NYC’s Alt-pop duo Fake Dad has released their newest single titled “Fashion Girl,” today, April 14th. The alt-pop duo is delivering their second project of 2023 that perfectly captures an electrifying, cathartic, throwback 90’s grunge sound that is a departure from their usual discography, demonstrating their versatility as both songwriters and performers.
The single “FASHION GIRL” is angsty and nostalgic sounding, paying homage to groundbreaking throwback styles like 80’s new wave and 90’s female led riot grrrl punk. In the song, Fake Dad tells the story of a personal best friend breakup while offering commentary on a variety of topics like beauty standards, body and gender dysmorphia, daddy issues, insecurity, and female rage.
At first glance, “FASHION GIRL” is a fun, energetic track that calls upon listeners to let-lose with contagiously danceable reverb-soaked Oberheim drum machine patterns, messy driving distorted guitar, heavy bass, and surf-rock style riffs. With a deeper look into the single, Fake Dad speaks to an untapped, silent pain that so many people carry around with them about constantly being made to feel like they will never look good enough, be pretty or hot in the right way, and the unacknowledged frustration, and rage, that they live in a world that assigns so much of their worth to people’s ability to live up to superficial ideals.
Following recent releases “maybe next year” and “New Machines,” the duo delivers their second project of 202. They perfectly capture an electrifying, cathartic, throwback 90’s grunge sound that is a departure from their usual discography, demonstrating their versatility as both songwriters and performers.
Birthed from Fake Dad’s deep dive into Russian Dark Wave (and post-punk bands) and a tragic falling out with a fashion major (childhood) best friend who hailed from a wealthy UES Manhattan type family, this song is about the insecurity and sadness hidden behind the eyes of so many of the people the fashion industry swallows up with the promise of beauty and power. It at once exalts, criticizes, and empathizes with them, aiming to hand the fashion girls back their power and grant them an opportunity to reconcile with the ephemeral love and power that masquerades as the ideal, golden shell of a life.
When listening to the single, fans can hear a reminiscent of 80s New Wave (New Order, Joy Division, The Cure, Talking Heads) for a non-male-led era. In other words, all the female-fronted, angsty energy of 90s riot grrrl/bikini kill punk along with its slightly more pop-leaning, bratty (yet still unequivocally angry) early 2000s sound reminiscent of bands like No Doubt, The Cardigans, Alanis Morissette, Paramore, and P!nk.
Fake Dad wants listeners to experience a sense of catharsis from this track, “whether it’s someone who dedicates their life to changing themselves into something that looks good enough, or someone who wishes they could opt out of the value system entirely, there is an anger that needs to be released.”
“Fashion Girl” premiers on all platforms April 14th.
Bruce Springsteen performed a tour de force at the Rocket Mortgage Arena in Cleveland, Ohio on Wednesday, April 5th. Being just down Interstate 90 from Buffalo, many fans that couldn’t attend the sold out Buffalo show took the road trip three hours west to Cleveland.
Springsteen set the tone for the evening with a powerful performance of “No Surrender.” The Boss and his E Street Band set the tone for the evening with a passionate rendition that left the audience eagerly anticipating what was to come. What followed was a show that showcased Springsteen’s immense talent and musical prowess, and left the crowd spellbound.
Bruce Springsteen’s connection to his audience was palpable from the first note, as he masterfully worked the stage and engaged with the crowd throughout the night. The setlist was a perfect blend of old and new, with some surprises thrown in for good measure. Springsteen and his band delivered a night of music that had the audience on their feet, dancing and singing along to every word.
The band’s musicianship was exceptional, with each member delivering an outstanding performance. Bruce Springsteen’s voice was as powerful as ever, and his emotive guitar work filled the arena with sound. He seamlessly moved from one song to the next, delivering hit after hit. Some including “Ghosts,” “Prove It All Night,” “The Promised Land,” “Backstreets,” and “Badlands.”
One of the standout moments of the night was an emotionally charged performance of “Last Man Standing,” which Springsteen wrote for a close friend who had passed away. The song was a moving tribute that left the crowd in reflective silence. Springsteen’s musical prowess was further highlighted in “Last Man Standing” as he delivered a poignant and memorable performance.
The encore was a fitting end to a night that will be remembered by all who attended. Springsteen and his band delivered a medley of hits, including “Rosalita (Come Out Tonight),” “Dancing in the Dark,” and “Thunder Road.” The crowd sang and danced along, showing their appreciation for a performance that will be talked about for years to come.
Bruce Springsteen’s performance at the Rocket Mortgage Arena in Cleveland was nothing short of exceptional. Springsteen proved that he is still one of the greatest musicians of our time, with a performance that was both powerful and passionate. The Boss and his E Street Band left the crowd wanting more, and provided a night of music that will be remembered for years to come. Bruce Springsteen has proven he still has it at 73 years young.
Hudson Valley based indie rock-folk band Setting Sun has just announced their sixth full-length studio album in ten years, The Feelings Cure due out on May 19th.
Alongside the announcement, the band shares a brand-new hit single “Feelings Cure,” along with an accompanying music video. Setting Sun will also be playing live in Woodstock for their official album release show the day before the album drops.
The single “Feelings Cure” aims to resist feelings of pain and sadness through music. Levitt says the track is about “denial and playing music and finding a cure for sadness or pain.” Written three months into the start of the pandemic, Levitt was forced to confront the reality of diving back into music, only this time, in quarantine with his wife and toddler which presented new challenges.
“Setting Sun create an Arcade Fire urgency, creating sweeping orchestrations, driving rhythms”
–Pop Matters
Levitt adds, “It took a while to be able to turn on the creativity at will according to the clock, but I found it was actually possible. The limitations made me more productive. This song was one of the first I recorded for the new record and maybe it helped get out some of that frustration from being forced into a new life and future not made by my choice.”
The band Setting Sun, led by songwriter Gary Levitt, began in San Francisco where the band’s first release, holed up, was recorded in 2003. From there, Levitt moved to Los Angeles, then to Brooklyn and now resides in the Hudson Valley.
With their newest, and most comprehensive body of work yet, Setting Sun is ready to re-introduce themselves to society. In the band’s current state, joining Levitt are long-time collaborators Lawrence Roper (keyboards, vocals), Jonathan Hambright (drums) and John Burdick(bass/vocals).
The Feelings Cure was recorded like no other Setting Sun record, diligently. Explaining the creative process and creating the album while now being a father, Levitt says,“I wasn’t sure if I’d be able to get in the creative zone with set times of having to turn creativity on and off like a switch. I used to write and record in creative blasts when I felt it come on like a wave or virus. Having kids forced me to write, record, and mix in the gaps of being a father and the maturity shows on this record.”
Over 10 rich tracks, Levitt turns inward to blend genres and juxtapose upbeat instrumentals and production with melancholic lyrics. Unafraid to take risks and allowing himself to create without reserve, the album chronicles Levitt further discovering himself and his artistry, culminating in the band’s most realized work to date.
While producing the album, Levitt learned to listen to himself and how he was feeling to best use his time and play to his strengths. “I produced this record myself in my studio and enlisted friends to lay down some tracks like drums, harmonies, violins, etc. One trick I learned is to be aware of my mood. If I wasn’t feeling a creative wave, I’d then do some mixing. If I was in the creative zone, I’d sit and write and record a part to one of the songs.”
The creative process became casual, free-flowing and unforced. Levitt says, “Most of the sounds you hear on this record were written and recorded simultaneously, so you’re getting the raw thing, not a reenactment of the moment it was written, this is the moment.”
Setting Sun will celebrate the release of their first album in ten years with a show at Colony in Woodstock on May 18th. The following month, the band will perform at Riverside Concerts in Germantown on June 15th.
Tickets for the release show are on sale, to purchase click the link here.
To pre-order The Feelings Cure, click the link here.
For more music by Setting Sun, click the link here.
When discussing the capital region’s vibrant post-COVID underground music scene, it’s impossible to ignore Troy’s No Fun. Founded in Dec. 2021 by August Rosa, originator of the Albany/Saratoga Springs craft beer business Pint Sized, the venue has quickly become a hotbed for DIY music in the capital area and greater northeast region.
More than just a place, Rosa views it as a project and a springboard for creativity in the area. “I built it here so we could have new and different artists come through,” he said. “I’m trying to involve the folks that I think have their head in the same place that want to bring new, challenging different artists to the capital region.” While Rosa initially intended for No Fun to be an extension of his first enterprise, he’s enjoyed seeing the space take a life of its own.
Performance by Algonquin singers/drummers The Medicine Singers at No Fun in September. (Photo credit: Rudy Lu)
Rosa fits the appearance of your prototypical mid-30s punk. He sports thick frame glasses and a brown beard, wearing a gray beanie, blue-yellow flannel, and gray jeans. Even though he scoffs a bit at his fashion sense, Rosa had an active eye for aesthetic when setting up the venue itself.
Made for 200 people, No Fun is an artsy yet minimalistic space, with a checkerboard floor, walls of white sheet rock, and a modest yet decently sized stage area in the back, complete with a disco ball. The single bathroom specifically emits a punk aesthetic, featuring a crude black paint jump and walls covered by graffiti and posters for future No Fun shows. Aspiring for a genuine atmosphere, Rosa modeled the space with DIY venues of NYC in mind. “I want it to feel like you’re more at an art space or your friend’s apartment than a business,” he said. “I think that’s resonated, for sure.”
While No Fun’s physical layout was very much intentional, Rosa feels its importance pales in comparison to the people actually occupying it. We’ve had packed houses on the regular here,” he said. “I think we’ve sold out about a dozen shows this year so far which is awesome.”
In terms of promotion and planning of shows, Rosa describes No Fun as a team effort. Describing his noteworthy act booking efforts, he mentions hauls such as NYC noise rock band A Place To Bury Strangers and global acts such as Algeria’s Imarhan and an upcoming show featuring Australia’s Surprise Chef. There’s Shane Sanchez, the frontrunner of Super Dark Collective, a capital region promotion which hosts shows on the grittier and experimental side. Rosa also credits Sanchez as having “amplified the hip-hop angle” at No Fun.
He additionally mentions bartender Shane Secor, the man behind promotion arm Hey Greasy!, shouting out his booking of Gibby Haynes from Butthole Surfers and his rock-and-roll and Rochester connections. Rosa also namedrops a couple peripheral figures such as Rachel Freeman, ex-runner of the Byrdhouse venue in Albany and current regional promoter through Byrdhouse Records. “I want to give massive credit to the team that I initially put in place here, and I’m so grateful that they’ve stuck around,” he said. “Between the people that were initially hired here, and the folks that evolved with it as it continued, the place wouldn’t be the same without them.”
Despite the hindrances of an Omicron-delayed beginning for No Fun, Rosa has found nothing but joy in the project so far, delighting in memorable and unique performances at the venue. He reminisces on hosting prolific New Jersey indie pop group Pinegrove and organizing for an interesting collaboration between Algonquin singers/drummers the Medicine Singers and members of legendary noise rock band Swans. “I’m seeing more of people just coming out to stuff where they’re like, ‘I saw some weird band that No Fun booked, it’s probably gonna be cool, I don’t know much about the band,’” said Rosa.
This same approach went into his program on Friday, March 3, a four-band showcase featuring some new and some native to the Capital District scene.
Tonight isn’t a sellout, but the crowd is still significant and full of enthusiasm. Up first is Aaron Wilson, co-owner of Herbie’s Burgers on Lark Avenue and tonight, frontman of a folk rock four-piece. The guitarist has long auburn hair and dons a light beard and glasses, singing about beer and romance. The five-song set starts upbeat before becoming wistful for a couple tracks, closing out with an energetic and quick number backed by thwacking drums.
Next is Binghamton dream pop act Pleasure Dome. They’re a six-piece with two keyboardists and one guitar, fronted by vocalist Cydney Edwards who softly sings over waves of reverb. Their six-track set ranges between slow, moody shoegaze and uptempo surf rock, featuring plaintive melodies. Their stage presence is expressive but not overzealous, inspiring dancing near the front of the crowd. “Tonight was really fun, but the venue is mislabeled because we had a good time,” said guitarist Brandon Musa after the performance.
Third is Precious Metals, a local alt-rock band. Lead vocalist J. Lee White reminisces of glam with frizzy brown locks and a jean jacket over a tank top, singing in a shrieky falsetto that harkens of Journey’s Steve Perry and Geddy Lee of Rush. The four-piece mixes groovy, urgent originals with covers such as Jimmy Eat World’s “Sweetness,” building the excitement and motion from the show’s earlier half.
Closing the night is singer-songwriter The Age, who steals the show. Age oscillates between blue-eyed soul and funk rock across his six song set, crooning Billboard-worthy melodies, dueling with his backing guitarist John Drabnik, interpolating Arctic Monkeys and the Outkast, and effortlessly engaging his audience. His four-man group’s musicianship is commendable and their enthusiasm is infectious, with the checkered tiles of No Fun becoming a dance floor by the second song. To finish, Age shreds the closing track in Purple Rain-esque fashion, capping off a magnetic performance.
The Age on March 3. (Photo credit: Kiki Vassilakis) The Age on March 3. (Photo credit: Kiki Vassilakis)
The scene at No Fun as the night ended is exactly what the venue is about: an excited swarm of people having enjoyed a wide-ranged and impassioned show of regional music over the course of three hours. Nights like these prove just how much the No Fun mission can pay off.
Rosa’s been patient, understanding that “just like anything, it takes time to develop your crowd, to have people feel comfortable to have them feel like the space is theirs.” If the space wasn’t theirs before, now it is.
When someone refers to a musician as multi-faceted, they often mean one who would best be described as a singer/songwriter or a multi-instrumentalist. But what about musicians who bring their outside interests into their music? Musicians like Sean Rowe, whose music and interest in the natural world combine to create something truly unique.
Sean Rowe is an American singer-songwriter, musician, recording artist, and forager. A writer of heartfelt songs strongly rooted in singer-songwriter tradition, Rowe is an avid naturalist and renowned forager, and often speaks of his fascination with the woods and his connection to the land. You might recognize him from appearances on “Jimmy Kimmel Live” or heard his song, “To Leave Something Behind” featured in the 2016 film, “The Accountant”.
This Adirondack raised baritone would not be out of place at a rock show, or your local farmers market. I spent some time with Sean talking about his music, his successful Youtube series, and most interestingly, his love of foraging, and how all those topics intertwine to create his unique approach to Americana.
Montana Munoz : Hey Sean! Glad we could chat for a bit, just wanted to say i’m quite excited to be talking with you today. I just wanted to start off by saying I really like your song “Squid Tattoo”. I played it the other day at home and my Dad has put it on in the car at least 10 times now.
Sean Rowe : Oh thanks so much!
MM: How would you describe yourself or really, describe your music for someone who may not know who you are?
SR: In terms of conveniently looking me up in a genre it would probably be Americana or Folk, although ‘Folk’ is such a loose word. It encompasses a lot of music and has certain connotations that I would say is not so fitting to my music but I guess if you look up Alternative Folk or Americana I would probably be lumped into that category.
MM: As for musical influences what music did you grow up listening to that you feel has kind of influenced you as a musician yourself?
SR: Certainly older country music in terms of Johnny Cash and that whole “outlaw” vibe like Willie Nelson and Waylon Jennings. Also some 50s and 60s music my dad was listening to a lot when I was a kid cause that’s the era he grew up in. It is a weird thing though because that was from very early on when I was about 7 or 8, those were my musical memories but my teen years it was more like hard rock, metal kind of of a thing because that is what I was exposed to. But then I came back around to the earlier stuff as I got into my younger 20s so I’d say definitely early 60s music, the whole Folk movement in the 60s, Leonard Coen for sure, Bob Dylan, etc. It is a really a blend of American music, like Rhythm and Blue’s, that was my foundation.
MM: Oh I definitely get that vibe from you! Very Jim Morrison songwriting meets Johnny Cash sounds! So, tell me a little bit about your songwriting process. Do you usually start with an idea and then build from there, do you start from some chords and do you build the lyrics around it, or does it change with every song?
SR: It can change, 9 times out of 10 I’m writing the music before I write the lyrics, not always the case but for the most part thats the way it is for me. Honestly the best stuff seems to come when I’m not looking for it. I might be practicing some other song and for whatever reason I’ll start playing this chord progression that I’ve never played before in that order or sequence and then something jumps out about that, being like a separate entity in itself and it makes me want to record that and just try to find out what its saying. Songwriting for me is almost what I would imagine what its like for someone who scupts, and someone who has this raw medium and inside the medium they see something thats alive and they just have to get down to it. They just have to chip away for this thing they see in their mind. Thats the way it is for me. I’ll listen to a piece of music that I’ve written that doesn’t have words and I’ll listen back to it and to get an idea of what its trying to say.
MM: Awesome! I always love to ask songwriters about their process because it really is so different for everyone. So next i was wondering, what do you think music, especially as like a vehicle, mean to you. Is it a way that you can express yourself creatively, is it storytelling, is it just something that is fun and you’re good at?
SR: Well for me, its all of the things you mentioned. A lot of it is a kind of a transference of energy. This feeling of release. People have different things they release with, some of them are healthy and some are unhealthy but music is a very healthy release. And it might not be so specific, like I am writing about a specific topic or anything to just get it out there; it might be just a general feeling that I need to pick up the guitar and just transform that energy in my spirt into this instrument that has its own language. I think at its core it is just a release and its a beautiful release.
MM: Something I noticed when I was doing some research on you, is you’re really into foraging which i think is awesome. You even offer foraging classes! So how did you get into that? Did somebody introduce it to you?
SR: So I grew up in the Appalachian Mountains, that part of the country and as a kid I was just always kind of intrigued by nature. I always wanted to be inside of it in other words. It was never enough for me to just go to a museum and look at nature as kind of an abstract thing; I always wanted to be inside of it. So I ended up learning with other people who would be considered “experts “in the field of like you know Wilderness Living and and survival skills and especially foraging. I’ve taken a lot of courses and I’ve done all that but I’ve also done some experimenting on my own. Foraging is so universal. Almost everybody was a forager at one point in history and it’s almost like fire. Foraging is almost like as the feeling of fire in terms of like the way people can gaze into fire and and tap into something otherworldly almost. And it really taps me into what it means to be human, as well as being something I can do everyday which is good because it can be very addictive!
MM: So you have a very entertaining YouTube Series called “Can I Eat This?”, in which you and guest musician go out foraging, with your instruction of course, and create a pretty interesting meal, topped off by a musical performance together. What inspired that series?
SR: I think of a couple of things, and this is changing, but I don’t think wild food sas always been represented well on the screen. You know at its core, foraging is just so fun, you’re just going out, and finding food to eat, but the way its been portrayed is bland. So I wanted to create something that one, was entertaining and captured peoples eyes and attention. But I also wanted it to be informative and have some substance in the material. So the music came into play because I wanted to sort of tie these two things that are universal experience: Music and Eating.
MM: Oh I completely understand. I definitely had some misconceptions about foraging and more “traditional” food tasks like canning and such until I met my Mother-in-law, and she quickly educated me right! So I could have used your series a few years ago!
MM: Do you think having this special interest in foraging and more, I don’t want to say naturalist, but enjoying a more natural feel for things, do you think that in that influences your music in any way?
SR: Yeah I would say so, I mean certainly conceptually you know in terms of like writing music and lyrics there’s a lot of like naturalistic elements in my songs. There’s also a lot of like metaphors that I use that you would consider taking a sort of naturalistic approach.
MM: Alrighty so just a few more questions for you, being in a time where many would consider a lot of music mechanical, do you feel that it is important to keep your music almost as organic as possible?
SR: Yes I do. I try to keep my music almost as untouched as I can and how I wrote it, and its why I often record more acoustic performances of my music to share.
MM: Awesome! So I noticed that you do a lot of “House concerts” where your fans can book you directly to come to their house or event and you perform these intimate shows. Why do you focus on these instead of traditional touring?
SR: Well you hit it right on the head, it’s more intimate this way. It allows me to connect with people who listen to my music in a much more organic way and I’m able to almost feel the essence of the music flow through people, and receive that flow of energy back.
MM: Do you think these house shows help you as a musician?
SR: Oh, absolutely. Like I said the energy I get from these performances really drives me and makes me want to write and perform more.
MM: Sounds great! Ok so to wrap us up, what can we expect from you in the future to look forward too?
SR: Well really, I just want to continue writing and performing. Obviously I’d love to make more episodes of “Can I Eat This” and keep recording my performances. I think in the long run, I’d like to make more music for movies and such, but right now that’s for later.
MM: Alright Sean any last parting words for us?
SR: It’s all about the music, just living life and enjoying what comes along.
For more information on Sean, please visit his website.
Higher Ground has served, for more than a quarter centry, as Burlington’s premiere indoor music venue, a checkmark for bands looking to make their park in the Green Mountain State. Fans who have been able enough to catch a Higher Ground show know to stay until the show is over, where concert posters are sometimes handed out to lucky fans.
ECHO: A Survey at 25 Years of Sound, Art, and Ink on Paper, a unique art book featuring a collection of concert posters spanning the history of Higher Ground, the legendary music venue located just outside Burlington, VT, was released on April 1st. ECHO is a site to behold for concert poster collectors across the country.
This meticulously designed coffee table book, appearing like a stack of bound silkscreened posters, features the concert posters that have been a staple of Higher Ground and their partnership with acclaimed design firm and nonprofit, Solidarity of Unbridled Labour and Iskra Print Collective.
The book’s intro, written by Wilco frontman Jeff Tweedy, taps into the project quickly.
What coheres in these images is the work of the music and art communities intertwined and invested in each other…Concert posters are as close as one can get to the solid evidence that we all crave—proof that what happens when we create is beyond the scope of the individual work.
Jeff Tweedy
With more than 350 original concert posters, all taking place in Vermont – mostly at Higher Ground – the book is snapshot of music history in the Northeast, tracking bands as they progressed around the country, growing in size in many cases, with some moving from the smaller Showcase Lounge to the larger Ballroom space.
The artwork is inviting for any music lover, those who appreciate the art of concert posters, and others who appreciate variety in graphic design.
Ween / 07.23.99 / Edition of 350 / 22 x 26 / Design • Todd Wender
There are dozens of artists you’ll find inside the pages of ECHO, among them Neil Young, Ice Cube, Norah Jones, My Morning Jacket, Wu Tang Clan, Ween, Sturgill Simpson, Phish, Willie Nelson, Anderson .Paak, and many more. There are also the obscure artists you’ll come across in the pages of the book, those who fit a niche, faded out or otherwise never crossed your radar; the artwork in Echo will have you discovering new music.
Iskra Print Collective, a community space in Burlington that is dedicated to the practice, understanding, and appreciation of the printmaking arts, has held the task of creating silkscreen posters for certain shows at Higher Ground, which are uniquely not available for purchase. These prints evoke the spirit of each artist and band are embodied with bold creativity, and the deep dive into screenprinting found in ECHO is remarkable.
Michael Jager, co-Founder and Creative Director of Solidarity of Unbridled Labour and Co-Founder of Iskra Print Collective, works to conceptualize and realize ideas that help guide and create culture and positive change from within. Working with Ezra Pound’s principle, “Make it new,” through his multi-disciplinary collaboration, Jager has created work for brands including Burton Snowboards, Microsoft’s Xbox, Nike, Levi’s, Phish, MTV, Virgin, Lululemon, Yara, Tomra, Seventh Generation, MasterClass, and Patagonia.
Making the project even more special is all proceeds going directly to Iskra Print Collective.
Sturgill Simpson / 02.18.15 / Edition of 345 / 15 x 15 / Design • Andrew Lakata
Nestled inside the pages and pages of artwork inside ECHO are interviews with Alex Crothers, founder and co-owner of Higher Ground.
Crothers shares his unique insight from the past 25 years in his interview, which is echoed in his initial correspondence with Jager, outlining his vision for a partnership between the two.
Crothers opened the venue in 1998 and has produced more than 10,000 events in that span of time. By attracting rising stars as well as legendary musicians, Crothers pushes Higher Ground with core values to create bigger and better things while embracing community, storytelling, and the creative process. Through working with Iskra Print Collective, Higher Ground meets this mission.
Wu-Tang Clan / 12.21.10 / Edition of 275 / 15 x 15 / Design • Chris Partelow
ECHO is a must own book for any music-lover or Vermonter, and a must for any concert poster collector. The incredible design of the coffee table book is also the perfect addition to your library. Purchase ECHOhere.
The World Music Institute (WMI) announced its partnership with the New York Arab Festival (NYAF) in celebration of Arab-American Heritage Month.
New York City’s first Arab and Arab-American art and culture festival, celebrating the song, dance, fashion, performance, ideas, and cuisine that have made Arab heritage part of American heritage.
The festival can be enjoyed at Nublu (151 Avenue C) from 8pm-10pm and encompasses an evening of music by Arab artists, Felukah, DJ Nadia, and DJ meëraj.
The World Music Institute was founded in 1985 and is recognized as one of the most remarkable presenters of world music and dance within the United States. WMI strives to educate communities on traditional and contemporary music and dance from around the world. They hope to promote awareness, appreciation and encouragement for cross-cultural dialog and exchange. The institute performs at venues throughout the city and depends on both public and private funding to accomplish its mission.
With DJs and live bands playing music from countries including Ghana, Dominican Republic, Brazil, Morocco, Colombia, Botswana and more, we celebrate the diversity of locally based international artists, and welcome everyone to energize the dance floor. In any language, we say ‘let’s dance!’
Brice Rosenbloom, WMI Artistic Director
The Egyptian Neo-soul singer Felukah is known for “bringing the Nile to New York.” Felukah’s voice is distinct and versatile in her contemporary genre-bending rap. The singer moved to New York City in 2017 to study creative writing and later dropped her first bilingual independent project, Citadel in 2019. Felukah also signed to the indie label, Abu Recordings and together they produced and distributed her debut album Dream 23 in 2020. Lastly, the Neo-soul singer released the Kawkab EP on 2021. The EP featured her indie rock debut Love on the Comedown.
DJ Nadia is an Egyptian-American DJ with sets showcasing percussive and experimental music across various genres such as techno, rap, downtempo, and more. She currently plays at The Bar at Cafe Kitsuné and has performed at The Lot Radio, Eavesdrop, Mood Ring, etc.
DJ meëraj is acclaimed for honoring his heritage by combining music from North Africa and the Middle East with international instruments in sets. He has played SXM, Burning Man, Soho House, and other clubs across New York City, gathering an eclectic crowd of serious partygoers.
More information about The World Music Institute can be found here and more info on the New York Arab Festival can be found here.
Snarky Puppy took to the stage at Buffalo’s Town Ballroom on Thursday, April 6th to a sold out crowd. They gave an electrifying performance that left no doubt as to why they are one of the most exciting and innovative bands in the music industry today. Led by bassist and composer Michael League, the 12-piece ensemble showcased their exceptional musicianship. With each member contributing to the vibrant and complex sound that has made them a fan favorite.
From the moment they hit the stage, Snarky Puppy had the crowd on their feet with their unique blend of jazz, funk, and world music. The opening number, “Trinity” set the tone for the evening, with its infectious groove and intricate melodic lines. The band’s energy and enthusiasm were infectious, and their seamless and intuitive interaction created a rich and dynamic performance.
The rhythm section was tight, with drummer Robert Searight and percussionist Marcelo Woloski providing the perfect foundation for the band’s melodic and harmonic explorations. Michael League’s bass playing was exceptional, laying down deep grooves and leading the band with his melodic and harmonic sensibility.
The setlist featured a mix of old favorites and new material, all delivered with the band’s trademark energy and flair. “Thing of Gold,” another standout track, was a tour-de-force of jazz-funk fusion, with its driving beat and virtuosic solos. “What About Me?” was another highlight, with its funky bassline and catchy melody.
Throughout the evening, each member of the ensemble was given the opportunity to shine with captivating solos. The band’s ability to seamlessly blend different genres of music was a testament to their exceptional musicianship and creativity. Michael League’s leadership was particularly noteworthy, guiding the ensemble with precision and passion.
Snarky Puppy’s live show was an unforgettable experience that showcased their exceptional musicianship and creativity. Their unique fusion of jazz, funk, and world music is a breath of fresh air in the music industry. Their live performance left no doubt as to why they are one of the most exciting and innovative bands around. If you have the chance to see Snarky Puppy live, do not hesitate – it’s an experience that you won’t soon forget.
Snarky Puppy has five more tour stops in New York this year.
Snarky Puppy Tour Dates 2023
April 13 – Beacon Theatre – New York, N.Y.
April 14 – Union Transfer – Philadelphia, Pa.
April 16 – Cornell University Concert Series at Bailey Hall – Ithaca, N.Y.
April 19 – Warner Theatre – Washington, D.C.
April 20 – Stage AE – Pittsburgh, Pa.
April 21 – Newport Music Hall – Columbus, Ohio
April 22 – PromoWest Pavillion at Ovation – Newport, Ky.
April 24 – Ritter Amphitheater – Huntington, W.Va.
Rapper, singer, producer and DJ Q-Tip celebrates 53 years of life today, on that has blessed him with countless songs and immeasurable success in the music business.
Born Jonathan William Davis in Harlem, the artist is professionally known by his stage name but has also been given the nicknames, Qualiall, The Abstract Tip The Lone Ranger, and The Last Zulu. In addition to his success as a solo artist, Q-Tip has been a part of the music groups A Tribe Called Quest, Native Tounges, Soulquarians, and The Ummah.
One of the most prominent figures in the hip-hop music genre, Q-Tip has always been a team player, beginning his career as a member of and producer of the group A Tribe Called Quest throughout most of the 80s and 90s, creating its own music production team, The Ummah, active from 1996-2000. It inspired another music collective, the Native Tongues, which worked concurrently with A Tribe Called Quest from the late ’80s until the late ’90s.
The group released their debut studio album, People’s Instinctive Travels and the Paths of Rhythm, in 1990, peaking at number 23 on the Billboard Top R&B/Hip-Hop Albums chart. Its lead single, “I Left My Wallet in El Segundo,” peaked at number nine on the Billboard Hot Rap Songs chart. After initially breaking up in 1998, the hip-hop group would reunite intermittently from the late 2000s to 2010s, releasing their final studio album, We Got It from Here… Thank You 4 Your Service in 2016. The group would become members of the Native Tongues from 1988 until the late 90s, and Q-Tip would become a member of the Soulquarians from the late 90s to early 2000s, itself inspired by A Tribe Called Quest.
A Tribe Called Quest members: Q-Tip (top left, vocals,) Phife Dog (top right, vocals,) Ali Shaheed (bottom left, turntables, co-production,) and Jarobi (bottom right, vocals.)
The Ummah’s first project would be serving as a producer for A Tribe Called Quest’s fourth studio album, Beats, Rhymes and Life. The album was criticized for moving away from the group’s earlier, denser, and bottom-heavy sound to a more laid-back and polished tone. The group would continue this sound with their next album, The Love Movement, in 1998, which was released to a lukewarm reception. They would ultimately not release another album for more than 10 years, until their sixth and final studio album in 2016. The Ummah’s final production would be Q-Tip’s first solo release in 1999.
The Soulquarians collaborated with The Ummah on the production of Q-Tip’s debut solo studio album. Before that, the first record they produced was 1999’s Things Fall Apart, the fourth studio album by the hip-hop band The Roots. They would work with The Roots again on their next studio album, Phrenology in 2002. Significantly, they worked on the production of the debut studio by Brooklyn-born Talib Kweli, Quality, that same year. The last album the Soulquarians produced was Bilah’s leaked second album, Love for Sale, in 2006.
Cover of Q-Tip’s debut solo studio album, Amplified. Credit: Apple Music
Q-Tip’s solo career began with 1999’s Amplified, which peaked at the number four spot on the Billboard Top R&B/Hip-Hop Albums chart. Its lead single “Vivrant Thing,” became the fourth rap song to reach number one on the Billboard Hot R&B Airplay chart since its 1992 inception. Q-Tip has performed at the New York Town Hall, Brooklyn Bowl, Output, and Stage 48, just to name a few, and he is currently working on three more albums yet to be announced release dates: The Last Zulu, AlGoRhythms, and Riotdiaries.
Q-Tip’s third most recent solo studio album, Kamaal the Abstract, was released in 2009.
Q-Tip has also ventured into television, appearing as a guest on good friend Dave Chappelle’s sketch comedy series on Comedy Central, Chappelle’s Show, in 2004. In 2015, Chappelle, with fellow comedian and actor Chris Rock, appeared on Q-Tip’s Abstract Radio, his radio show on Apple Music 1. A Tribe Called Quest appeared as a musical guest with Chappelle on the Nov. 12, 2016, episode of Saturday Night Live, shortly after Donald Trump won the 2016 Presidential Election, where Chappelle gave a monologue that he ended with “I’m wishing Donald Trump luck, and I’m going to give him a chance, and we, the historically disenfranchised, demand that he give us one too.”
In celebration of Q-Tip’s life, check out his work anywhere music is sold, and join the New York State Music team in wishing him a happy birthday, here’s to 53 more years!
Fans of all ages wearing fancy attire attentively listened to Laufey’s captivating vocals as she sang multiple songs from her latest jazz album, Everything I Know About Love. People traveled from Puerto Rico, Florida, and New York City for this one time show.
Laufey
Laura Elliot opened the show with an incredible set, singing multiple songs off of her first album People Pleaser to celebrate one year since its release. Born and raised in the Hudson Valley she gained recognition after collaborating with Lizzy McAlpine on “weird,” and joining artists like The Walters on tour before having her own People Pleaser tour in 2022.
Laura Elliot
After a twenty minute intermission, Laufey took the stage at 9:05, causing a stream of excited screams to erupt from her eager crowd. The 23-year-old jazz-pop artist got her start in 2020 when her singing videos gained huge recognition on TikTok. Growing up in Iceland and now living in LA, Laufey attended Berklee College of Music and grew up around classically-trained musicians. Since she was young, she listened to jazz artists like Ella Fitzgerald and Billie Holiday, who largely inspired the type of music she writes today. Laufey is currently off tour, but previously played at the Bowery Ballroom in 2022 during her Everything I Know About Love tour across North America and Europe.
Laufey writes a majority of her songs about heartbreak, which is evident in both her raw and meaningful lyrics and in the short spoken monologues she gave to introduce each song. Her performances of tracks like “James,” “Let You Break My Heart Again,” and “Dear Soulmate” touched on her difficult experiences with past partners, breakups, and feeling lost in the realm of love. Lit by the starlike backdrop of the beautiful Mahaiwe theater, Laufey ran onto the stage with her shiny red guitar and played an incredible show with just her voice and her instruments. Her awed fans—consisting of elders, middle-aged adults, teenagers, and children wearing suits, ties, long flowy skirts, dresses, heels, and intricate updos—stayed completely silent during each performance. No phones were present, as people went to truly enjoy the show. Nearing the end of her set, Laufey announced the workings of a second album, and even performed two unreleased songs for the first time that would feature on it.
After playing her last song, “Falling Behind,” Laufey made a quick exit before re-entering to play an encore. She performed a beautiful rendition of “Two Sleepy People” on the stage’s grand piano, and called it a “lullaby” for her audience of one thousand.
Setlist: Fragile, Street by Street, Best Friend, I Wish You Love, Dear Soulmate, Valentine, Let You Break My Heart Again, Like the Movies, Promise (unreleased), From the Start (unreleased), Beautiful Stranger, James, Magnolia, Falling Behind Encore: Two Sleepy People (Hoagy Carmichael and Frank Loesser cover)
