Category: Features

Country On Tour continues for Luke Bryan at Darien Lake

Luke Bryan gets his Country On at Darien Lake as his 4 month long tour makes stop in Western NY. Coming off a boisterous and packed house in Syracuse, Bryan coasted into Darien Lake Theme Park with special guests Alana Springsteen (no relation to the famous New Jersey guy), Chayce Beckham, and Tyler Braden.

With over 15 million album sales under his belt, 30 #1 hits, and 20 billion streams, the native of Georgia is no stranger to success and the crowds that come with it. The packed house at this Live Nation venue in Corfu, NY was proof of that as the crowd was on their feet for his entire set, singing along to nearly every word.

Opening the night for Bryan was Alana Springsteen. Newer to the music scene, Springsteen has released a few EPs since her debut in 2019, and in July 2023 will be releasing TWENTY SOMETHING: Figuring It Out. The first single, “When We Were Friends”, was just released this week and of course she belted it out for the crowd at Darien Lake. The song is about hardships among friends which many can and will relate to.

Used to wear each other’s sneakers // Get drunk behind the bleachers // Raise some hell, but we always said amen // I knew who you were kissin’ // What tattoo you were gettin’ // Now I don’t even know how you’ve been // Truth is, I miss when // When we were friends

A little Miranda Lambert, a little Chirstina Aguilera, and a whole lot of fire, Springsteen sang her heart our for about 25 minutes, preparing the fans for who was following her.

To learn about this rising star, click here Alana Springsteen

Next up to the stage, came Chayce Beckham. Imagine being a forklift operator and deciding to enter a singing competition on national television. Imagine being told by Katy Perry that you “sound like the heart of America”. Imaging singing a song you wrote and having that be the reason you won American Idol. This was the path that led Chayce Beckham to where he is now. He no longer is a forklift operator.

Serenading young and old alike, Beckham confidently kicked some ass on this stage, getting some hand shakes and fist bumps from fans. Sultry voice, with some slicked back hair, thoughts of early Johnny Cash, and maybe some Chris Isaak are sure to enter your mind as this 27 year old belts out lyrics from his song “23”

Following Beckham, Tyler Braden strutted around on the stage for another 25 minute set. The former firefighter has been raising eyebrows for about 7 years as he makes his presence know. Go watch him on stage for one set, and you will be forever hooked. Luke Combs-esque looks and smooth vocals will make Braden a household name very soon.

Where the longnecks don’t get hot in our hands
The bar keeps doublin’ down on doubles
It ain’t hard to find a little trouble
Neon Grave – Tyler Braden

Released in early 2023, Neon Grave is the latest EP that features the title track along with “Try Losing One”, “Middle Man,” “Wrong Right Now,” and “Choose Me,” Check out more of Tyler Facebook

I first saw Luke Bryan about 10 years ago. I don’t recall much of the night, honestly, but that story isn’t for publication. What I do recall is that Bryan got the crowd jumping, hooting and hollering immediately and never let off the gas. This night was no different in that regard.

From his first notes of “Kick The Dust Up” to his last notes of “Light it Up” Bryan had the entire seated crowd of 6400 and the extras in the lawn up and dancing around. The glow of cell phone screens filled the amphitheater and the subtle smells of vapes, pot, and spilled beer were prevalent as Luke was “Knockin Boots” on stage for close to 2 hours.

Starting around 905, the stage and house lights went dark as the crowd suddenly erupted in massive screams and cheers. We heard a little mash up of Luke Bryan songs as the curtains were pulled back and light filled the stage with light and finally Luke Bryan as he started off his set with a “Kick The Dust Up”

Along with his infamous dance moves and thought-provoking lyrics, Luke Bryan shows also boast quite a picture/light show throughout his performances. Each song is paired perfectly with proper graphics and/or light shows on large screens behind him. “Roller Coaster”, an appropriate theme for this venue, displays large coaster on the backdrop, complete with matching sounds. Other songs like “I Don’t Want This Night to End” show clips from music videos. While “Country On”, Luke’s most recent chart topper, the screen becomes an ode to service people.

With that song coming to an end, Luke called out Shannon from the pit area and brought her up on stage with him has he thanked her husband for his active duty service. Of course, this can’t be done without a surprise, right? Shannon’s husband Jeff came out from back stage and was welcomed by not only Shannon but the rambunctious crowd. Chants of USA were heard throughout the seating area. Very touching moment that brought tear to many eyes.

As Bryan continued playing until nearly 11pm, the fans kept getting louder and more active as they were dancing in all the aisles. As much as the ushers tried, these active fans were not clearing out. Ushers near me eventually gave in and began dancing along to the music.

Having been signed to music labels since 2017, Luke spent time prior to that writing songs for the likes of Travis Tritt and Billy Currington. With this experience, Bryan has nearly 40 musical awards, 10 headliner tours, and has played countless festivals and spring break events. Its no wonder why he has become one of the most famous acts in country music history. Keep up Luke as he continues his current tour and his subsequent ones. Farm Tour 2023 (lukebryan.com)

Setlist: Kick the Dust Up, What Makes You Country, Knockin’ Boots, Roller Coaster, But I Got a Beer in My Hand, Strip it Down, Rain is a Good Thing, Games, Country On, One Margarita, Sunrise/Sunburn/Sunset, Huntin’/Fishin’ and Lovin’ Every Day, I Don’t Want This Night to End, Kiss Tomorrow Goodbye, Buy Dirt (Jordain Davis), Play it Again, What She Wants Tonight, Down to One, I See You, Light It Up, Country Girl (Shake it For Me), That’s My Kind of Night

Photos by JM Photography

Young fan waiting for Luke to take the stage

Chayce Beckham

Chayce Beckham

Chase Beckham

Alana Springsteen

Alana Springsteen

Alana Springsteen drummer

Tyler Braden

Tyler Braden

Tyler Braden

Tyler Braden

June 19, 2023
Perelman Performing Arts Center to Open in Lower Manhattan this September

The final public piece of the reconstruction of the World Trade Center, the Perelman Performing Arts Center (PAC), will be opening in September 2023. Executive Director Khady Kamara and Artistic Director Bill Rauch announced recently that the facility would be opening after 20 years of labor to create a new heart of culture in lower Manhattan.

Perelman Performing Arts Center exterior at day. Credit: Field Condition

The vision for the PAC began almost 20 years ago as a part of the original master plan for reconstructing the World Trade Center during Michael Bloomberg’s time as mayor of NYC. Bloomberg currently acts as the chair for the project. Named after Ronald O. Perelman, a businessman, philanthropist, and benefactor, the building was designed by the architecture firm REX, with many interior spaces being designed by Rockwell Group.

According to a recent article by the New York Times, the building has gone through a lot of changes over its 20-year development. Even without formally changing the name of the building, the institution has switched from calling it “the Perelman” to “the PAC.” Though the namesake of the PAC, Ronald Perelman, has his name on the building, former mayor Bloomberg has now contributed more capital, totaling at $130 million.

Our goal in developing the artistic program is to innovate – providing exciting new ways
for artists to create, collaborate, and share their work with a broad public – while representing and celebrating the humanity of our city in all its fullness. Whoever you are, wherever you come from, we want you to be able to find yourself in the PAC and find your connection to everyone else who shares in the work we do.
Artistic Director of PAC Bill Rauch

A defining feature of the building’s façade are the 5,000 panels of bookmatched marble. They allow for light to cast an amber glow into the building in the day and for the building to produce an amber glow at night. The panels were quarried and cut in Portugal, fabricated with glass in France, and assembled into panels in Germany.

Perimeter interior of the PAC, with marble panels visible. Credit: Laurian Ghinitoiu

The interior design is also unique, with three modular stages that can quickly merge or separate depending on the venue’s requirements. Independently, the three stages include: the John E. Zuccotti Theater, which seats up to 450; the Mike Nichols Theater, which seats up to 250; and the Doris Duke Theater, which seats up to 99. Altogether, their capacities range from 99 to 950 people.

A render of a theater in PAC. Credit: REX

The interior of the eight-story structure is divided into three main sections. The “public” level includes the John C. Whitehead Lobby, which features a stage for free performances, a restaurant, a bar, and the Dalio Family Terrace. The “artist” level has the necessary support spaces for artists at the center, whereas the top level, the “play” level has the three theaters and a rehearsal space.

Render of the restaurant on the “public” level. Credit: Rockwell Group

Leading PAC is Executive Director Khady Kamara, who has more than 24 years of theater management experience. Prior to being executive director at PAC, Kamara was executive director for Second Stage in NYC. She would go on to win a Tony Award in 2022 as a member of the leadership team for “Take Me Out.” As a part of her extensive non-profit background, Kamara had a 20-year career with Arena Stage in Washington DC.

Responding to the sanctity of the World Trade Center site and the humanistic
aspirations of the PAC’s mission, our design empowers artistic teams to imagine and create a vast range of performances and audience experiences, within a building that addresses its setting with respect and warmth.
Joshua Ramus, founding principal of REX

Bill Rauch acts as PAC’s artistic director, and has worked as a theater director in venues ranging from small community centers to the largest in the country. He has been a part of productions of the Tony Award-winning “All The Way” and its sequel “The Great Society,” as well as directed seven world premieres of plays.

While details for the opening Fall shows have yet to be announced, more information and updates can be found on the PAC’s website.

June 19, 2023
Marina Laurendi Releases Groovy Single With Deeper Meaning, “Silver Lining”

Marina Laurendi, recognized as a “sad girl on the rise,” returns with a series of rock-centric singles, starting with her latest, “Silver Lining.” The Buffalo-based singer released the single following the success of her debut EP and music video, “Stay Mine.” The indie rock songstress further solidifies her hold as “one to watch” in the alt. world with this dancey, evocative up-tempo.

Buffalo born and bred, Marina Laurendi is an indie pop/rock singer-songwriter. Her sound fuses storytelling, alternative elements, and bursts of cinematic pop. Through this, she evokes a sense of wanderlust, nostalgia, and dreamy idealism. With poetic verses, infectious hooks, and haunting vocals, Marina throws a refreshing twist on old school Alt.

“Silver Lining” grooves with nostalgia, featuring reverberating guitars and subtly nuanced vocals, oozing texture and allure. The elements blend together seamlessly to create the perfect soundtrack for road trip radio jamming, or a sunny day stroll.

Despite the song’s happy melody and dance-worthy beat, but carries a raw, honest message about change. Laurendi says that the song is about going through life-changing events that alter who you are as a person. Written during her father’s terminal battle with cancer, the song depicts being unable to keep up with appearances in the midst of grief and loss.

The music contrasts with the lyrics, with a nostalgic vibe of a 1950’s bandstand—vintage vocals, layered instruments, and a melancholic slide guitar. The song details a romantic relaitonship where one party can always see the silver lining, but the other is in a different place entirely, struggling to feel seen.

Laurendi says of the song, “I think it’s so relatable because at some point we all suffer a loss that alters us, at least for a little while. When you’re in a different place emotionally than yout friends or even your partner, you can drift apart. Sometimes people can’t fathom what you’re going through unless they’ve lived it.” The feeling of being unseen and misunderstood is simply and eloquently summed up in the lines, “You want to paste a smile on my face and act like I’m alright…I can’t dance the way I used to anymore.”

For this single and her upcoming sophomore EP, Laurendi dove headfirst into the alternative rock pocket, lovingly nicknaming her particular genre as “Bitch Rock.” She says, “It’s about embracing all the emotions women are taught not to show – rage, desire, ugliness, all of it. We’re people not flowers,” she laughed. If you’re a fan of the honest songwriting style of Samia, the gritty textures of Angel Olsen, and the effortlessly nostalgic quality of Alvvays and Best Coast, “Silver Lining” is sure to top your summer sad girl playlist.

Marina grew up as a theatre performer and moved to NYC shortly after college to perform Off-Broadway and around the East Coast. She recently performed at The Bitter End (NYC), Buffalo Ironworks, Rec Room, and Nietzsche’s, Whirlybird Music & Arts Festival (Jamestown, NY), and Buffalo’s 20th Annual Music is Art Festival. Her music has been featured on Thunder 102 in Sullivan County, WBFO The Bridge, Broadway World, NYS Music, and more. In 2022, she was a quarter finalist in a national competition to open at the Hollywood Bowl. Her debut EP “Stay Mine” and title track music video are out now on all platforms. Follow Marina Laurendi on social media here and catch her next hometown performance on August 4th at Nietzsche’s in Buffalo.

Listen to “Silver Lining” here.

June 19, 2023
Hearing Aide: Alec Betterley’s LP “River Gone”

On June 9, Alec Betterley released his new LP River Gone, a piece of ethereal and dreamy music that employs each of its instruments excellently. For the most part, the LP feels like a bedtime story, which is fitting given the opening song “Tell Me a Story.” This standard is mixed up throughout the LP, adding some extra variety.

Album cover for “River Gone,” with artwork by Gregory Hedderman.

Based in Upstate NY, Alec Betterley is a songwriter, multi-instrumentalist and music therapist who first got his start with a four track recorder all the way back in middle school. He has gone on to be a founding member of the groups My Friend Other, as well as Toys and Tiny Instruments. The LP was produced in a “30 songs in 30 days” project in May 2022.

“River Gone” was written and recorded in the very late/extremely early hours before the kids awoke. A record about parenting, anxiety, insomnia, sweet dreams, golden hour light, violence in America, longtime partnerships and all the sparkle and sorrow in between. The li’l stuff.
Alec Betterley

River Gone opens with “Tell Me a Story,” which features lyrics from Missy Lees. Her vocals, also included in “In City We Swing” and “River Gone,” help bring the LP into the ethereal, dream realm that it often finds itself in. It sets the standard for the rest of “River Gone” with its tone, and is a fitting opening given the vocalists askes for “a song of all of our days.”

Around 3:15 in “Tell Me a Story,” there is a music box-like sound that makes it feel as though the song takes place in a child’s bedroom. It is only there for a few seconds, but it is a nice detail.

The next two songs, “We’ll Never Go To Heaven” and “Anastasia” pick up the pace quite a bit from “Tell Me A Story.” While they do not fit as well as other songs in River Gone, but they are a welcome addition. “Anastasia” in particular is a personal favorite, echoing tunes somewhat similar to Elton John. After the halfway point, the electric guitar (Colin Summers) and the piano do their own version of a call and response, their notes bouncing off of each other and occasionally joining together in a dance-like fashion.

Following these, the LP returns to its dreamy theme for the most part. The next song of note is “Spectators,” which feels like a very personal song with no other part credited in the piece. Betterley’s warm vocals and the soft tunes of an acoustic guitar dominates the song, though some strings near the end begins to elevate the piece back to that ethereal realm. The guitar closes off the song alone, the very slight creaks of wood at the end adding a special charm.

“We Talk About Everything” goes back to the quick pace of “We’ll Never Go To Heaven” and “Anastasia,” but this is done in a slow increase throughout the piece. It rises from more mumbled vocals and few instruments to the upbeat and instrument-filled conclusion.

The titular song, “River Gone” starts with something no other song seems to do, a rise from the last note of the previous song, “Only Me” to the pace and the pitch of “River Gone.” Betterley and Lees perform a beautiful call and response for this song, with Lees’s chorus having nearly every word punctuated by a note from the piano. There’s a notable exception around 2:05 where most of the instruments cut suddenly, letting Lees’s vocals stand out.

The “River Gone” from Alec Betterley is available on Bandcamp and on Spotify. For more information on the artist, be sure to check out his website.

June 18, 2023
Greenwich Village Folk Era Reverberates in New Book “The Bleecker Street Tapes”

From the coffeehouses of Greenwich Village to the stage at Woodstock, folksingers were a powerful force shaping the culture and attitudes of the 1960s. Marrying music and politics, tradition and innovation, romance and righteousness, these were singular tunesmiths of the most literate and informed order – a coterie of chordal preachers who put a mirror to the political upheavals and spiritual awakenings of this halcyon era. Richie Havens, Peter, Paul & Mary, John Sebastian, Phil Ochs, Roger McGuinn, Melanie, Janis Ian, Leonard Cohen, Peter Tork and later arrivals, like The Roches and Suzanne Vega, all cut their teeth and catapulted to stardom from a handful of clubs in the narrow streets of NYC’s West Village.

The life and times of 19 of the most impactful artists who emerged from New York City’s folk scene are profiled in The Bleecker Street Tapes (Trouser Press), the latest from veteran music journalist Bruce Pollock.

As stated in the introduction, Pollock was an eyewitness who became a chronicler of many of the most important names in folk in writings for outlets like The New York Post and Entertainment Weekly. Pollock lived in four apartments in Greenwich Village from 1966 – 1975 and had been frequented clubs like the legendary Gaslight nightly since the early 1960s.

Pollock’s book is interesting because of the timing of the interviews. Most of the quotes in these profiles come from the mid ‘70s – mid ‘80s when the commercial fervor for folk was waning. In many, it shows artists in reduced financial and professional circumstances stubbornly plugging away before modest cult audiences. Many are pondering the failures of the Age of Aquarius and its idealism as American approaches the conservative swing to the Reagan era.

Pollock’s begins with Dave Von Ronk, the bearish man who ruled the roost at the Gaslight Café’s open mics, an early champion and inspiration for Dylan and many who came after.

Von Ronk is captured heading to a scarcely attended club gig in 1982. He reflects on his “few good earning years” and how he always seemed “on the brink” of something bigger. He tells how he passed up the opportunity to be the “Paul” in the folk mega group, Peter, Paul & Mary (that went to Noel Stookey, a Village comedian whose act ended with him imitating a toilet flushing!), and of his failed audition for Dylan’s manager-to-be Albert Grossman. This was after a winter hitchhike to his club in Chicago, something borrowed for the Coen Brothers’ wonderful folk music film, Inside Llewelyn Davis.

In his interview with Phil Ochs, we learn that his decision to become a songwriter came while in jail for vagrancy in Florida. Ochs’ political powered anthems were an outgrowth of his first desired career – journalism. Phil was writing about Vietnam in 1962, way before any songwriter was penning war protest songs. And, contrary to popular belief, he shares that he didn’t think less of his longtime rival Bob Dylan’s decision to stop writing about politics and social causes. He also reveals, perhaps in jest, that his favorite cover of one of his songs was former beauty queen and anti-gay activist Anita Bryant’s of “Power & Glory.”

One of the more interesting profiles, one that truly captures the low-rent, pre-Gentrification splendor of the era, is that of Tuli Kupferberg of the infamous The Fugs. Tuli was in his mid-40s and divorced when he teamed with writer Ed Sanders to marry rock music, poetry and racy lyrics in a group named after a Norman Mailer term for intercourse. Gentrification be damned, as Tuli relates renting a six-room apartment of Avenue D for $12 a month in 1965. It was all about fun, poetry, revolutionary theatre and orgies. “We weren’t worried about writing for the ages,” he declares.

Buffy St. Marie relates how her writing of classics like “Universal Soldier” was the product of “channeling words and music that come at once, like a radio station.” The most romantic folk star of the Gaslight era, Eric Andersen, believes his songs survived because he didn’t get too political. Don McLean tells of the impact of Pete Seeger on his work and personal life, namely his adventures as a part of the original crew of Seeger’s ecological boat, The Clearwater, in 1969. Also, how his mega-hit, “American Pie,” ruined his career by branding him a “sellout” and how the fortunes from it bought him a Mercedes Benz and not a Chevy he would drive to the levy. Both Loudon Wainwright III and Leonard Cohen reveal they turned to songwriting because it was easier than writing novels.

Pollock calls folkie-turned-Monkee Peter Tork “a rock-n-roll Maynard G. Krebs.” He captures Tork in 1981 when he had lost all his Monkees’ money but is content in his move back to the East Coast and playing gigs that provide him and his daughter with “three hots and a cot.” His 1982 interview with Roger McGuinn provides a pocket history of folk and country rock, two genres birthed by his band, The Byrds. McGuinn also reveals how he was the catalyst for Beatle George’s interest in both Ravi Shankar and Eastern Religion.

The most interesting and lengthiest profile is that of Lovin’ Spoonful singer/songwriter John Sebastian.

Unlike anyone else here, aside from his early bandmate/friend Maria Muldaur, Sebastian was born and raised in Greenwich Village. He was raised on Bank Street in a family headed by a renowned classic harmonica virtuoso father who would have friends like Woody Guthrie and Burl Ives drop by. Sebastian traces his woodshedding days, playing as a teenager with Lightnin’ Hopkins, doing sessions with Bob Dylan and Tom Rush, his time in the Even Dozen Jug Band before forming the Lovin’ Spoonful. Their lengthy residency at The Night Owl Café was the event that ushered in a bit of rock raucous to the high-minded acoustic scene.

Sebastian recounts the Spoonful’s run of huge hits and their eventually breakup in the wake of a drug bust, the fits and starts of his solo career and disillusionment with the business. Sebastian would move to L.A. and live in a tent for two years before remarrying, having a son and moving into, then flipping, a couple of houses. “I would make as much from real estate as songs in the early ‘70s,” he says. Of course, there’s talk of his unscheduled performance at Woodstock, something done with a borrowed guitar and on a “triple acid trip,” and how it both helped and hurt his career. Some other interesting bits – a cameo by the real-life Frank Serpico of movie fame who would revive drug O.D.s among the scene . There’s also discussion of the invitation to join Crosby, Stills & Nash as their drummer in the early days when they were getting their act together out at Sebastian’s place in Sag Harbor.

Sebastian credits some of his longevity to seeing his dad hustle a career in the not so lucrative world of classical music. “He wasn’t afraid to get his tux dirty,” quips Sebastian. Shortly before this 1982 interview, Sebastian would find himself back on top with a number one hit he wrote on order and almost forget. It was the theme to the TV series, “Welcome Back Kotter.” For the past few decades, he’s been living a happy and unironic life in Woodstock.

Pollock’s book concludes with a playlist featuring the works of 70 artists who influenced or emerged from Greenwich Village’s folk scene.

https://www.youtube.com/watch?v=VYBnGmXgB1E

June 18, 2023
4 Years Later and Young The Giant Returns to Buffalo

Alternative indie band Young The Giant performed in both rain and shine at Artpark on June 13. The group has been off the road for the past four years and finally decided to come back to tour life this Summer.

Photo credit: Maddie McCafferty

Indie artist Talk kicked off the rainy night in Lewiston and had people crowded around to hear his hit “Run Away to Mars.” German rock duo Milky Chance followed up their set just as skies began to clear. Starting as high school friends, Clemens Rehbein and Philipp Dausch have been making music together for years. They create this infectious energy on stage by constantly moving and switching instruments. They are able to liven up a crowd effortlessly as shown when they performed “Stolen Dance.”

Photo credit: Maddie McCafferty

Later on in the evening Young the Giant took the stage. The band consists of Sameer Gadhia, Jacob Tilley, Eric Cannata, Payam Doostzadeh, and Francois Comtois. The group finally got to play tracks off of their 2022 album American Bollywood live for the first time. An album that explores the preservation of cultural identity while simultaneously assimilating to a new country.

Photo credit: Maddie McCafferty

Frontman Sameer utilizes dreamlike lighting matched with cinematic visuals to take the audience through the journey of the human experience. Throughout their set the band would take a break to show optimistic and storytelling displays. This made the Young The Giant show feel like a journey the audience got to endure.

Photo credit: Maddie McCafferty

With five studio albums under their belt Young The Giant has plenty of music in the discography to perform. However, they don’t shy away from playing their oldies such as “Cough Syrup” and “Mind Over Matter.” One song in particular that really wooed the crowd was their closing performance of “My Body.” This age-old hit has broken records for a reason because people have no choice but to dance. This was no exception either at that night in Buffalo.

Photo credit: Maddie McCafferty

This Summer concert series at Artpark is something you don’t want to miss. Michael Franti & Spearhead will be there June 21 and My Morning Jacket performs June 26. Get tickets here.

Photo credit: Maddie McCafferty

Setlist: American Bollywood, Wake Up, Something to Believe In, Cough Syrup, My Way, Apartment, Nothing’s Over, The Walk Home, Dollar $tore, Cult of Personality, Heat of the Summer, Tonight, Mind Over Matter, Dancing In The Rain,

Encore: Metropolis, Superposition, Tightrope, Silvertongue, My Body

June 18, 2023
From Asphalt to Lush Grass: Governors Ball 2023 Shines In New Home

Ten years ago in 2013, Kendrick Lamar made his way to Randall’s Island for a late afternoon set on the smaller of the Governors Ball stages. It was only a few months after the release of good kid, m.A.A.d. city as Kendrick’s meteoric rise was just underway. Fast forward to 2023; Governors Ball finds itself in a new (and hopefully, permanent) home in Flushing Meadows Corona Park and Kendrick Lamar is closing out the festival unopposed and under the fireworks. This past weekend, Governors Ball proved once again why it is New York City’s favorite music festival.

Kendrick Lamar at Governors Ball 2023. Photo by Lucas Kurzweil

After spending many years on Randall’s Island followed by a two year rental of the Citi Field Parking lot, Governors Ball finally made its long desired move to Flushing Meadows Corona Park. The vast park in central Queens has been woefully underused by the city for decades; a trend that will hopefully be reversed after the success of this year’s festival. The park was designed and built with large-scale events in mind, hosting two World’s Fairs in 1939 and 1964. Flushing Meadows sits on the intersection of two major highways, is adjacent to a subway line with access to Manhattan, and has ample parking lots from the numerous stadiums in the vicinity.

Governors Ball organizers did an incredible job of laying out the festival to take advantage of all of these features, creating a wide open festival experience that never felt too crowded at any point during the weekend. Three stages occupied the larger fields while the vendors and centralized area of the festival was nestled under large trees providing ample shade and character to the grounds. The towering Unisphere greeted fans at the entrance while the main stage was set up right in front of the New York State Pavilion, giving an iconic backdrop to the festival.

The lineup for the 2023 edition of Governors Ball attempted to model the diversity of Queens, the World’s Borough, as well as the eclectic music tastes of New Yorkers. There was a heavy lean towards rap and hip-hop overall, but festival organizers did sprinkle in rock, pop, indie and EDM throughout the weekend. International artists graced the stages as well including Korean pop superstars Aespa, Puerto Rican rapper Eladio Carrión and Japanese singer/dancer Rina Sawayama. Indie and rock was represented by Girl in Red, Black Midi, KennyHoopla, and Haim while Odesza was the lone EDM act for the weekend.

Odesza at Governors Ball 2023. Photo by Joseph Buscarello

Kendrick Lamar Trades The Production For a Microphone

Kendrick’s latest album Mr. Morale and the Big Steppers was released a little over a year ago, but its relevance lived on with his Governors Ball performance. Although the stage production did not include the same amount of intricate detail that the “Mr. Morale and the Big Steppers” tour held, the set had a simplistic yet empowering feel. The only additions to Kendrick on the GovBall NYC stage were some lights on either side, large Henry Taylor backdrops, a couple of flares, and a few dancers. Kendrick proved that he does not need the fancy add-ons to pump up a crowd. He had all of Flushing Meadows screaming the words to his songs like they were the national anthem at a playoff sporting event.

Kendrick Lamar at Governors Ball 2023. Photo by Joseph Buscarello

Kendrick did the majority of the set solo, running through tracks like “King Kunta” and “LOVE.” and even his iconic feature on Pusha T’s track “Nosetalgia” (sadly, no Pusha T appearance even though he performed on the adjacent stage before Kendrick). Near the end of his captivating performance, Kendrick brought out his cousin and protegé, Baby Keem, to perform their RIAA Platinum song “Family Ties.” Through his crowd control and high energy performance, Kendrick Lamar further established himself as the best of the best in the rap game.

Lizzo And Odesza Headline With All The Fanfare

Lizzo was the Friday night headliner and she did not disappoint. Her band and numerous dancers lined the stage as the lights went out, leading up to a grand entrance to “Cuz I Love You”, the opening track of her 2019 sophomore LP of the same name. Lizzo’s thunderous voice reverberated throughout the festival grounds, especially when she dropped into her mega hit song “Juice” which sent the crowd into a dance frenzy. The glamorous staging featured retro big band style decor and backdrops, with sultry visuals playing along on the giant LED screen on the stage. Lizzo ran through her setlist with a powerful grace, performing her signature flute solo leading into “Truth Hurts” along with a fan favorite cover of Chaka Khan’s legendary “I’m Every Woman”; a song and a sentiment that has become a mantra behind Lizzo’s approach to music writing and performance.

Lizzo at Governors Ball 2023. Photo by Joseph Buscarello

Odesza fulfilled headlining duties on Saturday, with their larger than life EDM show filled with lasers, flaming pyro, guest vocalists, and a fireworks finale fit for a music festival. The duo took to the stage and started their set off with a bang with “This Version of You” and “Behind The Sun”. There was no shortage of pyro, as large fireballs erupted behind the DJs throughout the show, sending waves of heat into the crowd. Lasers fanned out over the crowd to interact with the tall trees in the back of the field, with house beats driving the dance floor until curfew. Odesza sprinkled in a Pretty Lights cover in “One Day They’ll Know” as well as a “TENSE” and “KEEP MOVING” from their BRONSON collaborative project with Golden Features. They closed out their set with a huge fireworks display over the stage while 2022’s “The Last Goodbye” pulsed through the night.

Filling Out The Days

Lil Uzi Vert was the perfect addition to the rap-filled GoPuff stage. Their Friday night performance had fans in awe. They came down from the stage to rock out with the fans on the barricade, and made sure fans that fell over were able to get up and continue jamming. They brought out rappers Ken Carson and Destroy Lonely, and got the crowd going with songs like “Do What I Want” and “Money Longer.” They left fans with a feeling of anticipation for what is to come in the following weeks by announcing that they have a new album releasing this month.

While rock and indie were not as prevalent on the lineup this year, the biggest draw in the category was certainly Haim on the GovBall NYC stage. The three sisters burst onto the scene in 2013 with their debut record Days Are Gone featuring the utterly infectious song “The Wire”. Throughout the set, the three sisters alternate vocal roles and instruments while also engaging heavily with the fans. Their dynamic performance style creates a light and fun atmosphere that is perfect for the summer festival stages.

On Saturday, KennyHoopla and Snail Mail kept the rock vibes going on the GoPuff stage. KennyHoopla’s vigorous post-punk dominated the crowd first, bouncing all over the stage while delivering a rambunctious vocal performance over heavy guitars. Snail Mail came up next, keeping the punk rock going, featuring a set full of songs from their two excellent LPs: 2018’s Lush and 2021’s Valentine.

Governors Ball Artists March On

In the wake of Governors Ball, many of the artists who played use the opportunity to announce new projects and tours. Many of the artists are on their own headlining tours and mix in the festival appearances. Right before Governors Ball weekend began, Metro Boomin released his highly anticipated soundtrack to the movie Spider-Man: Across The Spider-Verse. Just after the weekend, Eladio Carrión announced a North American tour with a stop at The Theater at MSG in October. Philadelphia’s major music festival, Made in America, announced their lineup with Lizzo making another headlining appearance along with Ice Spice, and Metro Boomin. Joey Bada$$ is running through the festival circuit with a dozen appearances including Glastonbury, Rolling Loud, and Lollapalooza.

Odesza at Governors Ball 2023. Photo by Joseph Buscarello

Kendrick Lamar, fresh off the epic Big Steppers World Tour, is also hitting the summer festivals, taking his minimal yet relentlessly in your face festival show to the biggest stages in the world including Bonnaroo, Lollapalooza, Rokslide, Austin City Limits, and Summer Sonic in Japan. If any of those festivals are within reach, it is worth the opportunity to catch a generational talent at his very best.

The Future Of New York City’s Premier Music Festival

By all accounts, the first edition of Governors Ball in Flushing Meadows was a major success. The layout of the venue was nearly perfect, transit in and out of the festival went smoothly, and three days of music went on without skipping a beat. Governors Ball has been at it for many years and are no strangers to throwing such a large party in NYC, but expectations were sky high this year. One could have argued that the very future of the festival rested with this weekend going off without a hitch. The cost of putting on these events has never been higher, and fans have so many choices of shows these days that it was unclear if Governors Ball could even draw a large enough crowd. Last weekend in Queens put all of the chatter to bed. With the Canadian wildfire smoke clearing out just in the nick of time, a glorious weekend of sunshine and music ensued. There is no doubt Governors Ball will be back at it in 2024; now we can all start dreaming of our ideal lineup we would want to see grace the stages in Flushing Meadows.

June 17, 2023
Seize Atlantis Releases Striking New EP “Ruins Rebuilt”

The close knit alternative rock band from Glens Falls, Seize Atlantis, just released their newest EP on Saturday, June 17th, titled Ruins Rebuilt. These winners of NYS Music’s March Madness earlier this year created their EP to feature a total of five tracks which showcase the band’s growth in production and lyricism since their founding in 2019.

Ruins Rebuilt is the band’s second EP with their first having been released during the summer of 2022. Since their first release, Seize Atlantis has been performing and creating music consistently, thrusting their sound into the limelight and solidifying them a loyal fanbase. Three of the five tracks on Ruins Rebuilt are singles that have already been released including “Crawl,” “I Need It,” and “Monster” with two new tracks “Hide” and “Cosmos.” Their latest release, just two weeks before the EP dropped, was an acoustic version of “Hide” which takes on a new life and form in the EP’s production. Together, the tracks give off a message and tone of eeriness, worldly unknowns that lay in the future, and memories and scars of the past that one wishes to be forgotten. This theme takes form in context of individuals’ relationships with each other as well as one’s toxic and increasingly complicated relationship with themselves. Every message is highlighted through the sound of hard rock, powerful vocals, and at times overbearing yet incredible instrumental backing.

Each song on the EP takes the band and listeners into a striking direction while staying consistent in theme and tone. The beginning moments of “Crawl” work to immediately grasp listeners with an intoxicating beat that builds in each measure as the band adds in one instrument after another. This rise in sound and intensity is similarly followed by James Mullen’s consistent and powerful vocals which go through multiple flips and key changes. The lyrics express an internal battle while simultaneously instilling the idea that personal demons can enter from the outside as well. In this manner, it calls attention to the parasitical characteristics of fraudulent personalities threatening to take over the social public. “Cosmos” is a track that is more laid back and eerie than the previous, yet this is where the lyric talent of the band truly shines. It follows an individual calling out into an endless void asking if they can be heard and receiving no reply. As the song is a solo, the singer is vocally alone, knowing there will be no answer to come, yet recognizes that everyone is similar in this sense taking away the intensity of that feeling. Halfway through the song, however, production takes over as different voices are blending together and fighting against each other, not giving the audience the ability to understand what they are saying – this is where music is used as a guiding light as everyone is able to comprehend the solemn, invigorating, and sometimes hopeful energy of the rest of the band.

Seize Atlantis has been on a wicked run which has given them various things to celebrate. Not only will the band have new singles to rock out to and share with their fans, but the members are coming off of winning “Favorite Rock/Hard Rock Artist,” and “Favorite Progressive Rock Artist,” at the 2023 ListenUp Awards. To keep the party going, “Ruins Rebuilt” will be debuted on the evening of June 17th at Glens Falls’ Mean Max Brew Works and will also be performed on the road to GEM FEST 2023. You can listen to Ruins Rebuilt and more by Seize Atlantis on any streaming service including Spotify, iTunes, and Apple Music.

June 17, 2023
In Focus: New York State Blues Festival, Day 1

The 31st edition of the New York State Blues Festival kicked off Thursday afternoon of June 15th at the New York State Fairgrounds in Syracuse, underneath beautiful blue skies. The annual event, which has grown substantially over the last thirty years, is known for being one of the largest, free, multi-day blues festivals in the northeast, and features a mixture of local, regional, and national blues acts.

Brandon Santini performs at the 2023 NYS Blues Festival

The festivities kicked off Thursday afternoon with a high energy set by Syracuse’s own Fillmore Blues Band. As the band took to the stage, the areas in front of the stage were already filled with early arriving blues fans, eager to get the party started. Festival goers sang and danced as the Fillmore Blues Band weaved their way through a 75 minute set of covers and originals. The set showcased a band known for their dynamic musical improvisation. Led by Mike Petroff on harmonica and vocals, the performance did not disappoint those in attendance. Petroff even took his harmonica into the crowd, playing stage-side on top of a table, giving passionate onlookers an up close view of the musician.

The Fillmore Blues Band kicked off the 2023 NYS Blues Festival

Next up was Memphis based rocker and blues harmonicist, Brandon Santini. Santini launched into his set with a harmonica solo which set the stage for his performance. The set was high energy, and saw crunchy blues guitar riffs to back Santini’s deep vocals and harmonica playing. Santini paid tribute blues harmonica legend Sonny Boy Williamson, with a phenomenal rendition of “Nine Below Zero”. Santini, who played the festival in 2016, was easily an early favorite of the audience as many in attendance came donning his merchandise. His set did not disappoint.

Brandon Santini performs at the 2023 NYS Blues Festival

Headlining the evening were the Blood Brothers ft Mike Zito & Albert Castiglia. The duo of blues guitar heavy-weights were touring in support of their January 2023 full length album Blood Brothers. Easily one of the most anticipated sets going into the weekend, the two did not let those in attendance down. The long time friends, known for their immense musical chemistry on stage, showcased why Joe Bonamassa once stated “They finish each other’s sentences, musically.” Their set, which leaned heavily on tracks from their self titled release, saw the pair dual on many guitar solos. Their passion for the music was visible from the audience, as the two routinely flashed smiles to each other as they tried to “out dual” the other.

Blood Brothers ft Mike Zito & Albert Castiglia perform at the 2023 NYS Blues Festival

The festival continues through Saturday and features headliner and blues legend, Buddy Guy with direct support from Samantha Fish on Saturday night. Admission is free.

June 17, 2023
Neighborhood Heroes: Billie Essco, Buffalo Pioneer

Billie Essco flourishes within the hip-hop and fashion scene on his own terms. Holding it down for Buffalo, NY – which he also describes as a “hyperbaric chamber.” Essco is a Buffalo kid through and through. The city of of Buffalo is known for its grimy-ness and is known to make men out of boys by placing individuals on the frontlines and running them through the gauntlet. Hence, some get chewed up, spit out and booed off stage – others accept the challenge and emerge war-ready. Billie Essco stands tall amidst the onslaught of adversity as a true Fashion Rebel in every sense of the word.

Twitter/@BillyEssco

Subsequently, Griselda Records x Fashion Rebels encompass everything that hip-hop has been missing. The way that they have ushered in their own style, adornment, musical influence and mastery resembles the way that A$AP Mob emerged to fill a void in the 2010s. Griselda Mob carries the torch in a valid manner through top-tier excellence and curation.

Surging Buffalo Renaissance

Beautifully, Billie Essco blossomed under the Griselda umbrella as a contemporary curator. His brand, Cafe spurned from the idea that local cafes felt outdated without contemporary taste. To coincide with Cafe, his brand Czen specializes in repurposed garments and consciously progressive graphic design.

-Recently, Cafe announced a collaboration with New Era.–

Nonetheless, the way he designed the brand represents meticulous construction. Drawing from his Fashion/Textile technology experience at Buffalo State – Billie came up with two four-letter brands. The brevity and impactful nature of these eight letters combined with the color schemes and exquisite patterns create the ultimate consumer’s dream.

Multihyphenate Ghetto Couture

Incredibly, the most beautiful part about Essco’s creations lies within their multifaceted roots. Everyone gets their start from somewhere – it just so happens that Billie arose from Buffalo’s trenches. Essco’s vision received the ultimate boost in 2020 when he styled Westside Gunn for the Off-White x Louis Vuitton Paris Fashion Show. Working with Virgil Abloh encouraged him to double down on his efforts.

A political-conscious contemporary brand, Cafe represents the times and adapts accordingly. Similarly, Cafe + Czen releases merchandise that deconstructs racist policies and politics. Auspiciously, with youthful aura and purity, the Cafe trucker hat gives off a Midwestern type vibe. Geographically, this makes perfect sense given Buffalo’s proximity to Cleveland. Foundationally, this brand performs well and resonates heavily with consumers because of its underlying message and the creative connections associated with its core brand elements.

Undoubtedly, the world needs more people like Billie Essco – a critical thinker with historical prowess, tried-and-true methodology and contextually colorful design schemes. In like manner, the young designers continues to elevate with a collaboration with New Era symbolizing a major milestone. Essco’s journey can serve as inspiration for many Buffalo natives. A person who pursues spiritual and mental growth will never plateau in regards to their potential. No matter what age, color or creed – you have limitless abilities – just tap into your gift and never stop working toward your destiny.

June 16, 2023