center

    January 20 Austin, TX  Parker Jazz Club

    January 21 San Antonio, TX  Jazz, TX

    January 24 Phoenix, AZ  Musical Instrument Museum

    January 25-26 Las Vegas, NV  Myron’s at the Smith Center

    January 27 Kansas City, MO  Folly Theater 

    February 14 Toronto, Canada  Koerner Hall

    April 19 New York, NY  Carnegie Hall

    April 20 Boston, MA  Berklee Performance Center

  • Sparta Celebrates 20 Years of ‘Wiretap Scars’ in Rochester

    Released in 2002, Wiretap Scars was the first full-length album for El Paso, Texas punk rock band, Sparta. After a few EPs and side projects, Jim Ward and company went all in to produce this album. While it was not met with the highest praise, the album and its members were applauded for getting this one out after a rough demise of a previous project.

    Members have come and gone, passion has come and gone, and then returned again. Two constants have remained with Sparta: lead vocalist Jim Ward and his partner in crime Matt Miller (although not from day one, he has been around long enough). When Wiretap Scars was conjured up, all band members contributed to writing, making it a complete group effort, which is something Ward really wanted.

    With the tour coming to an end, Miller and drummer Neil Hennessy made a stop in Rochester on Aug. 5, playing the rustic basement-styled Montage Music Hall. Off the beaten path, Montage seems like a dive bar as you walk by, but once you enter, you are taken into a special place, not like Narnia, but special in its own right. Posters of artists of yesteryear adorn the walls, stickers are plastered on board near the “ticket counter” that promote smaller bands, radio, stations, etc. This little gem of a venue hosts small acts, big acts, loud acts, and quieter ones. It is also a venue used during Rochester International Jazz Festival. A smaller elevated stage, with simpler lighting, this was a perfect landing spot for Sparta.

    In fashion, Ward, Miller, and Hennessy played Wiretap Scars in its entirety, without interruption. Being new to the band, I was intrigued by it all. The vocals, Hennessy on drums, and the intimate setting were all perfect and the overall sounds were reminiscent of the late 90s alternative flavors. While they identify as punk rock, there is nothing stopping the alternative feels.

    With the high energy “Cut Your Ribbon” starting the show-off, the 150 or so fans were immediately sucked into the time warp of the album and were not slowed any as the songs kept coming. When the final track was completed about 45 minutes later, fans were left wanting more. Young fans and those presumably in their mid-40s cheered on Ward as he talked about tearing up Rochester after the show. With Sunday off, they have some time to see what the city has to offer.

    Continuing for another half hour or so, Sparta kept the energy alive, playing tracks from more recent albums including the self-titled album, Trust The River (2020), and Threes (2006). Unlike many other bands, Ward and Sparta do not do encores. He said it in part due to him being lazy, but mainly “just play the whole fucking set.” No need to get dolled up and splash on fresh cologne or chug half of a beer. Alas, there is no encore on this night.

    In a recent interview, Ward talked about how he likes that the band, either past or present, isn’t a one-man show. Ideas are bounced off each other, and he trusts the musicians with their feedback. During the pandemic, which sadly coincided with the new album release, Ward would create some music and send it off to Miller and ask him to make some music to go with it as a guitarist. For him, it was easier to do that, because the body language of either party could not be read. He felt that element led to a lot of compromise.

    I learned a long time ago to not say never.

    Jim Ward, on working with a band together in a studio again

    Twenty years later, Sparta has given itself new life. Wiretap Scars is one of those albums that may have gotten lost on you, but lucky for all of us, we have 24/7 access to their music with streaming services. Give them a listen for the first time or pick up where you left off and keep on rocking.

    Setlist: (from Wiretap Scars) Cut Your Ribbon, Air, Mye, Collapse, Sans Cosm, Light Burns Clear, Cataract, Red Alibi, Rx Coup, Glasshouse Tarot, Echodyne Harmonic, Assemble the Empire

    Breaking the Broken, While Oceana Sleeps, Empty House, Miracle, Atlas

  • Stress Dolls Release New Single Ahead of Live Performance

    Buffalo artist Stress Dolls released a new single, “Body,” preceding a performance at Funk ‘N Waffles in Syracuse.

    Stress Dolls is the moniker of Chelsea O’Donnell, an alt/pop/rock artist from Buffalo. Originally the name of a band, O’Donnell adopted the Stress Dolls title for herself and decided to move to Nashville after the group split up in 2017.

    However, chronic health issues led to O’Donnell’s hospitalization less than a year later. After undergoing a feeding tube procedure, O’Donnell moved back to Buffalo, and after a period of recovery, began writing, performing, and recording again. Largely due to the tentative nature of her health, O’Donnell established Stress Dolls as a solo act in order to decrease stress and go at her own pace.

    During this time, O’Donnell wrote “Body.” The song is a reflection of O’Donnell’s complicated relationship with her body in the face of ongoing health concerns, including Crohn’s disease and gastroparesis.

    “I’m working on not pitting blame, or shame, on my body anymore, and through that practice I’ve realized that, really, the body is amazing.” O’Donnell said. “Mine withstood all of that anger, angst, stress, and physical anguish, and with some help, it found ways to heal. I’m learning to be a friend to my body instead of an opponent, and that’s making all the difference.”

    O’Donnell released “Body” as Stress Dolls on June 2. Stream the song on Spotify, Apple Music, Youtube, Soundcloud, or Tidal.

    Stress Dolls will also be performing at Funk ‘n Waffles in Syracuse on Sept. 2 with special guests Mimicking Mars and Amphette. Purchase tickets here.

  • In Focus: Legends Rise As Godsmack and Staind Rock Lakeview Amphitheater

    It was a reunion of sorts on Thursday at the Lakeview Amphitheater in Syracuse, as hard rockers Godsmack and Staind joined forces for an impressive twin bill. The pair of Massachusetts-based bands have toured extensively together since 1998.

    The tour was designed in part to celebrate the 25th anniversary of Godsmack. The band, who released Lighting Up the Sky (2023) earlier this year, has announced that this will be their last studio release, however, lead singer Sully Erna has gone on record to state the band will continue touring. Boasting an impressive resume of eight studio albums with over twenty million albums sold, the band has maintained the same four members throughout the twenty-five years of existence. Frontman Sully Erna (vocals, guitar, percussion) is joined by Tony Rombola (guitar), Robbie Merrill (bass guitar), and Shannon Larkin (drums).  

    The evening’s festivities kicked off with a thirty-minute set by Mix Master Mike. Known for his years as the turntablist with the Beastie Boys, Mix Master Mike was able to fill the amphitheater with early energy and excitement, as he played a mixture of Beastie Boys tracks along with other hit tracks primarily from the 1990s.  

    After a brief set changeover, the back side of the stage was illuminated to show various screens and projection monitors. As Staind took to the stage the screens would display cinematic-style scenes and images tying in to the songs being played. Staind launched into their new single “Lowest In Me” from their forthcoming release Confessions of the Fallen. Aaron Lewis (vocals, guitar) quickly put his signature vocals on display, showcasing one of the more familiar voices in rock music. His bandmates proved to be no slouches either, as Mike Mushok (guitars) jumped, thrashed, and head-banged throughout the set. 

    The band would perform for 75 minutes with a set that included several hit tracks from the early 2000s, such as “Outside,” “It’s Been Awhile,” “Fade,” and “Epiphany.”  As the set neared a close, the amphitheater filled with the familiar bass guitar rumble of the song “Mudshovel,” the band’s breakthrough track in 1999. This brought the crowd to their feet, singing and screaming along with Lewis, as he strutted about the stage.  

    After the set a white sheet would drape over the stage, hiding the set up behind. As it came time for Godsmack to take the stage, Mike Master Mike was projected across the screen.  Several arena rock anthem tracks were played to further build excitement. Eventually, the sheet would drop to reveal a black sheet with the familiar Godsmack sun logo. A few seconds later, and with a burst of fireworks, the headliners would take to the stage. Godsmack immediately launched into the high-energy title track of their 2018 release When Legends Rise.  

    The band would keep the energy going as they moved on to 1000hp, playing in front of a slew of flames and other pyrotechnics.  During the band’s hit track “Voodoo” the flames would again make a return, as fireballs would rise from the stage, almost as if they were dancing with the song’s cryptic rift.  As the set moved on, Larkin’s drum riser would to the front of the stage, and be joined by a second drum set. Erna would then take a seat behind the kit and the pair would then put on an impressive percussion battle on “Batalla de los Tambores.”  

    After a brief encore break, Erna would return to the stage and take a seat behind a piano. He talked about the importance of community and discussed the band’s charity, the Scars Foundation, a nonprofit organization designed to provide mental health services to local communities. Erna would then perform the beautiful track “Under Your Scars.” The song not only showcased Erna’s talent as a songwriter but also his diverse musical ability and his strength as a person. His bandmates would then return to the stage for the evening’s final two tracks, “Bulletproof” and “I Stand Alone.”  

  • Jelly Roll Baptized a Packed House in Western NY

    Playing to a packed house at Darien Lake Amphitheater, Country rapper Jelly Roll brought his Backroad Baptism to Western NY on Aug. 3. Fans in attendance were in for one hell of a show by Jelly Roll and opening acts Struggle Jennings and Caitlynne Curtis.

    While I did not make it in time for the opening acts, I did manage to catch the end of Struggle Jennings set. Not knowing much about him, I did talk to a few fans, and he seems to have a good following, as everyone I spoke with said that he is a regular on their streaming services. What I did get from his set was that, like Jelly Roll, Struggle Jennings (William Curtis Harness Jr) has a troubled past with prison time included. Lucky for him and for us, he has found the right path and is making the most of every opportunity. He has a voice that one cannot just describe, yet it matches his style and muse perfectly.

    Wake up tomorrow and make it the best fucking day of your life

    Struggle Jennings

    Like his successor on stage, Jennings is a humble dude. He spoke about how everything happens for a reason, and you need to take advantage of every opportunity that is thrown your way, and he used his own daughter as an example. With him being incarcerated, and the mother of his child passing away, his daughter was in and out of foster care and dealt with her own demons along the way, but kept her head up and graduated with high honors and is heading off to college. 

    After dabbling in the rap and hip-hop markets for about ten years, the Tennessee native entered the country market and immediately made a name for himself. His unique vocals, inspirational messages, and powerful range have led him to be one of the most recognizable names in music today. With his current tour barely underway, Jelly Roll is riding high on music charts as well, with his latest album Whitsitt Chapel sitting at number two in iTunes’s top 100 country albums and is up there on Billboard rock/alternative chart as well.

    Getting back to the show at Darien Lake, Jelly Roll hit the stage around 9 p.m., with his drummer welcoming him with a solid little beat. He starts the night off in absolute style, with “The Lost,” “Hate Goes On,” and “Halfway to Heaven,” with the latter heating up with pyrotechnics joining the party. It is clear at this point the next 90 minutes are going to be loud, fun, and hot. Talking about his roots and how he came to country music, Jelly Roll spoke about the power of 90s country and unleashes a mash-up of covers starting with the very vocal Toby Keith.

    Naturally, the crowd sang along as he rolled through four or five songs. At this point, I think the only fans left sitting were way back on the lawn. The crowd was pumped up and made Jelly smile from ear to ear. He talked about Buffalo and the area and of course the well-known Bills Mafia. He played Darien Lake on Tuesday, after a Buffalo Bills Monday night game and he said the crowd was something he had yet to see, with the Mafia out in full force. He added that it really made an impression on him about the passion that Bills fans have. 

    Onward with the music, he does a couple more covers, starting with a mix of The Animal’s “The House of The Rising Sun.” Very much making it his own, he nailed the melancholy rhythm and with some effects of the fire towers on stage, this arrangement instantly becomes a talking piece. His next cover was that of Lynyrd Skynyrd’s “Simple Man,” which holds a special place in Jelly’s heart. With an acoustic vibe, this piece was done perfectly and with the crowd chiming in for the final verse, the mix became complete.

    As Jelly Roll finished his set, one can look around and see what a diverse group he gathers. Out on the lawn, there are grown men, chugging Bud Light and rocking t-shirts. You see the younger crowd, discretely vaping and dancing to every beat. There are groups of older folks who you might have thought took a wrong turn on the way to bingo, yet they are having a time listening to this 38-year-old rapper turned country star. Jelly Roll is the star that doesn’t just attract country music fans of a certain demographic. He manages to lure in everyone with his humbleness, simple messages, and simple charm. While he has been in the music business for several years, Jelly Roll is now just making his mark and defining who he is in the field of music.  

    our windshield is bigger than the rearview mirror for a reason. Cuz what’s in front of you is much more important that what’s behind you…”

    Jelly Roll

    Set list: The Lost, Hate Goes On, Halfway to Hell, Creature, Dead Man Walking, Son of a Sinner, Country Medley/mix, She, Dancing With The Devil, Teaks Could Talk, Dirty South, Bottle And Mary Jane, Need a Favor, House of Rising Sun medley, Wheels Fall Off/Kill a Man, Fall in the Fall, Simple Man (Lynyrd Skynyrd), Smoking Section, Save Me

  • The Planes’ Release Triumphant Summer Single “Thrift Store”

    The Planes, a New York City indie rock band, has released their summer single “Thrift Store,” which is a part of the larger album Dark Matter Recycling Co. The new album will release on Sept. 15.

    The Planes

    The Planes were originally founded in 2010 by Stephen Otto Perry and are known for their deft songwriting and loud performances. Alongside Perry, who plays guitar and writes the songs, are drummer Don Lavis and bassist Jackie Perrone.

    “Thrift Store” is a loud, triumphant piece, the guitars, and drums layered above the vocals. The vocals provide a smooth undercurrent, maintaining a low volume throughout. This is contrasted by the instrumentals, which occasionally dive up and down in volume.

    The song flows into itself, with not many clear breaks between chorus and verse. There are sometimes absences in either instrumentals or vocals, which helps mix up the track.

    The full-length album, Dark Matter Recycling Co. will release on Sept. 15 through Totally Real Records in the United States and Safe Suburban Home Records in the United Kingdom.

    For more on The Planes, check out their Instagram, Facebook, Bandcamp, or Spotify.