As hip hop’s 50th anniversary nears (August 11, 1973), the yearlong celebration of the world’s most popular music genre has been ramping up. However, hip hop is more than just rhyming over drum patterns. After all, the graffiti artists, breakdancers, b-boys, fashion and street culture are what the music reflected. It was only fitting that more than 4,000 people gathered at the Brooklyn Public Library for the philosophy of hip hop one of the largest celebrations of hip-hop’s anniversary to take place this year.
KRS One was a keynote speaker at The Philosophy of Hip-Hop
About the Event
As part of the BPL’s “Night in the Library” initiative, the philosophy of hip-hop brought together dozens of artists and thinkers for a dynamic all-night exploration of the genre. The event took over the iconic Central Library from 7 p.m. to 2 a.m. with keynote addresses, musical performances, discussions, debates, and activities inspired by the genre’s music and culture.
KRS-One was a keynote speaker at The Philosophy of Hip-Hop exhibition
Co-curated by LeBrandon Smith founder of Really Just Hip-Hop, Kelly Harrison, and April R. Silver, founder of AKILA Worksongs, Night in the Library: The Philosophy of Hip-Hop featured a number of Roc Nation artists, including GRAMMY-nominated rapper Rapsody, Johnny Cocoa, HDBeenDope, and Rueben Vincent.
The event tied in together several decades of hip hop history from its inception up to the present. All the while interpolating various parts of the culture and showcasing some of the less-heralded figures that have spearheaded hip hop. In addition, a host of legendary cultural figures made appearances including the likes of Dapper Dan, Angie Martinez, performers and rap legends Smif-N-Wessun, Dead Prez and Keynote speaker KRS-One. The Philosophy of Hip Hop was a time capsule into hip hop’s roots as various deejays serenaded the audience with classic hip hop cuts, culminating in a performance by Dead Prez.
Fashion has long been an integral part of Hip-Hop culture.
Dapper Dan made an appearance at The Philosophy of Hip-Hop
Discussions & Lectures
Similarly, there were several panels and discussions with key hip hop figures. Roc Nation artist Rapsody provided insight while leading a discussion on “Women in Hip-Hop: Sexuality, Empowerment, Competition, Success & A Fight for Respect.” Chiefly, Rapsody and Dr. Kathryn Sophia Belle discussed the pressures women face when it comes to their presentation. “I’ve learned to see it in different lights and overall, we’re just dope MC’s at the end of the day,” Rapsody Summarized.
Rapsody participated in a discussion on Women in Hip Hop
Panels
Other notable panels and lectures included “Which American Region Is the Most Important in Hip-Hop?” Where a panel of journalists which include journalists Mitchell S. Jackson, Alvin Blanco, Chad Sanders and musical acts Jazzy Lo and DonWill. The panel answered questions on the trendsetters and groundbreaking acts from their respective regions (the East Coast, South, West Coast and the Mid-West). All the while a lively audience were eager to offer insight.
“Which American Region is the Most Important in Hip Hop?” was one night’s liveliest discussions.
In like manner legendary music journalist Bill Adler took the stage with Pete Nice of 3rd Bass for “The Expansion of Hip-Hop: How Non-Black Players Built a Home in the Genre.” A Brooklyn native, Adler has covered hip hop since the very wee points of its inception and shared stories on being one of the first writers to cover Kurtis Blow. By the same token, Pete nice shared his experiences as a Caucasian making his way through a black art form, having been on the Def Jam label during its formative years. The Long Island native shared stories of the joint-hunger and pursuit of success between him and the rest of Def Jam’s early roster.
Bill Adler and Pete nice led a discussion on The Expansion of hip hop
The evening closed with a performance from Dead Prez, who performed their cult-favorite “Hip-Hop.” With lyrics that see the Brooklyn duo criticize the capitalist nature of the music industry and its exploitation of black people, Dead Prez doubled-down with an intensified, acapella rendition of the record to hone in the message. Afterwards, the Deejay ended the night with a run of classic 80’s and 90’s tracks as the crowd celebrated hip hop in unison.
Dead Prez closed the night out with their hit-record “Hip-Hop.”
Each Sunday evening from 7-9pm 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 Merci Van, Caity Gallagher, and Kirsti Blow.
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.
Merci Van – “Oppenheimer”
Merci Van is from Saratoga Springs and makes synth post-folk music. Members are Alicia Macier Van Scoy, Ed Cormac, and Katlyn Celentano. Their new single “Irrational Anthems” is out now.
Caity Gallagher – “Worth Remembering”
Caity Gallagher is a rootsy singer/songwriter based in Albany, who uses lifting vocals and empowering lyrics to tell universally relatable stories. She started playing piano at age seven and guitar at sixteen, and has been compared to the likes of Jackson Browne and Carole King. Her newest EP Something Worth Remembering is out now on streaming platforms, with the song “Worth Remembering” having a spot on Sunday’s EQXposure.
Kirsti Blow – “Last Cigarette”
Kirsti Blow is a singer/songwriter hailing from Upstate New York, recognized for her soft voice and unforgettable instrumentals. Her new album Loose Ends, written over the course of two years, explores the feelings of of elation and fear, love and disillusionment, and the changing seasons while traveling in the US and Spain. “Last Cigarette” will hold a spot on EQXposure this Sunday.
If it’s summertime and your 7 train is unusually filled with riders in tie-dye, you can be sure Dead & Company is playing at Citi Field.
Since forming in 2015, the Grateful Dead spinoff act featuring an assortment of old band members (guitarist Bob Weir, percussionist Mickey Hart, and (until this tour) drummer Bill Kreutzmann) and accompanying musicians (bassist Oteil Burbridge, keyboardist Jeff Chimenti, drummer (and Kreutzmann replacement) Jay Lane, and guitarist John Mayer) has roamed annually—with the exception of 2020’s COVID hiatus—around the U.S., playing stadiums and inspiring fervor in fans both old enough to have seen the Dead in their prime and young enough to have been born after Jerry Garica died.
Discover Grateful Dead shows from over the years across New York State with our interactive map below
Every summer tour the group has embarked on has included a marquee stop at the large Queens venue, a homecoming of sorts for New York area Deadheads and the fanatical followers who hop from city to city to catch the band live.
For a band with songs in their repertoire that were written before the moon landing, Dead & Company has been very successful. Their 2021 summer tour sold the third highest number of tickets of any act in America; GQ noted that while there have been “lots of post-Jerry [Grateful Dead] iterations,” Dead & Co. have “created a nationwide flower-child wave so big that the whole traveling Deadhead apparatus sprang back to life in all its ’80s–’90s glory.” But nothing lasts forever, not even Mayer’s silky smooth solos during “Scarlet Begonias.” In September of last year, the guitarist announced on Instagram that the upcoming 2023 Dead & Company upcoming tour would be the group’s last, with stops in New York City on June 21 and 22, and a week prior at SPAC on June 17 and 18.
Given the advanced ages of the original band members, this tour could very well be the last chance to see what remains of the Grateful Dead as a traveling stadium enterprise. And since the 80s, no large-scale Dead event is complete without Shakedown Street, the impromptu vending area outside each show named after the much beloved song of the same name. I attended the June 21 show and saw fans transform Citi Field’s parking lot into an open air psychedelic bazaar. The stands and vendors were straight out of central casting, selling vegetarian food, floral dresses, homemade jewelry, and dancing bear and turtle doormats, though some were original like the person charging $2/min for back massages. My father-in-law, a Deadhead himself, said Shakedown Street is known for its burritos. After eating one prepared by a guy who looked like Post Malone, I see his point.
As I stood enjoying my dinner, I absorbed the lot’s soundscape: speakers playing “Jack Straw” and what I think was “Cold Rain and Snow” were dueling for aural supremacy, the music punctuated by the sucking and popping of nitrous balloons. Compared to concert concession stands where you have to use your elbows to get what you want, Shakedown Street was wide-open and welcoming, like visiting your hippie aunt and uncle except there are 2000 aunts and uncles, and 100s of cousins, all family here.
Getting to my seat after 40 minutes on Shakedown, Dead and Company opened the first night at Citi Field with an appropriate “Shakedown Street.” As the song’s opening guitar chord and drum pattern gave way to its well-known staccato bop, the entire stadium got on its feet and started dancing. I was sitting in the bleachers in Section 524, with “Shakedown” reducing the surrounding audience chairs and stair railings from helpful objects to obstacles impeding movement, as the audience swayed to the tinsel-tinted disco beat. Even from afar, the sound was crystal clear, each instrument discernible—Burbridge’s bass in particular guided the track through its choruses and jams. Next came “Bertha,” another crowd pleaser with an instantly recognizable intro, maintaining “Shakedown’s” danceable pace: for the duration of both songs, the crowd was in motion, flailing like inflatable tube men outside a used car dealership as band sang “I had to mooooove / Really had to move.”
“Ramble on Rose” slowed the set down, letting the crowd relax and sing along to its memorable, playful words. Dead & Co. concerts are social events too, and the slower moments give the audience time to connect with friends and family (or total strangers) at the show. This is, of course, unless you are one of the spinners nestled in left field who, barring terrible weather, just do not stop. They kept twirling during “Ramble’s” undanceable groove and a handful even persisted through to the gig’s end. Salut! Chimenti’s piano chops were on full display in the song’s outro, his fingers crashing on the keyboard with ragtime-like intensity.
Every year, John Mayer seems to get more comfortable playing Garcia’s ghostly role as the band’s lead guitarist. His arpeggiated lead lines are smooth and he’s even nailed down Jerry’s idiosyncrasies, using chromatic notes outside the given chord progression. But on songs like “It Hurts Me Too” and “Althea,” Mayer reminds you that he’s still his own man. During the former, he slaps listeners in the face a little bit with his bluesy note bends, sounding almost as much like Eric Clapton as he does Garcia. On the latter, he leads the band toward a synthesis of the Dead’s straight-ahead 80s rock and his own more in-your-face playing, steering the jam into aggressive directions Jerry’s restrained style was never able to reached “Althea” showed Mayer’s ability to develop his own voice within the confines of a well-established group, taking the song to newfound electric heights. Notably, “Althea” was the first Dead song he got into, he’s made it his own.
Even on the longest day of the year, the sun eventually goes down, and come “Dancing in the Street,” Dead & Co.’s incredible light show began in full swing, reaching a first set climax with “Let It Grow,” a slippery track verging on prog rock with lots of opportunities for jams to go off in different directions. Swirling beams featuring every color of the rainbow radiated behind the band, switching on a dime to visually match the group’s jazzy improvisations. According to Adam Josselson, a fan in attendance from South Jersey, “Let it Grow” was the “jam of the night.” I concur; its force and complexity were unmatched. The stadium, nearly packed to the brim, was most focused during “Let It Grow,” the show’s most technical, least poppy number.
Right before the second set began, Mayer had an announcement to make: he was going to play the rest of the show sitting down because he had hurt his back. After joking that he took a “white pill” and a “blue pill” to ease the pain and asking for sympathy from the middle-aged attendees with back problems of their own, the bouncy opening notes of “China Cat Sunflower” started and the set was off. “It’s nice to see that John Mayer is human and that he suffers from the infirmities that we all do,” said Rich Zweiback, a New York native who saw over 200 Grateful Dead concerts starting in 1979. “The only drugs I took yesterday were Advil and Aleve,” he said. Maybe Mayer should have spent time in Shakedown Street at that makeshift massage parlor?
Naturally, “China Cat Sunflower” flowed directly into “I Know You Rider.” The two songs have been a staple second set pairing since 1969. When “China > Rider” is having a good night, the exact point at which “China” turns into “Rider” is indeterminable. I tested myself, sitting down and listening closely, to see if I could identify the moment when the tunes changed over, and was relieved to have failed. “China > Rider” crams Dead & Co.’s dynamic and emotional range into one song, slowly building toward a loud exclamation.
“St. Stephen” soon followed. After a ferocious jam that rivaled “Let It Grow” in its vigor—one which received loud applause—the song stopped abruptly: some member(s?) missed the re-entry point out of the jam into a verse that caused the band to sound like a skipping CD. Wrapping up early before the famous “William Tell Bridge” could finish, Dead & Co., looking a little frazzled, started strumming “Uncle John’s Band”—it took them time to settle back down. For “Drums,” Mickey Hart played a xylophone-style instrument and was joined by guest percussionist Jeff Russo. Stretching out “Drums” with Russo’s addition led to a shorter “Space,” which soon curled into “The Eleven” jam I was expecting to hear after “St. Stephen.” I love these exploratory parts of the set, but I understand the concertgoers who use them as stretch or bathroom breaks.
Weir’s preeminent moment came in the form of “Stella Blue.” “[He’s] finally old enough that he can lend [the] gravitas that’s needed to that song,” said Zweiback. A tune of solemn wisdom that understands that time vanquishes us all, Weir’s ragged baritone vocals perfectly transmit the song’s pain. Finishing off set two with an upbeat “U.S. Blues” got the crowd hollering and jumping together again, and the encore, “Black Muddy River,” followed right after – performed without a break to accommodate Mayer’s back. Mayer lead the tune, singing in a way that was reminiscent of his soft rock solo albums.
“I was pretty much blown away,” said Greg Schmalbach, a fan who had seen Dead & Co. three times already on this tour. “They’ve been bringing it and they brought it.” Schmalbach caught the Dead in the 90s but was underwhelmed. In 2015, however, he revisited the band around the time of the Fare Thee Well 50th anniversary celebration and has since seen Dead & Co. around 40 times. He claims this recent string of concerts is the best he’s seen the band.
“I can’t argue in good faith that [Dead & Co.] is better than Jerry Garcia, but it’s like a parallel universe where it’s very, very pleasing to my ear,” said Jamie Bliss, a Canadian Dead fan following the band around for five shows with a friend. Dead & Co. gets criticized by some Deadheads who consider them a pale, slow imitation (Dead & Slow is a popular pejorative nickname) of a legendary act, a nostalgia-driven cash-in for corporate rockstars. Bliss isn’t buying it. “When people dismiss older bands as essentially being a nostalgia act, I like to remind them that sometimes nostalgia is all we have left,” he said. To my ears, a jumpy, uptempo song like “Dancing in the Street” was too slow to be effective—it lost its punchy might—but groovy numbers like “Shakedown Street” and “Bertha”—ones with a beat you can settle into—were fine slowed down, as they leave room for the musicians to jive around and explore new sonic territory.
“I didn’t go to a Dead & Co. show until 2020 when I met my wife because I was like, “John Mayer, I just can’t do that, I can’t get on board with this,”” said Josselson. “I basically was dragged there by her and I was pleasantly surprised by his emulation of Jerry. I think the biggest thing about Dead & Co. shows is that the Grateful Dead concert vibe is there, that family culture, you feel that when you’re at that show.”
As I re-boarded the 7 train home after the show, I was surrounded by a true cross-section of Deadheads: old hippie true believers; corporate 50-somethings; bros looking to dip their toes in the counterculture; Gen-Zers sporting Steal Your Face-branded streetwear. All of them had gathered together, differences aside, for roughly four hours to see the remnants of an American institution approaching 60 years. I cannot think of anyone or anything else in this country that can do the same.
Dead and Company – Citi Field – Queens, NY – June 21, 2023
Set 1: Shakedown Street > Bertha, Ramble on Rose, It Hurts Me Too, Dancing in the Street, Althea, Let It Grow
Set 2: China Cat Sunflower > I Know You Rider, St. Stephen, Uncle John’s Band > Drums > Space > The Eleven > Stella Blue, U.S. Blues
Encore: Black Muddy River
Dead and Company – Citi Field – Queens, NY – June 22, 2023
Set 1: Feel Like a Stranger > Franklin’s Tower, Mama Tried, Alabama Getaway, Dear Mr. Fantasy > Hey Jude (Reprise) > Truckin’ > Deal
Set 2: Scarlet Begonias > Fire on the Mountain, Estimated Prophet > Drums > Space > All Blues > Cumberland Blues > All Along the Watchtower > Morning Dew
Continuing to tour in support of their fourth consecutive critically acclaimed album Shore (Anti-Records, 2020), Fleet Foxes visited College Street Music Hall (CSMH) in New Haven, Connecticut this past Tuesday night for the fifth show on a 28-date trek of North America that kicked-off in Chesterfield, Missouri a few days prior.
Robin Pecknold
Formed in 2006, the indie folk darlings hailing from Seattle, Washington are the quintet of frontman/guitarist Robin Pecknold, Skyler Skjelset (guitar), Casey Wescott (keyboards, mandolin, backing vocals), Christian Wargo (bass) and Morgan Henderson (multi-instrumentalist, including upright bass and saxophone). Since last year, Fleet Foxes have also been joined by touring drummer Christopher Icasiano.
Despite the distance from their home on the west coast, the Pacific Northwesterners – particularly Pecknold – share a strong connection to New York State. To make a long story short (too late!), the recording of Shore got underway at Aaron Dessner’s (The National) Long Pond Studios in Hudson, New York back in September 2019. Although the majority of Shore was subsequently recorded at Woody Jackson’s Electro-Vox Studio in Los Angeles, California from late-2019 to early-2020, progress was halted in March 2020 – due to what else – COVID-19 of course. With Shore conceptually complete from a music standpoint, Pecknold was not satisfied with his writings and was struggling to find the right words to match the music. However, it would not be for too long, as he eventually found the lyrical inspiration he craved during time spent on long drives from his Greenwich Village apartment, where he had been quarantined, to Lake Minnewaska in Ulster County, and further north into the Catskill Mountains.
College Street Music Hall
A few ticks past 7:00 pm, doors to the historic venue constructed in 1926 and located in the heart of New Haven’s downtown arts district opened to the loyal Fleet Fox fans that had been queued a half block south of Yale University, many since the early afternoon. As throngs of patrons hurriedly began to file into the concert hall’s lobby, many headed straight for the merch table to purchase a t-shirt, hoodie or signed tour poster. Others were seen grabbing a craft beer on tap or a cocktail before securing a spot on the General Admission floor or heading to the upper balcony.
Uwade
Fittingly opening the show at 8:00 pm, as it’s her voice you hear opening “Wading in Waist-High Water” on Fleet Foxes’ Shore, was Uwade Akhere. A Nigerian born singer-songwriter based in New York City, Uwade is an indie-folk artist whose star has been on the rise since the release of her very first single, “Nostalgia,” in 2019. Performing a 30-minute solo set, she favored stage right as she played a six-string Torino Green Gretsch that nearly matched her dress perfectly. With an angelic onstage presence – her songs are fittingly spiritual in nature as well – she relinquished sublime versions of her only other singles released to date, “The Man Who Sees Tomorrow” (2021) and “Do You See the Light Around Me?” (2022). As the venue was nearing its 2,000-capacity, Uwade played “One Way Trigger,” a cover that her fellow New York City natives The Strokes released in 2013. With Uwade’s set nearing its conclusion, and much to the delight of Fleet Foxes fans, she welcomed to the stage Wargo and Icasiano for her two final songs.
Skyler Skjelset
After a brief intermission to address the stage’s final preparations, Fleet Fox took the stage a few ticks past 9:00 pm to raucous applause from the now packed house. With Pecknold snapping a few shots of the adoring fans in front of him with a disposable camera, he announced immediately, “Thank you so much New Haven, thank you. And thank you so much to Uwade, that was an incredible opening set.” The night’s festivities officially got underway with “Sun Giant,” a soft, harmonic piece written in 2008 that began a cappella, before fading into full accompaniment, including a two-man horn section. Reprising her role from Shore, Uwade reappeared onstage to contribute backing vocals to “Wading in Waist-High Water.” It would not be the 22-year old’s last appearance of the evening, as she would later join the band during the encore for exquisite backing deliveries of “For a Week or Two” and “Going-to-the-Sun Road.”
Christian Wargo
For the entirety of the massive, 24-song set that encompassed Fleet Foxes’ rich and diverse catalog over the past 17 years, the Seattle musicians were in top form across the board, in particular, Pecknold’s unique baritenor voice. Hailed for their refined instrumentation and vocal harmonies, their music was meant to be executed in a place such as CSMH – the destination for concertgoers looking for a venue within spitting distance of Boston and Manhattan – renowned for its world-class acoustics and lighting.
Casey WescottMorgan Henderson
Because Fleet Foxes’ two hour plus gig was filled with stand-out moments, picking the top song highlights is not easy. However, if I could choose only three, they would have to be (in order by appearance): Pecknold’s solo acoustic performance of “Silver Dagger” (a traditional American folk ballad popularized by Joan Baez); “Blue Ridge Mountains,” my favorite Fleet Foxes tune taken from their self-titled debut studio album (2008); and the impressive show’s finale, “Helplessness Blues,” the title track from their sophomore studio album (2011).
Christopher Icasiano
In the coming days and weeks, the North American leg of Fleet Foxes’ Shore Tour 2023 will sweep through Pennsylvania, Wisconsin, the Carolinas, Florida, Alabama, Louisiana, Oklahoma, Nebraska, Minnesota, Indiana and Maine. And in case you missed the CSMH show, or you just cannot get enough of Fleet Foxes in a live setting, they will be playing Beak & Skiff Apple Orchards in LaFayette, New York on July 12. The tour finale is slated to occur near Fleet Foxes’ old stomping grounds, at Thing Fest in Port Townsend, Washington, on August 25. To date, the only additional public appearance on the calendar for Fleet Foxes is the Festival Corona Capital in Mexico City on November 17.
Fleet Foxes Setlist: Sun Giant > Wading in Waist‐high Water (with Uwade) > Sunblind > Can I Believe You > Ragged Wood > Your Protector > He Doesn’t Know Why > Featherweight > Third of May/Ōdaigahara > Phoenix (Big Red Machine cover) > Bedouin Dress > White Winter Hymnal > Mearcstapa > Mykonos > Silver Dagger (traditional cover) > Montezuma > Cradling Mother, Cradling Woman > Maestranza > Blue Ridge Mountains > Grown Ocean > Encore: Someone You’d Admire > For a Week or Two (with Uwade) > Going-to-the-Sun Road (with Uwade) > Helplessness Blues
It’s tough to Google “Zoomo” and find anything other than World Class E-Bikes. Perhaps intentionally and synonymously, Zoomo – from the New York hip-hop group Real Recognize Real – maintains a low profile. Operating as a soulful crate digger, Zoomo achieves success through a subtle, steady emergence onto the scene.
Left to Right: Starker, YL and Zoomo sell merchandise at Supply and Demand 2021 Hosted by Top Shelf Premium and Peter Rosenberg [Photo By Mos Neammanee [img.mos]
Zoomo glues the R.R.R. Music Group with gorilla cohesion. His meticulousness leads him to piece through countless old-school records to find and fine-tune the exact sound he provides. The works of art speak for themselves as anyone can see his name often placed right alongside the artist in album titles. Technicalities aside, Zoomo stands out because he creates timeless art bound to leave a legacy.
Let the Beat Build
Zoomo often finds one word or phrase and lets that serve as the basis for the entire beat structure. Then at the end, sporadically in the middle or even at the beginning he plays the entire phrase sequence to give the listener a better idea as to the source of that word loop.
Working your way up through tinkering, crate-digging and experimentation proves worthwhile for any producer. The difference inlies within the fact that not just any producer loops soulful melodies together the way Zoomo does in New York.
While Zoomo’s beats definitely have a theme – you could never consider them repetitive! Beat structures in modern mainstream hip-hop regurgitate the same hi-hats, sounds and patterns – Zoomo always infuses something new. Whether that be different placement or rotating the parts where he draws emphasis – this man carries many tools in his arsenal.
Hence, his latest project – Cloydrepresents a milestone for this man. As every Zoomo-stamped project adds value to the underground ecosystem – this one seems like a culmination of several aspects of his career. Zoomo hosted this mixtape release and multiple different artists hopped on the track. Most times – the artist hosts/promotes the mixtape and the producer receives a credit.
Let the Beat Speak
Zoomo makes the beat sing. What does that mean? Well, consider the songs “Oh Boy” by Cam’ron [Prod. by Just Blaze] “By Your Side” by Jadakiss [Prod. by Baby Grand] or “Hold You Down” by Prodigy [Prod. by and feat. Alchemist]
In each of these songs, the artist may take a breath or irregular pause to let the beat complete their sentence. Thus, these types of songs like prove innovative and allow Zoomo to fulfil his role masterfully as his beats provide a story of their own.
Furthermore, as a hip-hop head I wake up with a different song floating through my cranium daily. Whenever a R.R.R. song makes its way through those precious grooves – the Zoomo sing-sample almost always pops up and plays on loop.
Undoubtedly, Zoomo carved his own path and continues to kick down doors for him and his team. To hear his latest offering, check out, “More Life” with YL from recent album, Don’t Feed the Pigeons which hit the airwaves on June 16, 2023.
Central Park’s SummerStage played host to an extraordinary evening of blues music as the legendary Buddy Guy took to the stage as part of his “Damn Right Farewell Tour.” The event featured an exceptional lineup of opening acts, including Christone “Kingfish” Ingram and Samantha Fish, who set the stage ablaze with their own brilliant performances. But it was Buddy Guy himself who stole the show, leaving the crowd in awe of his virtuosity and stage presence.
Buddy Guy at SummerStage Central Park 6.18.23
Samantha Fish, the incredibly talented blues-rock artist, opened the show. Adding to the excitement, she brought along her collaborator and fellow Texas guitarist, Jesse Dayton, with whom she had recently released their first collaborative album, “Deathwish Blues.” The electrifying night began with the title track, which instantly captivated the audience. Throughout the set, the duo showcased their musical chemistry, delivering standout performances of Dayton-led songs like “Down in the Mud.” The set reached its climax with the powerful and infectious “Riders,” a song that left the crowd craving for more. Together, Samantha Fish and Jesse Dayton left a lasting mark, celebrating the blues and leaving everyone in awe of their extraordinary talents.
Samantha Fish at SummerStage Central Park 6.18.23
Next up was Christone “Kingfish” Ingram, a young prodigy who has been making waves in the blues world. Despite his age, Ingram’s guitar playing showcased a depth of skill and emotional maturity. His soulful vocals and lightning-fast fretwork on “She Calls Me Kingfish” drew thunderous applause from the crowd, establishing him as a force to be reckoned with. The fiery energy continued with the blues-infused “Midnight Heat,” showcasing Kingfish’s impressive command over his instrument. Closing his set with the powerful “Long Distance Woman,” Kingfish left a lasting impression, proving himself as a true blues artist to watch out for.
Christone “Kingfish” Ingram at SummerStage Central Park 6.18.23
And then, the moment everyone had been waiting for arrived. Buddy Guy emerged with his iconic Fender Stratocaster in hand. The crowd erupted with thunderous applause and cheers as he launched into his set, effortlessly transitioning between blistering guitar solos and heartfelt vocals. Backed by his incredibly talented Damn Right Blues Band, they created a mesmerizing atmosphere of blues and rock that resonated throughout the park. The audience was treated to a repertoire of his greatest hits, including “Damn Right, I’ve Got the Blues,” “Skin Deep,” and Muddy Waters “Hoochie Coochie Man.” Each song was met with resounding applause, highlighting the timeless appeal of his music.
Buddy Guy at SummerStage Central Park 6.18.23
But the surprises didn’t end there. Blues icon Bobby Rush and his son joined Buddy Guy on stage for a rendition of “Chicken Heads.” The trio brought a new dynamic to the performance, seamlessly blending their styles and creating a magical musical synergy. To conclude the evening, all the artists gathered on stage for an impromptu jam session. The stage was alive with energy as each artist took turns exchanging riffs, trading solos, and sharing the spotlight.
As Buddy Guy bids farewell to the stage, his music will continue to inspire generations to come. His virtuosity, passion, and undeniable talent have left an indelible mark on the blues genre.
Breakthrough Australian singer and songwriter Peach PRC announced her first U.S. shows in June, following a sold-out Australian tour. The three-date run has her playing on show in Los Angeles at The Roxy and two shows in New York City, the last of which was last night at the Gramercy Theatre.
Peach PRC Live at Gramercy Theater
Peach PRC’s unique blend of dreamy pop and introspective lyrics captivates listeners and transports them to ethereal landscapes. With her mesmerizing voice and poetic songwriting, she creates an intimate connection with her audience. Peach PRC’s music explores themes of love, self-discovery, and the complexities of human emotions. Her artistry transcends boundaries, effortlessly blending genres and pushing creative boundaries. With each release, Peach PRC continues to enchant listeners and establish herself as a rising star in the music world.
Launching her TikTok page in 2019, she organically attracted an audience by posting everything from funny moments to self-care advice and, of course, music. A snippet of her first single “Blondes” played over the background of a video where she discussed the track’s meaning, and it went viral. The full version eventually amassed over 7 million Spotify streams as she maintained this momentum with the follow-up “Colourblind”, racking up another 2.7 million Spotify streams. Along the way, she carefully cultivated an undeniable style with a twist. That twist defines her debut single “Josh,” the ultimate kiss-off to the worst ex ever and has already received over 16 million streams and counting.
“Heavy” is the new single from Peach PRC, turning the tempo way down and instead setting the weight of her brutalizing mental struggles to a delicate, evocative piece of pop balladry.
The Re:SET Concert Series closed its New York run at Forest Hills Stadium this past Sunday, June 18th. The brand-new summer festival welcomed LCD Soundsystem and Boygenius on Days 1 and 2, respectively, and will continue to travel to many major cities across the US. Featuring alternative R&B artists like Fousheé, Toro y Moi, James Blake, and Grammy-winner Steve Lacy, Day 3 of Re:SET was not a show to miss. While some people celebrated their Father’s Day at home, at restaurants, or with family, others attended Sunday’s concert (with their dads) for a day full of dancing, singing, and an overall great time.
Steve Lacy, Re:SET Forest Hills, 6/18/2023. Photo by Sarah Hyun.
Thousands of eager fans lined up hours before doors to secure their spots at the front of the barricade, clearly ready to see their favorite artists. Bright colors flooded the entire venue, as concertgoers interwove the rainbow into their carefully-picked outfits, glittery makeup, and fun hair accessories. Fousheé successfully opened the show with unparalleled energy, exciting her crowd of almost 13,000. Her unique voice goes both ways—sweet and angry. During her performance of “stupid bitch,” she asked the crowd to repeat the lyrics, “I’ll blow your brains out, you stupid bitch” at the start of the song. Screaming into the mic and hitting impressive whistle notes during her other tracks truly wowed her audience—who gave her a well-deserving round of screams and applause at the end of her set.
Re:SET Forest Hills, 6/18/2023. Photo by Sarah Hyun
Next up was Toro y Moi, wearing a bright orange jacket, blue shades, and lime-green nails. His chill, lofi set included songs like “Rose Quartz,” “Laws of the Universe,” and “Magazine.” Perfectly matching his vibe was a montage of cat videos on the large stage screen. Concertgoers were seen dancing, swaying, and twirling to his fresh beats on the tennis court floor and even in the seated sections of the venue.
Toro y Moi, Re:SET Forest Hills, 6/18/2023. Photo by Sarah Hyun
Toro y Moi is the definition of cool, as he scaled the stage with his swift, nimble movements. Knowing exactly how to keep his crowd engaged, he pointed to the audience members and encouraged them to move their hands up and down in sync. During his and Lacy’s set, Fousheé was even spotted in the general admission section dancing and spinning to the music.
Toro y Moi, Re:SET Forest Hills, 6/18/2023. Photo by Sarah Hyun
The last opener of the evening was James Blake, who upon entering was greeted with a large roar of applause. The 34-year-old musician from England blew up on TikTok in 2020 for his Frank Ocean cover of “Godspeed.” During his somber and deeply emotional rendition of this song, fans watched in complete awe—certainly mesmerized by his warm vocals and buttery vibratos.
James Blake, Re:SET Forest Hills, 6/18/2023. Photo by Sarah Hyun
During one particular song, he realized his keyboard was out of tune. While a stagehand replaced his keyboard, James continued on to his next scheduled song on a different instrument. Although his solo vocals are beautiful to listen to with eyes closed, James Blake is also an extremely talented electronic and experimental artist. He blended a variety of different elements into his performances of tracks, “CMYK,” “Hummingbird,” and “Say What You Will.”
James Blake, Re:SET Forest Hills, 6/18/2023. Photo by Sarah Hyun
The energy before Steve Lacy’s entrance was unmatched. Fans in the seated sections stood on their tippy-toes while those on the floor squished up against one another to get as close to the stage as possible. The buzz of excitement could be felt by anyone, as fans waited eagerly in anticipation for him to come out. A plume of smoke. Deafening screams. A flashing of lights. Another uproar. And finally, his entrance to the stage, wearing his iconic cyberpunk glasses—this time in navy blue. Fans jumped up and down, unable to contain their excitement.
Steve Lacy, Re:SET Forest Hills, 6/18/2023. Photo by Sarah Hyun
Steve Lacy opened his set with iconic songs like “Buttons,” “Cody Freestyle,” and “Helmet”—all of which are from his latest album Gemini Rights. He vibed to the music, moving his body to the beat as his band and backup singers accompanied him. During “Amber,” he told the crowd to take out their phone flashlights, leading to a beautiful and dreamlike scene as thousands of lights flooded the venue. Lacy is a very talented guitarist, and during many of his tracks, he performed his own guitar solos for the crowd to watch in amazement.
Steve Lacy, Re:SET Forest Hills, 6/18/2023. Photo by Sarah Hyun
The alternative R&B artist brought out Fousheé during the performance of their song “Sunshine.” The two blended incredibly together on stage, and the crowd reacted accordingly. Before singing his hit songs, “Static,” “Bad Habit,” and “Dark Red,” Lacy said, “Pride month is almost over. It’s time to come out. Look to your neighbor, say, ‘Neighbor, you gay.’” The bisexual artist is proud of his sexuality and serves as a role model for many members of the LGBTQ+ community.
Steve Lacy put his all into Sunday’s performance. Fans sporting his iconic glasses waved and screamed as he made his bittersweet goodbyes. Finishing the night on a glorious note with his performance of “Dark Red,” fans were clearly satisfied by the show’s end.
Re:SET Forest Hills, 6/18/2023. Photo by Sarah Hyun.
Coverage of Re:SET Day 1 and Day 2 can be found through these links. Day 1 featured an incredible performance by New York’s beloved LCD Soundsystem, while Day 2 welcomed the iconic girl band called Boygenius. Below is a gallery from Steve Lacy’s closing night—be sure to check it out!
The Who had bid farewell to fans in 1982 after nearly 20 years together as a band, and after seven years had passed, it was time for a music industry tradition – the Reunion Tour. And where else to warm up for a major comeback tour than with a show at Glens Falls Civic Center, on June 21, 1989
Returning to the stage after seven years was no simple feat. Personalities and egos had clashed, drug use became endemic within the band, and members were itching to quit. Guitarist Pete Townshend had fallen into a depression, wanted to do more than play the hits on the road, leading him to eventually quit the band in 1983. Bassist John Entwistle nearly quit as well, but he hoped to stay on the road. Singer/guitarist Roger Daltrey shed some light on this time period, telling Record Collector,
I think Pete knew he’d made a mistake around 1980. He was going downhill with substance abuse and all that kind of stuff. And I decided at the beginning of that (1982) tour to pull the plug on the band and for it to be our last, because I was really frightened at the time of finding him dead on the bathroom floor, or dead in bed in the hotel room. It was one of those situations. I thought the only way to stop this is to come off the road. It was a difficult decision, but I felt it was the only way forward. We’d gone backwards.
Roger Daltrey, on The Who breaking up in 1982
Coinciding with their 25th Anniversary Tour, the 1989 The Who tour was also the 20th anniversary of the rock opera Tommy. On March 24th, Townshend, Daltrey and Entwistle appeared together at a press conference at Radio City Music Hall to announce they would once again tour as The Who that summer. Townshend, who had announced in 1987 he suffered from tinnitus, told the press that he still experiences hearing problems, garnering a laugh, saying “we will play very, very quietly.”
Skip ahead to June, and The Who were bound for Upstate New York, to perform a warm up show for the tour at Glens Falls Civic Center on June 21, 1989. The Kids Are Alright Tour: 1964-1989 kicked off with a career overview of their work and an unusual connection of songs that led the shows to lasting nearly three and a half hours at some venues. With a variety of songs from across a quarter century, including a great deal of new ones from Townshend’s Iron Man soundtrack (released earlier that year), some songs would be cut from the show, making this performance in Glens Falls full of rarities and popular tracks, side-by-side. Audiences in New York and Los Angeles featured full-scale presentations of Tommy.
The first half of the show featured a great deal of songs from Tommy, including an extended “Overture” which was uplinked to the BBC to be broadcast live in England, as well as aired locally, and uninterrupted, on WTEN in Albany.
Beyond Tommy songs, a fair amount of Townshend’s solo work appeared in the show, including “I Won’t Run Anymore,” “All Shall Be Well” and “A Friend Is a Friend” from Iron Man, a rarity “Trick of the Light” that had not been played since 1979, “A Little Is Enough” and “Give Blood.” Townshend would play acoustic guitar during Tommy and his solo songs, then switched to electric guitar for the second act.
The solo Entwistle song, “Too Late the Hero” stands out as well, in addition to covers of “Hey Joe” (The Leaves), “Summertime Blues” (Eddie Cochran), “Love Hurts” (The Everly Brothers) and a show stopping “Twist and Shout.”
Joining Daltrey, Townshend and Entwistle was Simon Philips on drums, filling the void left by the untimely passing of Keith Moon in 1978. The Who also brought in a large number of musicians to accompany them for each performance, including Steve ‘Boltz’ Bolton (Guitar), John Bundrick (Piano, Keyboards), Chyna (Backing Vocals), Simon Clarke (Brass Section), Simon Gardner (Brass Section), Jody Linscott (Percussion), Roddy Lorimer (Brass Section), Billy Nicholls (Backing Vocals), Tim Saunders (Brass Section), Neil Sidwell (Brass Section) and Cleveland Watkiss (Backing Vocals). When asked why such a large number of musicians, Townshend replied on Good Morning America, “The more musicians you have, the quieter you can play. It’s a bit difficult to make a big sound with an electric guitar unless it’s quite loud. I’m paying the price now for playing too much loud guitar.”
While their record breaking performance in Buffalo in 1982 with The Clash was a sign fans were still hungry for punk in all its forms (godfathers optional), The Who of 1989 were looking for something a bit more dialed back. Speaking to David Gates of Newsweek, Townshend said, remarking on what audiences expect of The Who at this point of their career.
They expect us to be present. We’re just supposed to be there. It’s not that it’s unimportened what we play or how we play, but it’s importent that we’re present and that we want to be present. You don’t invite people to celebrate your work and then look like you don’t want to be at the party.
Pete Townshend
Fans of The Who were certainly enjoying this first chance to see a band that had bid farewell seven years prior. Daltrey, at age 45, still swung his microphone on its cord like it was a lasso, and Townshend (44), continued to leap in the air on cue, in addition to his trademark guitar windmill, which was now adorning t-shirts for sale at the show. Newsweek would say the night was “a hell of a show for the money.”
The Kids Are Alright Tour: 1964-1989 would first be seen in Glens Falls, but the official start was in Toronto on June 23 and 24, the city where the band played their final show in 1982.
Rehearsal Setlist: Sister Disco, You Better You Bet, Who Are You, Baba O’Riley, Behind Blue Eyes, Won’t Get Fooled Again, Hey Joe
Setlist: Overture, 1921, Amazing Journey, Sparks, The Acid Queen, Pinball Wizard, Do You Think It’s Alright, Fiddle About, I’m Free, Tommy’s Holiday Camp, We’re Not Gonna Take It, I Won’t Run Any More, All Shall Be Well, A Friend Is A Friend, I Can’t Explain, Substitute, I Can See For Miles, Trick Of The Light, Boris The Spider, Hey Joe, Who Are You, Naked Eye, Summertime Blues, Too Much Of Anything, Baba O’Riley, My Generation, A Little Is Enough, 5.15, Love Reign O’er Me, Love Hurts, Too Late The Hero, My Wife, Sister Disco, Give Blood, Join Together, You Better You Bet, Behind Blue Eyes, Won’t Get Fooled Again
Encore: Pictures Of Lily, Twist And Shout
Watch videos and recordings from June 21, 1989 at Glens Falls Civic Center below.
Saratoga Performing Arts Center played host to Sean Kingston, En Vogue, TLC and Shaggy on Friday June 16. SPAC stands head and shoulders above any outdoor venue in the Capital Region, and this evening, the venue lived up to its reputation as even the rain couldn’t stop a good time.
The way that thousands of people filed into SPAC in the name of R&B brought joy to my heart. It is wild how much we take basic necessities for granted until we lose access to them. Alas, a mix of live hip-hop, R&B, and dancehall always proves essential for the well-being of citizens.
R&B + Dancehall Concert in New York
Sean Kingston maximized his thirty-minute set with plenty of vibes. Dutty wine dancing, nostalgia, and vocal energy set the tone for the whole evening. Certainly, when “Beautiful Girls” blasted through the speakers, every person of age instantly reminisced about the era of ringback tones.
Next, En Vogue continued the theme of setting the tone with radiant energy. Not one drop of rain could stop their shine as they played renditions magnificently. Some people questioned the order of the setlist but nobody could debate the way En Vogue prepared the audience for the next act, TLC.
TLC-Waterfalls [06/19/23]
Now, TLC stole the spotlight if you ask me. It seemed as if the rain would subside during breaks and lesser-known songs. But when songs like “Red Light Special” and “Diggin On You” made their way through the airwaves the whole crowd started to feel the rhythm. Ironically, when the best songs came on the rain began to steadily flow.
Rain Washes Worries Away
This precipitation did not put a damper on things, whatsoever due to its light and misty nature. The beautiful woman by my side chose not to untie her rain jacket from around her waist as she embraced the evening elements. Altogether, the moment felt like it belonged in an R&B video.
The break between TLC and Shaggy proved to be well-deserved for the audience. After exiting the TLC trance, concertgoers gathered around for one last hurrah. Performers who emit strong stage presence tend to make you feel close to the stage no matter where you stand.
Toward the beginning of his set, Shaggy grew discontent with the energy level of the crowd. Calling an audible, he threw on “Red Red Wine” to lift the crowd to the level he desired. From there, not one person could resist swaying their hips to Mr. Wasn’t Me. While that song is the classic, “Boombastic” and “Guardian Angel” were the ones that really brought the house down.
Overall, this show at SPAC proved to be extremely worthwhile. Everyone needs an outlet and an opportunity to let loose. This dual-purpose event provided the chance to immerse within an incredible atmosphere and truly let any anxieties or worries dissipate for the entire evening.
