Category: Features

  • In Focus: Ruel brings the “4th Wall World Tour” to Terminal 5

    Ruel, the prodigious Australian singer-songwriter, took the stage by storm at New York City’s renowned Terminal 5, captivating the crowd with his soulful melodies and undeniable talent. This highly anticipated show marked a milestone in Ruel’s career as he embarked on the East Coast leg of the tour. From the moment the lights dimmed and the first notes filled the air, it was clear that this night would be one for the books. The energy in the venue was palpable as fans eagerly awaited Ruel’s remarkable performance, ready to be swept away by his mesmerizing voice and magnetic stage presence.

    Sam MacPherson, the incredibly talented singer-songwriter, mesmerized the crowd with his captivating opening performance at Terminal 5 in Manhattan. As he stood in the center of the stage belting out soulful vocals and heartfelt lyrics, he effortlessly commanded the stage, leaving a lasting impression on the audience. MacPherson’s infectious energy and authentic musicality created an intimate and introspective atmosphere, solidifying the connection between performer and listener. Blending elements of folk, pop, and soul, he showcased his versatility as an artist, setting the perfect tone for the night ahead and leaving the crowd hungry for more incredible music. It was a true testament to his talent and a memorable start to an unforgettable evening of live music.

    Ruel, the prodigious 20-year-old singer-songwriter hailing from Australia, has taken the music industry by storm with his undeniable talent and soulful artistry. At a remarkably young age, Ruel’s journey embarked on a meteoric rise when he captured the world’s attention with his debut single “Golden Years” in 2017. This captivating release not only showcased his remarkable vocal prowess but also showcased his ability to connect with listeners on a profound level. 

    As he continued to ascend, Ruel’s magnetic presence and introspective songwriting captivated audiences around the globe. With each subsequent release, including his EP Ready in 2018, Ruel solidified his position as a musical prodigy, effortlessly blending genres and delivering poignant lyrics that resonate deeply with fans. 

    Drawing inspiration from his own experiences, Ruel fearlessly explores themes of love, growth, and self-discovery, forging a deeply personal and relatable connection with his audience. With a maturity beyond his years and an unwavering commitment to his craft, Ruel stands poised to leave an indelible mark on the music world, captivating hearts, and minds with his extraordinary talent and unwavering authenticity.

    Ruel’s “4th Wall Tour” reached its pinnacle at Terminal 5 in New York City, delivering an awe-inspiring performance that left the audience in a state of pure musical euphoria. As the anticipation built, the crowd erupted with excitement, ready to embark on a sonic journey led by the prodigious Australian singer-songwriter.

    From the moment Ruel took the stage, the energy was palpable. Opening with the powerful anthem “GROWING UP IS ____,” he immediately captured everyone’s attention with his soulful vocals and magnetic stage presence. The audience was fully immersed in his world as he flawlessly transitioned into the introspective “YOU AGAINST YOURSELF,” where his heartfelt lyrics resonated deeply with fans.

    Throughout the night, Ruel showcased his versatility and artistry, effortlessly weaving between his own captivating tracks and surprising covers. The crowd erupted with joy as he delved into unexpected renditions of the Black Eyed Peas’ “I Gotta Feeling” and One Direction’s “Night Changes,” infusing them with his own unique style and charm.

    As the show progressed, Ruel’s connection with his fans became undeniable. The venue transformed into a collective sea of voices singing along to every word, creating a powerful sense of unity and shared experience. The atmosphere reached its peak during the poignant performance of “Younger,” a heartfelt song that resonates with audiences of all ages.

    The highlight of the evening came with the spine-tingling rendition of “Painkiller,” where Ruel’s soulful voice soared effortlessly, eliciting a wave of emotions from the crowd. The synergy between Ruel and his band was evident, as they flawlessly executed each song, transporting the audience into a world of musical bliss.

    As the final notes reverberated through the venue, Ruel took a moment to acknowledge the incredible team behind the “4th Wall Tour.” With a list of credits displayed on the screens, from the tour crew to the guitar and PR companies involved, it was a testament to the collaborative effort and dedication that made the tour possible.

    Ruel’s show at Terminal 5 was a tour de force, a testament to his undeniable talent, and a testament to the unwavering support of his fans. It was an unforgettable night filled with electrifying performances, heartfelt moments, and an undeniable connection between the artist and the audience. As the lights dimmed and the crowd dispersed, the echoes of Ruel’s unforgettable performance lingered in the hearts and minds of everyone fortunate enough to be part of this musical journey.

    Ruel Setlist: GROWING UP IS ____, YOU AGAINST YOURSELF, SOMEONE ELSE’S PROBLEM, IF AND/OR WHEN, MUST BE NICE, I Gotta Feeling (Black Eyed Peas cover), Night Changes (One Direction cover), WISH I HAD YOU, golden hour – Ruel Remix (JVKE cover), Flames (SG Lewis cover), SET YOURSELF ON FIRE, SITTING IN TRAFFIC, Dazed & Confused, Younger, Painkiller, I DON’T WANNA BE LIKE YOU

    In terms of upcoming shows, “The 4th Wall World Tour” will be finishing up the North America portion in Los Angeles on July 7th, but the rest of the tour picks back up in August down in Santiago, Chile.

    Updates for any future Ruel shows can be found on socials and his website. The same goes for Sam MacPherson, and you can find his socials and website linked here.

  • Remain in Light Tour Brings Talking Heads Classics to Capitol Theatre

    Original members of Talking Heads, Jerry Harrison & Adrian Belew, along with Cool Cool Cool played an incredible show at the Capitol Theatre on Sunday, June 25, filled with Talking Heads favorites on a tour highlighting Remain in Light. Cool Cool Cool performed a set of original music before accompanying Jerry & Adrian for a set of Talking Heads songs.

    Cool Cool Cool started the night off with some original songs which proved to be tight and groovy. Leading the way on vocals were Shira Elias & Sammi Garett, who provided a very upbeat and fun feel. They had great stage presence and crowd control. Notably this horns section is always incredibly tight and spectacular, it consists of Chris Brouwers, Greg Sanderson, & Josh Schwartz who also took lead vocals on a few songs.

    The band opened up with “Psycho Killer” which sent the place dancing. The set included fan favorites such as “Crosseyed & Painless,” “Cities,” “Once in a Lifetime,” and concluded with “Take Me To The River.” The show was high energy filled with masterful musicianship and highly psychedelic peaks in true Talking Heads Style.

    The audience applauded, begging for more. The band returned to play an incredible encore which included “Drugs” & “The Great Curve.” This was the last stop of an lengthy tour which spanned many “Cities” and was truly “Once in a Lifetime”.

    Setlist: Psycho Killer, Crosseyed & Painless, Houses in Motion, I Zimbra, Borna Under Punches, Cities, Rev It Up, Slippery People, Thela Hun Ginjeet, Once in a Lifetime, Life During Wartime, Take Me to the River

    Encore: Drugs, The Great Curve

  • Salt-N-Pepa Celebrate 50 Years of Hip Hop at NYS Fair

    Salt-N-Pepa will make their third appearance at the NYS Fair on Opening Day, Aug. 23, celebrating the 50th anniversary of hip hop.

    Salt-N-Pepa NYS Fair

    Cheryl James (also known as “Salt”) and Sandy Denton (also known as “Pepa”) first linked up in the mid-1980s when they were both Queensborough Community College students and Sears colleagues in Queens. Their coworker – and Salt’s boyfriend at the time – asked them to rap on a song he was producing. That song, “The Show Stopper,” became an underground hit and landed on the national R&B charts, leading to a record deal and the duo’s debut album, Hot, Cool & Vicious.

    Since then, Salt-N-Pepa has received several Grammy awards, including the Lifetime Achievement Award in 2021, as well as a Lifetime biopic. Some of their hits include “Push It,” “Shake Your Thang,” “Shoop” and “Whatta Man.” Through party anthems, big beats, and pro-feminist lyrics, the group broke down barriers for women in hip hop and were one of the first rap artists to experience success in the pop music realm and played a big role in solidifying the acceptance of rap and hip hop in the mainstream music world.

    Joining in the celebration of hip-hop’s 50th anniversary, Salt-N-Pepa will pay homage to their classic hip-hop roots, while entertaining the audience all night long. Don’t miss the group perform at Chevy Court at the NYS Fair on Aug. 23 at 6 p.m. For more information about the Fair, visit here.

    New York State Fair Lineup

    Chevy Court

    Aug. 23 at 1 p.m.- Chubby Checker

    Aug. 23 at 6 p.m.- Salt-N-Pepa

    Aug. 24 at 6 p.m.- Quiet Riot

    Aug. 26 at 1 p.m.- Peppa Pig Live! Peppa Pig’s Adventure 

    Aug. 26 at 6 p.m.- Julio Iglesias Jr. 

    Aug. 27 at 1 p.m.- The Prodigals

    Aug. 27 at 6 p.m.- Matt Stell

    Aug. 28 at 1 p.m.- Herman’s Hermits starring Peter Noone

    Aug. 28 at 6 p.m.- Anne Wilson

    Aug. 29 at 1 p.m.- Tommy James and the Shondells

    Aug. 29 at 6 p.m.- Bret Michaels

    Aug. 30 at 1 p.m.- Danielle Ponder

    Aug. 30 at 6 p.m.- Chapel Hart

    Sept. 1 at 6 p.m.- The Fray

    Sept. 2 at 12-9:45 p.m.- JAMS Funk Fest Featuring: Brick (6:45 p.m.) & Dazz Band (8:15 p.m.)

    Sun. Sept. 3 at 1 p.m.- Disney Junior Live On tour: Costume Palooza

    Sept. 4 at 12 p.m.- The High Kings

    Suburban Park

    Aug. 23 at 2 p.m.- Steven Page

    Aug. 23 at 8 p.m.- Lainey Wilson

    Aug. 24 at 8 p.m.- Theory of a Deadman

    Aug. 26 at 8 p.m.- George Thorogood and the Destroyers

    Aug. 27 at 2 p.m.- Boys World

    Aug. 28 at 8 p.m.- REO Speedwagon

    Aug. 29 at 8 p.m- Tyler Hubbard

    Aug. 30 at 8 p.m.- Ann Wilson

    Aug. 31 at 8 p.m.- Ludacris

    Sept. 1 at 8 p.m.- J.I.D.

    Sept. 2 at 8 p.m.-Quinn XCII

    Sept. 3 at 8 p.m.- Yung Gravy and bbno$

    Sept. 4 at 6 p.m.- Skid Row

  • In Focus: The Flaming Lips Bring Yoshimi to Cleveland

    The Flaming Lips delivered an unforgettable performance at the Agora Theatre in Cleveland on June 11. With two mesmerizing sets, they took the audience on a journey filled with nostalgia, energy, and musical brilliance. Wayne Coyne serves as the bands psychedelic ringmaster, constantly pulling things out of his bag of tricks or egging the crowd on to be as silly and to have as much fun as possible. The Flaming Lips treat every concert like it’s the last one on Earth, because you never know, it could be.

    In their first set of the night, The Flaming Lips paid homage to their iconic album Yoshimi Battles the Pink Robots by performing it in its entirety. The crowd was immersed in a sonic adventure, as the band flawlessly captured the essence of the album’s whimsical melodies and thought-provoking lyrics. Accompanied by mesmerizing visuals, their performance breathed new life into the beloved tracks, evoking a wave of both nostalgia and renewed appreciation.

    As the night drew to a close, The Flaming Lips left the stage, but their impact lingered in the hearts and minds of everyone present. Their two-set performance was a testament to their artistic vision, their ability to captivate and transcend boundaries, and their unwavering commitment to creating a transformative live experience. The Flaming Lips once again solidified their status as masters of their craft, leaving the audience with an insatiable craving for more of their musical magic.

    Set 1: Fight Test, One More Robot/Sympathy 3000-21, Yoshimi Battles the Pink Robots, Pt. 1, Yoshimi Battles the Pink Robots, Pt. 2, In the Morning of the Magicians, Ego Tripping at the Gates of Hell, Are You a Hypnotist??, It’s Summertime, Do You Realize??, All We Have Is Now, Approaching Pavonis Mons by Balloon (Utopia Planitia)

    Set 2: Sagittarius Silver Announcement, She Don’t Use Jelly, Mother I’ve Taken LSD, How??, Always There, In Our Hearts, Feeling Yourself Disintegrate, Assassins of Youth, Will You Return / When You Come Down, Borderline(Madonna), Pompeii Am Götterdämmerung

    Encore: My Cosmic Autumn Rebellion, A Spoonful Weighs a Ton, Race for the Prize

  • Scorpion Tea Releases Death-Rock Debut Single “Scarlet Misquote”

    NYC-based death-rock band Scorpion Tea has just released “Scarlet Misquote,” the first single from the band’s upcoming self-titled album. Accompanying the new single is a music video, overall just giving an introductory glimpse into the band’s full-length debut anticipated to drop October 27th

    Scorpion Tea Releases Death-Rock Debut Single “Scarlet Misquote”

    In the first half of the song, ODowd’s tight snare roll rushes the listener into Fern Puma’s poshly-distorted bass. Seconds later, Christian Cruz’s barbed guitar cuts in like a hot knife. Soon after, vocalist Anthony Diaz chimes in with his declamatory lyrics and it’s apparent that Scorpion Tea is a special blend of death rock intoxication. The song’s construction proves to be the perfect introduction to the new hot and upcoming band. 

    Scorpion Tea Releases Death-Rock Debut Single “Scarlet Misquote”

    The band stated, “During our time in LA, recording the album, Edley introduced us to the whimsical, yet dead serious routines of the legendary choreographer Bob Fosse.” explains the video’s director, Scorpion Tea vocalist Anthony Diaz. The music video explores what happens when a single baleful missive causes one’s entire understanding to unravel.  

    Diaz continues, talking about the dark aesthetic of Fosse’s work that resonated with the band, “The dancers in the piece seemed mesmerized, their strings pulled by an unseen force. I wanted to incorporate this idea with the hypnotic quality and longing breathlessness of ‘Scarlet Misquote,’ while still drawing on Scorpion Tea’s style of brightside-facing hilarity.” 

    Loaded with new content regularly (most unavailable anywhere else), the band’s ‘Dig Your Own Grave’ pass is the ultimate limited edition collector’s item for the fortunate few. 

    Scorpion Tea Releases Death-Rock Debut Single “Scarlet Misquote”


    Pre-order the limited ‘Dig Your Own Grave’ pass and get “Scarlet Misquote” now plus: 

    • early access to the next two Scorpion Tea singles 
    • unreleased studio cuts 
    • remixes 
    • behind the scenes video 
    • exclusive artwork 
    • VIP access to select events 
    • and more 
    https://soundcloud.com/givetakelife/sets/scorpion-tea-scarlet-misquote/s-bi4BPd6dNml?si=650ccea083174d06b56a12ca1cae6d74&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

    Listen to “Scarlet Misquote” by clicking the link here

  • Darius Rucker Squares off with Mother Nature at CMAC

    With their second big show of the year in three days, CMAC dodged a huge storm by Mother Nature to let Darius Rucker bring his “Starting Fires” tour into the Finger Lakes region. Darius making a return stop at CMAC after playing here in 2021 made it a night worth remembering. This was the third date of his 20 city “Starting Fires” tour. 

    dariusruckerCMAC

    Up and coming act Drew Holcomb & the Neighbors brought their contemporary style of Nashville country to the stage as the opening act as Darius got things going around 9:15. 

    Darius Rucker opened the night with “Have a Good Time” followed by a crowd favorite “Beers & Sunshine” and then “Drinking & Dialing.”

    Paying tribute to John Mellencamp, Rucker then did his version of “Pink Houses” that was very well received.  For Hootie & the Blowfish fans, Darius also sang some of his old classics, “Hold my Hand”, and “Let Her Cry.”

    dariusruckerCMAC

    Since leaving the Grammy Award-winning Hootie and the Blowfish, whose debut album “Cracked Rear View remains in the top 10 albums sold of all time, Darius has become one the top country stars today.  Since releasing his first country LP in 2008 Darius has four # 1 albums on the Billboard Country charts, plus 10 #1 singles. 

    For those at CMAC waiting to hear his biggest country hit “ Wagon Wheel” they had to wait till the end of the night as it was the third of three encore songs which came after “Valerie“ and “ Hands on me.”

    The “Starting Fires” tour continues with shows July 13th & 14 with shows at Q Casinos Backwater Stage in Dubuque, Iowa and Windy City smokeout respectively. For more info on Darius turn to his website at www.dariusrucker.com 

  • New York Series: Symbolizing Change in Taylor Swift’s “Welcome to New York”

    Taylor Swift is unquestionably one of the biggest artists in the world. Her most recent album, Midnights, sold over 1 million units in its first week and tickets to her Eras Tour are virtually impossible to get. One fact that even the most casual Swiftie knows, however, is Swift’s love for New York City, which she shows in her song “Welcome to New York.”

    welcome to new york taylor swift

    Transition to Pop

    Swift cited her move to the city as the inspiration behind her 2014 album 1989. This is seen with the opening track. The upbeat song is the introduction to Swift’s first completely pop album. 1989 came after only experimenting with pop music in her previous country albums.

    “With my last album Red, I kind of had one foot in pop and one foot in country, and that’s really no way to walk and get anywhere,” Swift said in a 2014 interview. “If you want to continue to evolve, I think eventually you have to pick a lane, and I just picked the one that felt more natural to me at this point in my life.”

    welcome to new york taylor swift
    “We Are Never Ever Getting Back Together,” the lead single for Red, lead to Swift’s first No. 1 on the Billboard Hot 100

    While the pop singles from Red were a success, 1989 was Swift completely jumping into pop music, a big risk. At the time, very few artists successfully transitioned to a completely different genre. Thus, the opening track was incredibly important and needed to match the tone of the album. Swift explained that she chose “Welcome to New York” because the city is such an important part of her life. 

    “The inspiration that I found in that city is kind of hard to describe and hard to compare to any other force of inspiration I’ve ever experienced in my life,” Swift said about the song. “It’s like an electric city and I approached moving there with such wide-eyed optimism and sort of saw it as a place of endless potential and possibilities and you can kind of hear that reflected in this music and in this first song especially.”

    “Welcome to New York” and Change

    Although the song has been criticized for its relatively simple and repetitive lyrics, many listeners fail to realize the more metaphorical meaning behind the song. While it is literally about how great New York City is, Swift also uses the location to symbolize change. 

    In the first verse, Swift sings, “Everybody here wanted something more/Searching for a sound we hadn’t heard before.” Here, she observes how New York City is known for being where people move to follow their dreams. One of those people is Swift herself, who previously spoke about how she dreamed about living in the city.

    The beginning of the chorus is the repetition of the line, “Welcome to New York, it’s been waitin’ for you.” This invokes the imagery of someone arriving and taking in the view of the city. Moving to New York to chase their dreams can also be seen as a turning point in a person’s life. This parallels Swift’s own turning point in her music career by transitioning from country to pop, something she previously only dreamed about which she also demonstrates in the chorus with the line, “It’s a new soundtrack, I could dance to this beat, beat forevermore.”

    Swift additionally uses New York City to symbolize change in her life in the second verse. She sings, “When we first dropped our bags on apartment floors/Took our broken hearts, put them in a drawer.”  In this line, she’s talking about how when she got to the city she left her past behind. In this context, the baggage she’s dropping off is her past country music about old heartbreaks. New York allows Swift to feel free from all of her previous issues.

    Juxtaposition of the Bridge

    This song is also an example of why Swift is known for her iconic bridges. While it doesn’t have the complicated lyrcism of the bridge of “cardigan,” Swift is able to embody the message of the entire song in four lines: “Like any great love, it keeps you guessing/Like any real love, it’s ever-changing/Like any true love, it drives you crazy/But you know you wouldn’t change anything, anything, anything.” This is the epitome of how Swift uses New York to represent change. However, it also spins the entire idea on its head at the same time.

    New York is a great love of her life. Swift personifies the city by describing how, like a person, it can be unpredictable and is always changing. However, while it symbolizes change in the song, the city itself is also a constant because it can’t leave her like a person can. Therefore, Swift is able to write lyrics that show how the city can both symbolize change and be a comforting constant in someone’s life.

    “Welcome to New York” Lyrics

    Walkin’ through a crowd, the village is aglow

    Kaleidoscope of loud heartbeats under coats

    Everybody here wanted somethin’ more

    Searchin’ for a sound we hadn’t heard before

    And it said

    Welcome to New York, it’s been waitin’ for you

    Welcome to New York, welcome to New York

    Welcome to New York, it’s been waitin’ for you

    Welcome to New York, welcome to New York

    It’s a new soundtrack, I could dance to this beat, beat forevermore

    The lights are so bright, but they never blind me, me

    Welcome to New York, it’s been waitin’ for you

    Welcome to New York, welcome to New York

    When we first dropped our bags on apartment floors

    Took our broken hearts, put them in a drawer

    Everybody here was someone else before

    And you can want who you want

    Boys and boys and girls and girls

    Welcome to New York, it’s been waitin’ for you

    Welcome to New York, welcome to New York

    Welcome to New York, it’s been waitin’ for you

    Welcome to New York, welcome to New York

    It’s a new soundtrack, I could dance to this beat, beat forevermore

    The lights are so bright, but they never blind me, me

    Welcome to New York (New York), it’s been waitin’ for you

    Welcome to New York, welcome to New York

    Like any great love, it keeps you guessing

    Like any real love, it’s ever-changing

    Like any true love, it drives you crazy

    But you know you wouldn’t change anything, anything, anything

    Welcome to New York, it’s been waitin’ for you

    Welcome to New York, welcome to New York

    Welcome to New York, it’s been waitin’ for you

    Welcome to New York, welcome to New York

    It’s a new soundtrack, I could dance to this beat

    The lights are so bright, but they never blind me

    Welcome to New York (new soundtrack), it’s been waitin’ for you

    Welcome to New York (the lights are so bright but they never blind me)

    Welcome to New York (so bright, they never blind me)

    Welcome to New York

    Welcome to New York

  • Wednesday I’m In Love: Night 2 Of The Cure’s MSG Residency

    The definitive band of the gothic rock genre – The Cure – swept through Midtown Manhattan this past week for a three-date residency at Madison Square Garden (MSG).

    Selling out arena after arena on the North American leg of their Songs of a Lost World Tour, a 34-date affair that the band embarked on in New Orleans, Louisiana back on May 10, The Cure have long since secured their legacy due to being one of the first alternative bands to break into the mainstream well over four decades ago. And as luck would have it, I found myself fortunate to provide coverage of The Cure’s second show in The Big Apple this past Wednesday evening, June 21.

    Robert Smith of The Cure | Photo: Michael Dinger

    The only constant member throughout the band’s storied history that began in West Sussex, England in 1978, frontman Robert Smith has been teasing since March of last year that new material, the first since their 13th studio album (4:13 Dream) was released nearly fifteen years ago, is on its way. Although fans of The Cure are still waiting for a 14th release from their beloved post-punkers, they are certainly satisfied with the progress Smith has been forging on a different front. Outspoken against Ticketmaster and their dynamic pricing model that has ticket prices fluctuating based on demand, and often to exorbitant levels, Smith fought back and guaranteed that for The Cure’s tour, tickets were only allowed to be resold at face value. And in an unprecedented response to the good fight that Smith fought for his fans, Ticketmaster issued partial refunds in mid-March to ticket holders for shows by The Cure to lessen the burden of add-on fees. Even The Cure’s tour merch was affordable, with t-shirts selling for only $25!

    Madison Square Garden | Photo: Michael Dinger

    Accompanying The Cure on all their US and Canadian dates are The Twilight Sad, a post-punk/indie rock quintet formed just outside of Glasgow, Scotland by vocalist James Graham and guitarist Andy MacFarlane as high school friends in 2003. The Twilight Sad and The Cure are no strangers to one another, as Smith handpicked the Scottish outfit to support The Cure back in 2016, which also included three shows at Madison Square Garden. The Twilight Sad are rounded out by Johnny Docherty (bass), Grant Hutchison (drums) and Brendan Smith (keyboards).

    James Graham of The Twilight Sad | Photo: Michael Dinger

    The 40-minute set kicked-off sharply at 8:00 pm with intensely thumping bass, before giving way to driving guitar, and eventually Hutchison’s pounding drums that introduced “Kill It in the Morning,” taken from their third studio album (No One Can Ever Know, 2012). At the song’s conclusion, Graham genuinely thanked the audience for being there and explained how it was such an honor for a “small band from a small town in Scotland” to be playing The Garden in New York City.

    With flashing strobes offering short glimpses of each band member in otherwise green, red and blue lighting, I was immediately taken aback by the intensity of their performance, particularly that of Graham. As the band delivered “Let’s Get Lost” and “VTr,” two tracks from their most recent studio album It Won’t Be Like This All the Time released in 2019, and fifth overall, I was transfixed by his stage persona. Particularly fascinated by Graham’s sharp gesticulating and bizarre mannerisms, as if he were possessed at times, I knew then what it must have been like to have witnessed Ian Curtis (Joy Division) perform live in the late-1970s.

    Andy MacFarlane of The Twilight Sad | Photo: Michael Dinger

    The Twilight Sad’s emblematic depth and darkness, incorporating goth despair and 90s industrial with catchy synth and grinding guitar, was prevalent for the duration of their 8-song set. Although I was unfamiliar with The Twilight Sad before tonight, it was not very difficult to get swept up by the emotional highs and melancholic lows that songs like “That Summer, at Home I Had Become the Invisible Boy” – the band’s very first single from 2007 and a nod to the film Stand by Me – and 2014’s “There’s a Girl in the Corner” could transport a listener to. As their newest fan, I cannot wait to see what these Scottish lads have in store for us during the remainder of 2023, and beyond.

    While only a recent fan of The Twilight Sad, I have been listening to The Cure since I was 14-year old boy growing up in coastal Connecticut. I do not remember exactly who introduced me to this band at the forefront of the new wave movement in 1986, but I still have a copy of one of the first compact discs that I ever bought, Staring at the Sea, a greatest hits compilation of singles that marked a decade since the band was founded, and a magnificent sampling of ‘The Cure sound’ that I continue to love 37 years later.

    Robert Smith of The Cure | Photo: Michael Dinger

    At approximately 9:15 pm, with the sound of rain and thunder playing over the house PA suddenly ceasing, the moment had arrived! One by one, the members of The Cure entered from stage left. The first was Jason Cooper who took to his stool behind the kit on an elevated riser at center stage. He was quickly followed by Reeves Gabrels (guitar), Roger O’Donnell (keyboards) and Perry Bamonte (guitar, keyboards) who assumed their respective positions as fans were going wild with excitement. Simon Gallup, a member of the band for all but three years of their history, strapped on his custom Schecter Ultra Spitfire bass as the entire arena held its collective breath until finally, Smith appeared from the dark shadows at the side of the stage.

    Simon Gallup of The Cure | Photo: Michael Dinger
    Reeves Gabrels of The Cure | Photo: Michael Dinger

    Clad in all black and donning a t-shirt depicting the famous Marilyn Monroe scene from the 1955 Billy Wilder film The Seven Year Itch, Smith wore his signature smeared red lipstick and black eyeliner as he internalized the grand spectacle that lie in front of him. For several moments, as his bandmates commenced the instrumental introduction to “Alone,” a new song that will be included on their yet to be released Songs Of The Lost World, Smith slowly walked from one end of the stage to the other, and back again. With clasped hands, he frequently paused at the edge of the stage apron as he gazed longingly into the upper levels of The Garden, a grateful expression across his face for the outpouring of support raining down on him.

    Jason Cooper of The Cure | Photo: Michael Dinger
    Roger O’Donnell of The Cure | Photo: Michael Dinger
    Perry Bamonte of The Cure | Photo: Michael Dinger

    With everyone in the house standing, classic tune after classic tune would be the overriding theme of the evening. 1989’s Disintegration made a particularly strong showing with prodigious renderings of “Pictures of You,” “Lovesong” and “Fascination Street.” The live staple “Burn,” a contribution by The Cure to The Crow’s 1994 motion picture soundtrack, featured Smith playing the penny whistle during the song’s intro. The main set was bookended with another newly recorded song from Songs Of The Lost World titled “Endsong.”

    Beginning at 10:45 pm, the first of two glorious encores comprised of five songs ensued. Masters of the melodic and atmospheric, especially during their extended, trademark instrumental intros, “A Forest” closed the first encore, procured from their second studio album Seventeen Seconds released in 1980. Renowned for a catalog of introspective alternative hits that always make it into The Cure’s live agenda, the whopping nine song second encore did not disappoint, to say the least! As midnight approached on the first day of summer in Gotham, the 29-song marathon gig came to an end with a triple threat of the choicest songs – “In Between Days” (The Head on the Door, 1985), “Just Like Heaven” (Kiss Me, Kiss Me, Kiss Me, 1987) and “Boys Don’t Cry,” the title track from their first compilation released in 1980.

    Madison Square Garden | Photo: Michael Dinger

    Over the course of the following week, the 2019 Rock & Roll Hall Of Fame inductees’ trek across North America will continue through Pennsylvania, Maryland, Georgia and Florida, with the tour finale slated for July 1 at the Kaseya Center in Miami, Florida. After a much needed respite for the duration of the summer, the English rockers will be back on the road beginning this fall, with a headlining appearance at Riot Fest in Chicago, Illinois (September 17), followed by another headlining gig at Festival Corona Capital in Mexico City (November 19). Their calendar remains full with six additional shows slated for late-November and early-December that will take The Cure to Peru, Argentina, Uruguay, Chile, Brazil, Paraguay and Columbia. And hopefully, not before too long, fans of The Cure will be treated to their first new music since 2008 with the arrival of Songs Of The Lost World in the coming months.

    The Twilight Sad Setlist: Kill It in the Morning > Let/s Get Lost > VTr > That Summer, at Home I Had Become the Invisible Boy > There’s a Girl in the Corner > I/m Not Here [missing face] > The Wrong Car > [10 Good Reasons for Modern Drugs]

    The Cure Setlist: Alone > Pictures of You > A Fragile Thing > A Night Like This > Lovesong > And Nothing Is Forever > Like Cockatoos > Burn > If Only Tonight We Could Sleep > Charlotte Sometimes > Push > 39 > Fascination Street > From the Edge of the Deep Green Sea > Endsong > Encore 1: I Can Never Say Goodbye > Want > Shake Dog Shake > One Hundred Years > A Forest > Encore 2: Lullaby > The Walk > Friday I’m in Love > Doing the Unstuck > Close to Me > Why Can’t I Be You? > In Between Days > Just Like Heaven > Boys Don’t Cry

    THE TWILIGHT SAD

    THE CURE

  • Stalking Gia Releases New Alt-Pop Single “Euphoria” 

    NYC-based alt pop singer/songwriter Stalking Gia has just released her newest hit single titled “Euphoria.” The song materializes aspects of art between online fantasy and Manhattan’s real-life nocturnal glow. 

    Stalking Gia Releases New Alt-Pop Single “Euphoria” 

    Gia writes, the song is “about the desire to find a deeper connection with someone and the fear of losing them.  The lyrics describe the struggle to break free from the monotony of everyday life and the search for something more…. A longing to escape the mundanity of their current situation and reach a new level of intimacy.” 

    At age 5, Gia had her first dose of the limelight when she starred as the child lead in one of Cheerios most globally successful commercials. She was a professional Broadway actor (alongside her friend, Nick Jonas) and Top 5 Disney Radio artist with songs featured in the movie “Another Cinderella Story” starring Selena Gomez. She then lent her voice to Popstar Barbie in the 2012 animated movie Barbie: The Princess and the Popstar, which was produced by Universal Studios and premiered on Nickelodeon.  

    As an independent artist in 2016, she released her debut single “Second Nature,” kickstarting her viral fame and gaining her over 13.2 million streams on Spotify. It was later sampled on the single “Wish U The Best” by Blackbear, an A-List Top 40 recording artist with 20 million Spotify monthly listeners. The two artists would later tour together and collaborate for their track “Miracles” which has earned over 4.9 million streams. 

    Last summer, she teased a demo on TikTok using the famous nursery rhyme “Oh My Darling Clementine.” It gained traction and after getting a positive response she went on to release a full version titled “saddest happy girl.” 

    From co-writing with other artists for their projects to creating her own “no rules” music, Stalking Gia is a sought-after name in the game; bicoastal between New York City and the music scene of Los Angeles. Since then, she has returned to releasing music independently and continues to gain a loyal fan base.  

    Listen to “Euphoria” by clicking the link here

    For more music by Stalking Gia, click the link here

  • Toad The Wet Sprocket has Good Intentions for Canandaigua

    Back in the day when Drakkar was the go-to scent for young men and the smell of clove cigarettes was the norm, Toad the Wet Sprocket was becoming a household name. On June 22, they brought their sounds to Lincoln Hill Farms, a small rustic backwoods venue just outside of Canandaigua.

    Opening up for TTWS was Marcy Playground. Back in 1996, Marcy Playground was riding the merry-go-round waiting for a big break. They were awarded that break when they were invited to tour with Toad. 27 years later, here they are on tour together again.

    Marcy Playground is fronted by John Wozniak, Shlomi Lavie on drums, and Dylan Keefe on bass. On this night, Keefe could not make the trip so Scot Alexander of Dishwalla filled in and crushed it as if he were in the band for years. Of course the fans knew every word to every song and came close to overpowering Wozniak’s voice on Sex And Candy.

    Setlist for Marcy Playground: Poppies, Pigeon Farm, Rock and Roll Heroes, Special, Saint Joe on the School Bus, Rebel Sodville, A Cloak of Elvenkind, Punk Rock Superstar, Wave Motion Gun, Sherry Fraser, Deadly Handsome Man, Sex and Candy, Star Baby

    Formed in the late 80s, Toad the Wet Sprocket is named after a Monty Python skit when the band needed a name so they could enter a talent contest. Although the band called it temporary and a joke, the name has stuck.

    Lead singer Glen Phillips smooth voice can transition into any style flawlessly, so it makes sense to see his style described as folky and alt-pop. Songs like “Good Intentions” and “All I Want” are great examples of both pop and alternative sounds, while a song like “I Will Not Take These Things for Granted” yields a more folk sound.

    Another folk style song from Phillips was “Transient Whales,” which he performed acoustically using a 50s style microphone to enhance the sound. Trucking along flawlessly, he forgot some lyrics but thanks to fan in the front row, he was able to get back on track and finish it out.

    Minus the aforementioned scents and a parking lot of full of Ford Tempos and Chevy Cavaliers, Toad took fans back to the 90s with hits such as “Walk on The Ocean,” “All I Want,” and “Good Intentions.” The respectable crowd of near middle-aged parents danced around like they were still in high school partying at the Saturday night bonfires.

    While they have not been producing new music on regular basis, the band released Starting Now in August of 2021 the title track and “Old Habits Die Hard” released in September and October of same year. Keep up to date with Toad the Wet Sprocket here.

    Setlist: Windmills, Come Down, California Wasted, Crowning, Hold On, Nanci, Whatever I Fear, All I Want, Transient Whales, Good Intentions, Closer to Fine (Indigo Girls), The Moment, Dam Would Break, Fly From Heavan, Pray Your Gods, Nightingale Song, Crazy Life, Something’s Always Wrong, Walk On The Ocean, Fall Down, I Will Not Take These Things For Granted