Birthh, a Brooklyn-based alternative pop artist, has released her third single, “Hyperdrive,” from her upcoming studio album Moonlanded. The song is a futurist declaration of queer love with energetic lyrics that drift through time and space.
Alice Bisi, better known as Birthh, was born and raised in Tuscany, Italy. Starting with music at age six, Birthh released her first album, Born in the Woods, at only 19. In March 2020, Birthh traveled to Brooklyn, meeting her now-life partner, Storm Higgins, where two weeks quickly turned into two and a half years during the pandemic. It was here that the Moonlanded album first got its start.
We feel so much and so deeply. We feel the triumph of being alive as much as we feel the struggle that comes with it. All at once.
Birthh
Lead vocals, beats, guitars, and keys were recorded by Birthh in her bedroom recording studio fittingly named the Moonbase. Strings were captured by Grammy-winning sound engineer Tommaso Colliva, and the album was mixed by Robert “LB” Dorsey, another Grammy winner.
The song “Hyperdrive” itself connects science fiction imagery and romantic feelings in the lyrics to create the sensation of drifting among the stars. It also ties the grandeur of the grand vistas it describes with the love story embedded in the song. The vocals themselves cut through the rest of “Hyperdrive,” with an experimental and unique sound.
A personal favorite touch happens near the end of the piece, where “Hyperdrive” uses both sides of earbuds or headphones to have the name of the song almost “rotate” around the listener. It adds to the futurist stylings of the song and feels like Birthh’s victory lap before the song closes out.
It was really important for Storm and I to show the evolution of our love through a sweet, dreamy lens because that’s what it felt like to us. Sapphic love is often either hypersexualized or dismissed. Coming from a more conservative culture like Italy, it hasn’t always been easy to express my queerness fearlessly. But we’re here, we’re proud, and representation really does matter.
Birthh
The full Moonlanded studio album will release on Sept. 1, 2023, and is currently available for pre-order. “Hyperdrive” is available everywhere, and can be found on various platforms here.
Coming from New York – you either got it or you don’t. Plain and simple. Some of the most prolific New York hip-hop penmanship comes from Your Old Droog. The word Droog serves as a synonym for buddy or pal as this Brooklyn-based Ukrainian writes, ideates and executes with the best of them. Magnetically, Droog’s mild mannerisms and downright delicate delivery separate him from the pack.
Initially, many thought that Nas voiced Droog as some sort of concealed alternate persona. Also, Mass Appeal [Media Platform owned by Nasir Jones] posted one of his early singles, “Nutty Bars” further propagating the alias. Nevertheless, this man transcends time with his collaborative contributions to the overarching grand scheme of hip-hop. Particularly, his work with Tha God Fahim proves incredibly extensive.
To discover the intriguing parts about Your Old Droog (or any artist for that matter) one must immerse and grow with the music over time. Alas, YOD makes music that elicits immersive qualities and allows a person to intrinsically reflect. After all, Droog loosely translates to friend. Listen to the song below to hear about how Droog ended up going the independent route.
Choosing What is Right
The directions by which life twists and turns represent a common denominator. To truly understand what fate means to you – look inward. Subsequently, Your Old Droog refused to put down the microphone after declining many major label deals. Instead, he remained independent and pivoted by way of artwork with Mach Hommy. Recording radio-friendly music via releases to satisfy a record deal do not amount to creative fulfillment in this day and age.
Zoom into 2019 alone – two years after Droog meets Tha God Fahim and Mach Hommy. The three mixtapes that hit Soundcloud in 2019 are lowkey legendary classics within the underground hip-hop hemisphere. Jewelery has since been removed but It Wasn’t Even Close and Transportation still knock through any stereo.
Distinguishing Factors
Furthermore, Your Old Droog’s evocative lyrics vastly distinguish his content from his counterparts. His approach captivates the crowd with cohesive and atmospheric energy developed according to lyrical circumstances. As a humble individual, Your Old Droog promotes conversational and self-deprecating content. Humorous humility and comedy comprise the well-balanced nature of this New York artist. Your Old Droog maintains a balanced homeostasis throughout the fulfillment of his earthly obligations.
Droog uses a stream-of-consciousness flow that doesn’t always require syllabic rhyme. By piecing together double entendres and using words in a nontraditional fashion, Droog consistently tries to best himself on every track. Particularly, his use of tonal perception as a mind-altering agent allows him to pair words and phrases in a fashion that many have never heard before.
Breaking Down the Language
Droog represents the Beastcoast and provides a deeper meaning to the complexities of our language in his music. Clearly, this unorthodox artist venerates and redefines the art of storytelling. Listening to tunes by Droog, it would prove useful to become familiar with the rewind button. This “rap revivalist” makes an impact with powerful opening lines and punchlines that stand among the likes of Big L, Prodigy, and Kool G Rap.
Hence, intonation and modulation are some of the crucial components of Droog’s vocal renditions. Modern artists tend to fill vocal space with adlibs and attention grabs, but Droog steers clear of filler material. Rather, he prefers to exert precision, accuracy, and intonation to his trademark raspy delivery.
As a “self-aware slang slinger,” Your Old Droog’s presence captivates countless city slickers worldwide. He radically explores the historical implications and inclinations of our complex lexicon. Through virtuosic analyses, in-depth comparisons, and brilliant metaphors, Droog makes his message clear.
Hamilton’s FirstOntario Center became a haven for progressive metal enthusiasts. The mighty Dream Theater stormed the stage on their highly anticipated “Dreamsonic” tour on Wednesday, July 5. Sharing the spotlight were the incomparable Devin Townsend and the virtuosic Animals as Leaders. The evening promised a sonic journey unlike any other, and the bands delivered an unforgettable experience that left the crowd breathless.
The main support of the show was the one and only Devin Townsend, a visionary artist known for his eclectic and experimental soundscapes. With a mesmerizing stage presence, Townsend took the audience on a musical odyssey with his setlist. From the mind-bending complexity of “Truth” to the atmospheric beauty of “Kingdom,” Townsend showcased his ability to seamlessly transition between contrasting moods and styles. The crowd was captivated by his powerful vocal range and the intricate layers of instrumentation that formed the backbone of his performance.
Next up, Dream Theater took the stage with an explosive rendition of “Caught in a Web,” instantly igniting the crowd’s energy after they started the setlist with some newer songs. The band’s technical prowess was on full display as they flawlessly executed complex time signatures and intricate melodies. Songs like “About to Crash” and “Solitary Shell” showcased their ability to seamlessly blend heavy riffs with melodic passages, creating a dynamic and captivating sonic experience. Their guitarist John Petrucci is one of the few performers who have mastered this.
The concert reached its climax with the epic “The Count of Tuscany” a monumental piece that showcased Dream Theater’s musical virtuosity. The band’s chemistry was palpable as they flawlessly navigated through the song’s ever-shifting dynamics and intricate arrangements. The audience was spellbound by the precise synchrony between each band member, as they wove together a sonic tapestry of progressive metal mastery.
For the encore, Dream Theater invited the other band members from the prior bands to join them on stage for a stunning rendition of “Act II: Scene Eight: The Spirit Carries On.” The collective energy and talent of all the musicians on stage created a transcendent moment, leaving the audience in awe.
Dream Theater’s setlist was a carefully curated journey through their illustrious discography. Classics like “Pull Me Under” ignited nostalgia in long-time fans, while newer tracks like “The Alien” showcased the band’s continued evolution and growth. Each song was performed with impeccable precision, showcasing the band’s unrivaled musicianship and dedication to their craft.
The Dreamsonic tour in Hamilton was a night that will forever be etched in the memory of progressive metal fans. Dream Theater, accompanied by support acts Devin Townsend and Animals as Leaders, delivered a mesmerizing display of technical prowess, musical depth, and sheer sonic brilliance. With a setlist that spanned their extensive career, Dream Theater left no doubt that they are masters of their craft, captivating the audience and leaving them craving for more.
This past Wednesday, July 5, the iconic 80s band Tears for Fears took the stage at Bethel Woods for a night of new-wave nostalgia. The English band, consisting of Roland Orzabal and Curt Smith, with Lauren Evans supporting the two on vocals, put on a fantastic show for their The Tipping Point Part II tour.
Tears for Fears, photographed by Sarah Hyun
Tears for Fears originated in Bath, UK in 1981 and disbanded for a nine-year-long period in 1991. After reuniting in 2000, the two released albums Everybody Loves a Happy Ending, The Hurting, and their most recent release, The Tipping Point. Tears for Fears recently played a show at Madison Square Garden and Saratoga Performing Arts Center. With nineteen dates left in the North American / European leg of their tour, the duo will be busy playing shows until late November.
Tears for Fears, photographed by Sarah Hyun
Orzabel and Smith have been playing shows virtually their whole lives. The two know exactly how to work for a crowd, as thousands of fans in middle age and older stood up in their seats to get a good view of the stage. Concertgoers danced, jumped, swayed, and clapped along to iconic songs like “Shout,” “Head Over Heels,” and their most popular track, “Everybody Wants to Rule the World.” After playing “Everybody Wants to Rule the World,” Orzabel paused for a moment and said, “This song gets a million streams every day, which would be remarkable if they weren’t all from us.” A sustained laugh from the crowd. During their performance of “Mad World,” fans screamed in excitement as the two scaled the stage, singing and dancing as colorful lights flashed about.
The end of the show was exciting yet bittersweet, as the two closed the night with a powerful performance of “Change” and “Shout.” Although they do not have any more scheduled tour dates in New York State, the two are sure to come back again as they have in the past.
Setlist: No Small Thing, The Tipping Point, Everybody Wants to Rule the World, Secret World, Sowing the Seeds of Love; Long, Long, Long Time; Break the Man, My Demons, Rivers of Mercy, Mad World, Suffer the Children (sung by Lauren Evans), Woman in Chains, Badman’s Song, Pale Shelter, Break It Down Again, Head Over Heels / Broken
Bolstered by charismatic rock-star energy and a one-of-a-kind voice, the legendary live band known as My Morning Jacket lived up to all expectations and then some on Friday night, delivering a max effort, powerhouse performance to the storied city of New Haven, CT on the last day of June 2023.
An outstanding evening of song and dance, hugs and headbanging, and music with enough substance and depth to make even the most jaded concertgoer feel alive, fans who couldn’t make it to their headlining Peach Festival set the following night were treated to a far more intimate experience at the Westville Music Bowl. Featuring bust-outs, rarities, and songs played for the first time on this tour, the two-and-a-half-hour, career-spanning set felt inspired and special and showed exactly why many consider MMJ to be one of the greatest American bands of this generation.
My Morning Jacket performing live at Westville Music Bowl on 6/30/23
A timeless attraction, My Morning Jacket possesses a rare appeal that spans across generations. Consisting of frontman Jim James on vocals and guitar, multi-instrumentalist Carl Broemel, bassist Tom Blankenship, drummer Patrick Hallahan, and keyboardist Bo Koster, after more than two decades on the road the Louisville quintet have remained innovators of their genre and a creative force to be reckoned with. Still one of the “hairiest” bands out there, their look often harkens back to the glory days of 70’s rock n roll, while their sound has continually evolved to include more sonic experimentation and a wider palette of styles ranging from country to soul to psychedelia to even a bit of pop — all of it would be on full display on this hazy, humid Friday in New Haven.
With the bowl in Westville slightly more than half-packed, one could only assume the draw was directly impacted by The Peach Festival happening at the same time; the same festival My Morning Jacket would headline the very next night. But make no mistake, this was no “warm-up” gig for the band. In fact, they’d been on tour for several weeks already at this point, doing different setlists in each city, and by all fan accounts, have been having as much fun playing together as we’ve seen in years, acting reinvigorated and ready to rock out.
My Morning Jacket performing live at Westville Music Bowl on 6/30/23
After taking the New Haven stage accompanied by some hypnotic orchestral music and, of course, the colorfully dressed bears, Pooch and Denise, fans would see the light early as the show kicked off with the tour debut of “The Dark” from My Morning Jacket’s earliest album, 1999’s The Tennessee Fire, letting everyone know they were in for a treat tonight and to buckle up for the ride. Flowing directly into the thought-provoking crowd-pleaser “Compound Fracture,” vocalist Jim James, wearing heart-shaped sunglasses, would put his guitar down and work his way out to the front of the stage, locking eyes with the audience and drawing them in closer with his every movement and gesture; his presence was simply magnetic.
There’s no evil, there’s no good Only people doing as they should There is life in love and sound Get as much as you can keep around Before they put you into the ground
For who knows how long? (paradise calling)
-Lyrics from “Compound Fracture”
Now strapping back up with an acoustic guitar, James would go back to his childhood way with the title track of 2011’s Circuital before flowing directly into the classic MMJ rock anthem “Anytime.” A reimaged rendition of “I’m Amazed” featuring a Beatles-esq intro brought out goosebumps when the whole crowd shouted “Where is the justice?” in unison. Our next tour debut was the delicate song “Sooner” which saw multi-instrumentalist Carl Broemel move over to the slide guitar for one of the very few times in the evening. The show was already seven songs deep before the band would play anything from their most recent self-titled studio album, uncorking a seven-plus minute version of “Least Expected” that featured a beautiful extended keyboard solo from Bo Koster. Next came the song which perhaps best summed up the overall message of the night with “Love Love Love.”
Jim James of My Morning Jacket was all about love on 6/30/23
In another setlist surprise, “One Big Holiday,” a signature song usually reserved for the encore slot, dropped early and would feature James improvising lyrics over its outro, expressing his love for the “beautiful, scenic, historic, and wonderful people of New Haven,” leading us directly into one of My Morning Jacket’s most cherished songs and my personal favorite, “Steam Engine.” Played under hazy skies and a cool jeweled moon, the lyrics felt particularly potent on this number; complete with a beautiful saxophone solo from Broemel and a piano outro that seamlessly segued into a powerful rendition of “Feel You” that would see the members of the band huddle around Patrick Hallahan’s drum riser to headbang in unison, something the band often does when they are locked in and “feeling it.”
My Morning Jacket performing live at Westville Music Bowl on 6/30/23
A well-received “Victory Dance” would then set the tone for the real meat-and-potatoes of the show, putting in motion a series of songs that would alligator together through “Cobra” and see the incredible light show come to life before your eyes. After giving the crowd a chance to show off their best falsetto voices, “Wordless Chorus” took on a particularly funky groove before transitioning back into the hard-rocking second part of “Cobra.” Somewhat reminiscent of Metallica’s “Enter Sandman” here, the chugging low end was easily the heaviest of the night. “Cobra Pt 2” would then morph into the anthemic rocker “Wasted” which would evoke a dynamic, delayed pause that would send the audience into a frenzy, before reaching its high-octane peak.
Melting back into the conclusion of “Cobra” then slithering into the danceable electro groove of “Touch Me I’m Going to Scream Pt 2” (as popularized by the band’s guest appearance on Fox’s animated series American Dad), the song would see a bit of a different arrangement here, jamming out with more intensity and yielding a rocking, hair swishing, shred fest that would bring the impressive near 40-minute frame of uninterrupted music to a close. Not done pummeling the audience yet, “Holdin’ On to Black Metal” would get the crowd singing along once again before the band would disappear behind the smoke-filled stage to leave fans begging for more.
Fissure is the thrill of the day Forget about feeling, that’s not what pays But you know, all of this can change Remember the promise as a kid you made
Ah, ooh, ah, ah, aha Aha, ooh, ah, ah
We are the innovators, they are the imitators C’mon, hey, don’t you know how we started We forgot about love, but weren’t brokenhearted
-Lyrics from “Wordless Chorus”
My Morning Jacket’s Carl Broemel letting it rip at Westville Music Bowl on 6/30/23
After a brief break in the action, the band would reemerge from the shadows and Jim James would candidly address the audience, letting them know how special this moment together was, saying “Thank you so much, New Haven, wow, what a beautiful bunch. We’re so grateful to be here, so honored that you’re here. Were so glad to all be together, all be alive right now, right here on this beautiful planet. All together just having a beautiful, beautiful night.” The band would then slowly strum the opening chords of another bust outplayed for the first time on this tour in “Old September Blues” which also included a healthy nod to the Santo & Johnny classic “Sleep Walk.”
As if the show hadn’t been epic enough already, My Morning Jacket would then uncork a monstrous nine-minute version of “Spring (Among the Living).” A bit of freestyle pandering in the middle of the song would again feature Jim giving the audience some love, singing “Among the living in beautiful New Haven now, among the living in historic New Haven town, wooo” before breaking it down into one of the funkiest grooves heard all night to coincide with perhaps the most impressive light show of the night. With the venue’s early curfew now rapidly approaching, there was time left for just one more song. With fans shouting out dozens of titles still on the table, it would be the time-tested favorite “Magheetah” that was chosen as the final sing-along, sending fans home gleefully into the night with huge smiles on their faces, bringing the powerhouse performance to a close.
My Morning Jacket performing live at Westville Music Bowl on 6/30/23
In a city with such storied history, on the way out some fans could be heard drawing comparisons between Jim James and Jim Morrison. While the band never blatantly acknowledged The Doors’ influence, upon reflection, certain moments of the show certainly seemed to conjure up images of the Lizard King. From the opening lyrics of “The Dark,” to the cool jeweled moon above the venue, to the fact that Morrison became the first ever rock star ever arrested on stage in this same city, you couldn’t help but wonder if it was all a happy coincidence. Either way, both men should be considered icons of their era and two of the greatest frontmen in rock n roll history.
Strike a Pose: Jim James of My Morning Jacket performing live in New Haven, CT 6/30/23
After headlining the Peach Festival the following night, My Morning Jacket will get a few weeks of rest before returning to the road at the Newport Folk Festival at the end of July. Fans in New York will have plenty to look forward to this fall, as the band will return to the beautiful Beacon Theatre for a three-night run celebrating the 20 anniversary of their album It Still Moves. The fall tour will also see My Morning Jacket’s highly anticipated debut at the Place Theatre in Albany.
Setlist:The Dark *, Compound Fracture, Circuital, Anytime, I’m Amazed, Sooner*, Least Expected, Love Love Love, One Big Holiday, Steam Engine, Feel You, Victory Dance, Cobra (Pt 1) > Wordless Chorus > Cobra (Pt 2) > Wasted > Cobra (Pt 3) > Touch Me I’m Going to Scream Pt. 2, Holdin On To Black Metal
Encore: Old September Blues* > Sleep Walk **, Spring (Among the Living), Mahgeetah.
The Peach Music Festival returned to Montage Mountain for its 11 year in a row showcasing headlining acts like My Morning Jacket, Ziggy Marley, Les Claypool, Umphrey’s McGee, JRAD, Goose, and many more. Along with music veterans were a large number of newer bands such as Dogs in a Pile, Thumpasaurus, Andy Frasco, Brown Eyed Women, & much more.
The festival takes place on a ski slope/water park. The trek up the mountain to camp or even between stages is physically demanding, but the leisurely vibe of the waterpark provides much needed relaxation.
Security was definitely beefed up this year, probably due to the recent shooting at an EDM festival on the west coast. There were dogs sniffing for explosives and some nonsensical rules enforced by security. The photo pit was entirely too small and quite dangerous. I scraped my legs on metal bars many times trying to maneuver in there around a slew of other photographers. We maintained civility in the pit, everyone was very kind and respectful.
The first day started off with Friends of Brothers followed by Thumpasaurus who played a very energetic set to get the crowd going. Next up was Twiddle, opening up with funky favorite “Jamflowman.” The band also performed the fantastic “Slipping in the Kitchen” and heart-touching “Out in The Cold.” The first night concluded with two monstrous sets of Goose. Their set started with “Feel it Now,” showcasing Rick Mitarotonda’s vocals. Their first set ended with “Butter Rum,” and the set was filled with clever improvisation and classic Goose jams. The second set featured “Fish in the Sea,” a Fat Freddy’s Drop cover, “Red Bird,” “Hollywood Nights,” a Bob Sager cover, and concluded with “Thatch.” “Hollywood Nights” had everyone in the house grooving and “Red Bird” featured some tasteful solos.
On Friday all three stages were open and the day was packed with music! Trouble No More brought out Daniel Donato to sit in with them, playing a full set of Allman Brothers tunes including an incredible “Blue Sky” and a shred-filled “Whipping Post” to close out the set. Dogs In a Pile are quickly getting popular and they packed the Mushroom Stage with dancing fans. They started and ended with “Wipeout” and played a masterful “Jack Straw.” Umphrey’s McGee played a heavy set that had the main stage raging, with songs like “Remind Me” and “Escape Goat.” Tauk played an incredibly energetic set with the help of the ever-talented Kanika Moore on vocals. Ween was up next with a great set filled with exceptional vocals and guitar solos, spanning 25 songs.
Fans were going crazy for favorites like “Roses Are Free” and “Piss Up a Rope.” LP Giobbi played a two-hour set of Grateful Dead house remixes which was very danceable but left fans with mixed reactions. Due to a food vendor’s propane tank exploding, the pathway to the Mushroom Stage was temporarily blocked off for about an hour. When security finally figured out a path around, I had made it for the last hour of Daniel Donato’s Cosmic Peach which was much more Lotus-like jamtronica rather than the country vibe I was expecting.
Day three was epic. Circles Around the Sun played an incredibly funky, spacey set with Mikaela Davis on the harp. Andy Frasco is quite the entertainer. This year they put him on the main stage, and that wasn’t going to stop him from stage surfing. There was a guy being held up by the crowd on a board while he was throwing jello shots into the crowd via slingshot. Then it was Andy’s turn, he crowd surfed from the stage all the way to the lawn! The set included sit-ins with Dogs in a Pile, Mike Dillon, & Mihali as well as raging covers of “Teenagers” by My Chemical Romance and “Ramble On.” The energy was high and Mike Gordon delivered with his band playing new songs off his album like “Guilty Pleasures,” “Mull,” and crowd favorites “Cities,” as well as a raging “Carini” to close out the set. The place was going wild.
Les Claypool played an epic set including Pink Floyd’s Animals album in its entirety with masterful solos by Sean Lennon. Les wore a pig mask for a song and a disco ball helmet on “Whamola” to close out his set. My Morning Jacket played an absolutely rocking set with incredible vocals by Jim James including a Beatles cover of “The Ballad of John & Yoko” and a Rolling Stones cover of “Happy”. The place was lit up like a giant disco ball and everyone was dancing hard. Australian Pink Floyd put on a spectacle, playing Dark Side in full with three incredible female vocalists doing the vocal parts in “Great Gig in The Sky.” They covered favorites like “Wish You Were Here” and “Comfortably Numb” as well as digging deep in the archives with “High Hopes” and “See Emily Play.” Their stage antics included a giant teacher monster the size of the stage during “Another Brick In The Wall” as well as a giant inflatable bouncing Kangaroo.
The final day had come but it wasn’t over yet. Ghost Light played a packed set at the Mushroom Stage including the very catchy “Keep Your Hands to Yourself.” Tom Hamilton would later return to the Main Stage to play an electric set that had every deadhead grooving on their feet. This featured crowd favorites like “Shakedown Street,” “Hell In a Bucket,” “I Need a Miracle” and a Jack Straw to close out the set that had Tom Hamilton shredding a solo like a madman! Rain delayed Duane Betts & Palmetto Motel since the Mushroom stage is uncovered, but they eventually got around to playing an incredible set featuring a cover of his father Dickey Bett’s “Blue Sky.”
Ziggy Marley was up at the main stage keeping the energy very…high. This included Bob Marley songs like “Jammin” and “War” as well as originals like “Look Who’s Dancing.” There were some rumors going around about Tedeschi Trucks Band not playing that night, but boy did they prove us wrong. The crowd was a bit tired at this last set but still going strong. The combination of Derek’s masterful shredding, Susan’s vocals, and their diversely talented big band proves to be a true powerhouse. Their set included covers like the opener “Woman to Woman” by Joe Cocker and “Dreams” by the Allman Brothers as well as many originals like the epic “Midnight in Harlem.” The band came back out for a massive encore ending with “Space Captain” a Matthew Moore cover that featured a dueling drum solo and a guitar solo by Derek that almost blew the roof off.
This festival is filled with incredible music and loving fans. Both old and young are happy to see music veterans they love and discover new younger bands. With a gathering so big on a ski slope is logistically difficult and there will always be some hiccups, but this year went off rather smoothly aside from maybe one small food vendor explosion and a very long shuttle line on the last day. Other than that everything was more than Peachy and filled with respectful people for the most part. In conclusion, I’ll leave you with a lyric from an Allman Brothers song I recently discovered I love called”Blue Sky.” “You’re my blue sky, you’re my sunny day. Lord, you know it makes me high when you turn your love my way.” Another Peach Fest is in the books, see you on the mountain next time!
Ziggy Marley is currently hitting 19 dates around the country with the Tedeschi Trucks Band. Reggae listeners know and love Ziggy, this listener included. His music was somewhat lost on the crowd at SPAC that evening. There were only sporadic dancers through the crowd grooving to Ziggy’s roots flavored reggae. Ziggy Marley and the Tedeschi Trucks Band continue their tour through August 13 with Trombone Shorty & Orleans Avenue as their special guest.
Photos by Derek Java
Setlist: Rebellion Rises, Beach in Hawaii, Dragonfly, The Lucky One, Be Free, Personal Revolution, Wild and Free, Circle of Peace, See Dem Fake Leaders, Justice / Get Up, Stand Up, We Are the People, Love Is My Religion, Is This Love
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 Gozer and Grandstand Jockeys.
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.
Gozer-“The Beast That Lies”
Gozer are a band also from Albany, consisting of members Mykah Dillenger, Sean Murphy, Nick Kossor, and Seth Maset. They are an original hard rock band and music contributors to various podcasts/movies. Their track “The Beast That Lies” from their March 2023 release The Far Realm will be played on EQXposure.
Grandstand Jockeys-“Change”
Grandstand Jockeys is a group from Waterford, New York, combining hard-edge rock with pop sensibilities. Their EP Place is out now, and their song “Change” from the EP will be played on EQXposure.
The CGI Rochester International Jazz Festival finished out another marathon nine days, inviting well over 200,000 music fans into downtown Rochester to enjoy over 300 sets of exceptional music in 19 different venues and outdoor stages. It was, and always is, a glorious slog, tiring, but fruitful and exhilarating. NYS Music was there absorbing as much as we possibly could.
At just about the midway point of the long haul, Christian Sands sat down at the baby grand in the intimate, beautifully wood-paneled and acoustically near perfect Hatch Hall. Seated at the bench ready to launch into his hour set he first addressed the crowd, “What I love about solo piano is, the possibilities are endless.” But that could be said about jazz in general, and this festival certainly exhibited that. Sands would proceed to take that piano for a ride through originals like “My Mother” and deconstructed covers like The Beatles’ “Blackbird,” adding bits of electronics and recordings here and there for an enthralling hour.
The very next night he would sit at the piano in the larger but equally beautiful Kilbourn Hall, this time joined by Marvin Sewell on guitar, Ryan Sands on drums and Isaac Levien bass for a set as a quartet. Possibilities? Still endless, as they frayed the edges of the music, finding gorgeous spaces in the drifting in and out of pieces.
The Rochester International Jazz Festival has run on it’s aphorism, “It’s not who you know, it’s who you don’t know.” But after 20 years of introducing festival-goers to what’s what in the world of jazz and music, they “know” a thing or two these days. Perhaps it’s time to shift the thinking to, “It’s who you know, and how well you know them”? Sands himself was returning from his sets in 2018 and in both cases gave the opportunity to see him both solo and with his band. People, then, through the festival, are able to see artists grow and shift through the years. They can also get unique perspectives difficult to obtain elsewhere, such as seeing Sands play solo and as a quartet in consecutive days.
Appropriately, the 20th Anniversary lineup included some of the festival’s top returning artists. No one in Rochester needed to be introduced to Grammy-winning singer Catherine Russell when she took the Theater at Innovation Square stage in her eighth Rochester International Jazz Fest visit. Nor did anyone have any doubt who Trombone Shorty was when he wrapped up the festival with another packed show at Parcel 5 with his band Orleans Avenue. He was also making his eighth visit, after debuting at the Big Tent in 2010. At the same venue his cousin, Glen David Andrews, introduced himself to Rochester this year and wowed the crowd with a similar formula of nine parts leading a street party and one part blowing his trombone. Another fest favorite on the rise?
Scottish sax man Tommy Smith came back for his ninth festival, appearing through the years solo, in various duos and as a sideman. He returned with fellow Scot pianist Peter Johnstone for some sets of continuous improv at Hatch Hall. Smith’s searing horn weaving through Johnstone’s keys work for some magnificent and endlessly intriguing interplay. They worked the “Happy Birthday” theme into the improv, dedicated to the festival’s anniversary, a message that couldn’t have come from a more appropriate source.
But perhaps no artist has become more embedded in the fabric of the Rochester International Jazz Festival than guitarist Bill Frisell, returning for the tenth time this year. With Frisell, the more you know him, the more you love him. It’s a thrill to bear witness to each and every set, listening to his trio tease apart familiar themes in new and exciting ways each time, his distinctive tone ringing through your head. They fold melodies into an origami, creating dimension where there was none, different points coming together, wrapping atop each other in beautifully unsuspected ways. Their performance of “You Only Live Twice” that closed the early set, brought together all of these elements and then some, a highlight of this year’s visit.
Guitarist Charlie Hunter took a different path, premiering at the festival with his trio in 2006, returning last year as a sideman for vocalist Kurt Elling and again this year as a sideman fostering the young talent in Victoria Victoria, a project from soul singer Tori Elliott. Hunter was more than happy to give Elliott the spotlight though he did carve out some space to show off some of his signature guitar/bass chops.
Lionel Loueke made his third appearance at the festival, appearing with Gretchen Parlato at Kilbourn Hall, to perform material off their latest release, Lean In. They met 22 years ago, the same year the festival began, at their auditions for the Thelonious Monk Institute of Jazz. There they performed for a panel of Wayne Shorter, Herbie Hancock and Terrance Blanchard. And for their festival set, they played their interpretation of Shorter’s “Juju,” an assignment way back when by Blanchard himself. The rest of the set was filled with the joyous, melodic and very rhythmic pieces from their album. Loueke’s unique guitar and rhythmic vocals, Parlato’s beautiful scatting and singing, coming together in a one-of-a-kind enchanting dance. Another special set inside the hallowed Kilbourn Hall for sure.
Bruce Hornsby returned to the Rochester International Jazz Festival after headlining in 2016, this year opening the Parcel 5 stage that Trombone Shorty would burn down four nights later. Even if it were his first festival, with longtime hits like “Mandolin Rain” and “The Way It Is,” and a stint with the Grateful Dead, this was a man who needed no introduction. Still, he tried to appease the “jazz” crowd with a jazz-aesthetic in songs like “Sneakin’ Up on Boo Radley” and “Spiderfingers.” Hornsby and his band The Noisemakers hit that aesthetic even more so in the way they handled the material, stretching it in new and interesting ways, adding riffs and themes making the familiar, like “End of the Innocence,” feel fresh and new. The “possibilities are endless.”
Drummer Mark Guiliana first made it to the festival in Rochester as a member of Avishai Cohen’s band 20 years ago, and has since returned in various groups. But this year he came for the first time as a leader. His quartet, featuring Jason Lindner on piano, Chris Morrissey on base and Jason Rigby on tenor sax, blasted through their set at a packed Christ Church. Each instrument took on a life of its own, telling its own story. Yet somehow, the sounds magically worked together to create a cogent cacophony, sometimes quietly, sometimes with ferocity. The crowd, generally fleeting at this festival, off to capture other overlapping sets, were glued to the pews, stunned and delighted. The church remained packed to the last notes.
Of course, in the ever burgeoning world of jazz, there is always room for discovery and there were plenty of newcomers to fill in the “it’s who you don’t know” bucket. Matthew Whitaker and his group took the familiar for some unfamiliar rides, adding his spins to everything from Brubeck’s “Take Five,” to Eddie Harris’s “Freedom Jazz Dance,” and Chick Corea’s “Spain.” Whitaker flipped his playing between piano, synthesizer and B3 organ effortlessly, bringing new energy and fresh perspectives to some well-worn material.
Oslo’s Oddgeir Berg Trio provided the yearly Nordic discovery at the festival. A melodic and very tight keys trio, they added elements of rock music to some at-times chaotic and schizophrenic pieces, making for a very intriguing and satisfying set. Guitarist and vocalist, Albino Mbie, from Mozambique, brought an absolute melting pot of a band, representing Brazil, Cuba, Panama and the U.S., single-handedly fulfilling the “International” portion of the festival’s name. Mbie led the band through his sunny African soul music with slick guitar work and excellent vocals, including a fully vocalized drum solo. Guitarist Olli Hirvonen, native of Finland but based in Brooklyn, brought a trio that was more instrumental rock than fitting into any preconceived jazz sect, falling into the “endless possibilities” category. Tough to categorize and tough to describe, their sound combined elements of Explosions in the Sky with Pat Martino, soaring and cinematic with splashes of mind-melting fusion.
South African pianist Nduduzo Makhathini made his Rochester International Jazz Festival debut with Francisco Mela on drums and Zwelakhe Duma Bell La Pere on bass. Makhathini gave the piano a full-body workout, slamming his Nike high tops on the sustain pedal with gusto, filling Kilbourn Hall with notes echoing and reverberating long after their intended moment. The pieces found a groove in textures more than in melody, bass, drums and piano equally contributing to the resulting tapestries. Makhathini broke from the music for a couple short lessons on the importance of music in South African history and culture, and his philosophies behind his music, lending an extra layer of importance to an already highly elevated live experience. He doesn’t compose music, rather he “taps into sounds that already exist in the universe.” No wonder then that the “possibilities are endless.”
Eastbound Jesus has recently released its new single, “Fly Away.” Recorded in Salem, NY, the piece retains a classic indie feel with masterfully combined instrumentals, particularly through its many guitarists (and one banjoist). The single’s release coincides with the announcement of this year’s Eastbound Throwdown in September.
The band is made up of bassist Dave Wright, electric guitarist Zack Infante, electric guitarist Andrew Lynch, acoustic guitarist, and vocalist Adam Brockway, drummer and vocalist Carl Anderson, as well as banjoist and vocalist Luke Anderson. The song was produced and mixed by Jimi Woodul.
“Fly Away” starts with a bit of banter and the tuning of various instruments before the drums bring the full force of the song. It’s a classic move with a bit of a cliffside opening, a twist on something like the beginning of Lynyrd Skynyrd’s “Sweet Home Alabama.” It adds a bit of indie charm to the introduction and brings the song to earth.
The switch between the verse and the chorus is often signaled by a switch between the focus on banjo and bass in the verse and the rise of electric guitar in the chorus. The drums are, beyond the bombastic beginning, relegated to the background of the piece, providing a good steady beat for the rest of the song to rely on.
The chorus in particular is very easy to sing along to, with its rise in everything that had made the verse great in combination with clear and simple lyrics. Wanting to “Fly Away” is something that everyone can get behind, and it’s clear why Eastbound Jesus decided to record it after playing it live for a year.
Eastbound Throwdown on Sept. 8 and 9, 2023 at the Irwin Family Farm in Salem, NY. Friday, Sept. 8 will feature The A.M.s, The National Reserve, Dirty Blanket, Eastbound Jesus, The Mallett Brothers Band, and Turf n’ Turf. Saturday, Sept. 9 will feature Dan Johnson, Black Mountain Symphony, Brule County Bad Boys, Beg, Steal or Borrow, Kat Wright, Fireside Collective, Eastbound Jesus, as well as Saints & Liars.
For more information and tickets for Eastbound Throwdown, check out their page on eventbrite.com. For more on Eastbound Jesus, take a look at their website. The “Fly Away” single is available on Spotify.
