The Easter weekend episode of Saturday Night Live (SNL) featured longtime cast member Molly Shannon, alongside musical guests Jonas Brothers.
The cold open featured James Austin Johnson as indicted former President Trump, interrupting The Last Supper to compare himself to Jesus, and pointing out where he would have done better.
Molly Shannon, who has been on a roll with The White Lotus and I Love That for You, in addition to her biography Hello, Molly! available in paperback starting April 11, opened the show with a song alongside featured players.
If you were looking for references to classic Shannon characters, you were in luck. Jeannie ‘Don’t get me Started’ Darcy was featured in her own “Selective Startage” Netflix special, bringing back the super dry humor.
Please Don’t Destroy played Molly 2K23, a video game series based on Shannon’s life, and hidden within the only Mary Catherine Gallagher reference of the night.
Nick Jonas joined the 5-timers club this week, having hosted and performed sans brothers, both of whom have played Studio 8H three times. Nick would stop by during “The Play” and the trio would appear in the final skit of the night, featuring Sally O’Malley, who can kick, stretch and kick.
The latest single from Jonas Brothers, “Waffle House” – featured a dozen backup singers plus a five-piece band for the pure pop tune that is no doubt catchy.
The second song had a far more animated use of the performance space, with “Walls” had backup singers getting enthuasiastically down, a surprise banger to close the night.
Lower East Side legend and classic rock musician Robin Eaton is excited to announce the release of “Wishing Well.” The latest single from Eaton’s upcoming album, Memories of A Misspent Youth, due for release on May 1st.
The single “Wishing Well” combines cinematic Western music with classic rock instrumentals. Using sensibilities reminiscent of Eric Clapton, Robin Eaton evokes memories of days gone by with his haunting vocals.
On the single release, there are many layers of folk, Americana, and classic rock sounds infused with cosmic synths and reminiscent of the Lower East Side in the 1970s. Thus, where Eaton earned his stripes on the local music scene. The latest single, alongside “Drugs R 4 Kids” and “Tell Me Your Dream,” helps Robin Eaton continue to pave a sonic lane for himself.
As a prolific songwriter and producer, Robin Eaton is reintroducing himself as a performing artist in 2023. In addition to his background as a songwriter and artist, he was also in the original Broadway production of Hair.
In the 80s, Robin moved to Nashville and built the studios Alex The Great Recordings and Club Roar Recordings, where Memories of A Misspent Youth was recorded. Eaton is also a combination of a producer, recording engineer, and mixer with an instrumentalist able to fill in wherever there is a hole, be it a guitar gnat, bass bump, even a sitar squiggle.
There should be no shock in naming the latter instrument prior to mentioning Eaton’s status in Nashville, where he moved from his native Pennsylvania to follow the musical muse. The country & western capital, after all, is where the sitar was utilized on a whole series of hits at the height of pop music’s raga rage in the ’60s and ’70s.
Aside from his personal music, Robin Eaton is also a respected composer. Robin’s recent score credits include the film Mountain Rest and, written with collaborator Roger Moutenot, the Narcissa podcast (which was one of last year’s top dramatic podcasts). Both works were directed and written by Robin’s daughter, Alex O Eaton.
Listen to “Wishing Well” from Robin Eaton by clicking the link here.
Memories of A Misspent Youth is due for release on May 1st.
For more music by Robin Eaton, click the link here.
Troy-based singer-songwriter and actor Jacob Shipley is set to release his second EP, Last Respects, on May 26. The five-track record details Shipley’s experience in the experience of a messy breakup, and his memories from that relationship. Shipley’s second EP will be available via Apple Music, Spotify, and Bandcamp.
Shipley, born and raised in Troy, is a man of many talents, so much so that he was able to have Broadway as a “backup plan.” As a theatre actor, Shipley had a featured role in the first actor/musician production of Godspell and a lead role in the first national tour of the Broadway musical Amazing Grace. In music, he began playing guitar on a nylon string when he was nine, and at 12, purchased a guitar of his own, a Breedlove, a concert-style guitar with a perfectly light and warm sound. While studying at Ithaca College of Musical Theatre, Shipley released Where Did You Come From, his first EP. The musician has performed for audiences at The Historic Troy Savings Bank Music Hall, The Bitter End, Rockwood Music Hall, and more, and his voice has been compared to Jeff Buckley, his wry cynicism to Phoebe Bridgers, and his poetic storytelling to Hozier.
Last Respects opens with “Waiting” and what an opening track it is. The song describes the ways relationships can go “back and forth” and the conflicting emotions of “I don’t want to go, I don’t want to stay.” “Waiting” is certainly the highlight of the EP, but the rest of the tracks certainly match its level of quality. There couldn’t have been a better track to end the EP on than “Spain” in which Shipley takes audiences to what he likely considers his “happy place” whether it be figuratively or literally, reflecting on the positive memories of his relationship, before ultimately realizing he can’t cling to the happy memories forever. Last Respects is an EP you won’t want to miss and is sure to secure Shipley a long and successful music career.
The second EP by Jacob Shipley, Last Respects starts streaming on May 26. Until then, check out Shipley’s music here.
Governors Ball 2023 is just over two months away, and the stacked lineup of artists is not the only thing to get excited about. Founders Entertainment has released the food lineup and the site map for this year’s festival. Governors Ball has found a new home at Flushing Meadows Corona Park and will feature a wide array of food to add on to the listening experience.
Governors Ball 2023 food lineup
The 2023 food lineup features cuisines from all over the world, fitting of the Queens, the world’s most diverse borough. Family-owned and NYC based Doughnuttery will be at this year’s festival serving their iconic mini doughnuts alongside more than 50 food vendors. The festival will have plenty of free water stations to keep fans hydrated, and Dunkin’ will be at the festival to satisfy your caffeine needs. Blue Point Brewing Company has brought in a custom Gov Ball Summer Ale, where you find a can at a retail location and scan the QR code for your chance to win 2 VIP tickets!
Doughnuttery at Governors Ball 2022, photograph by Joseph Buscarello
The new location will allow for the layout of the stages to be more spread out. Leaving the parking lot of Citi Field is a big improvement for the fan experience of the event as listening to music is much more pleasurable when you have soft grass underfoot rather than concrete. The green feel of the festival should bring back nostalgia from the festival’s days on Governors Island.
Governors Ball 2023 site map
In addition to the new scenery among the trees, the festival has added a “GA+” ticket to the selection. The new ticket gives fans access to air-conditioned restrooms, an exclusive centrally located lounge area with shade, seating, and its own exclusive bar, food vendors and water refill stations. It also has a dedicated concierge for GA+ ticket holders to assist with their festival needs. VIP and Platinum tickets are also available, holding their own lounges and viewing areas at each stage, food vendors, bars, concierge, storage lockers and mobile charging units, premium entrance and other amenities.
For full details on each ticket type visit GovBall.com/Tickets for more information.
The 4th annual Free Dead in the Park Benefit Concert, presented by the Capitol Theatre and Rythm Premium Cannabis, is scheduled for May 16 at 4:30 p.m. at Central Park. The concert series, which began in 2018, supports Riverkeeper, a non-profit environmental organization dedicated to the protection of the Hudson River and its tributaries. Stella follows in the footsteps of the Grateful Dead, taking the same stage at the Naumberg Bandshell in Central Park.
Stella Blue’s Band has been performing for more than a decade, and is made up of Bill Bonacci (lead guitar, vocals,) Steve Liesman (rhythm guitar, vocals,) Greg Solomon (bass), Ken Aigen (keyboards), Ron Cohen (drums, vocals), and Amy Stahlin (vocals.) First formed in 2009 to recreate the experience of a Grateful Dead show, Stella was the first band chosen for residency at Garcia’s at The Capitol Theatre in Port Chester, which has become the band’s homebase. The band plays regularly at New York City venues such as the Brooklyn Bowl and The Cutting Room, among several other venues in the tri-state area.
Free Dead in the Park began in 2018, after a fan obtained a $25 permit for Stella Blue’s Band to play in the bandshell to honor the 50th anniversary of the Grateful Dead’s concert at the venue. In the years since it has evolved into a fundraising event for Riverkeeper. “Free Dead in the Park is such an exciting and significant event each year because it connects music fans with the environment and gives them the opportunity to make a difference in their community by helping protect the Hudson River,’’ said Tracy Brown, president of Riverkeeper.
Riverkeeper is a member-supported organization that preserves and restores the Hudson River from source to sea and safeguards drinking water supplies through advocacy rooted in community partnerships, science, and law. The non-profit originally began as the Hudson River Fisherman’s Association in 1966, when the Hudson River was dying from pollution and neglect. Today, Riverkeeper continues its fight, seeking out polluters and teaming with citizen scientists and activists to reclaim the Hudson River.
The show will be produced by G4D Productions with support from Best Instrument Rentals. The event would not be possible without support from the NYC Parks Department, which has helped to make the concert a success. The show also has support from a group of committed private contributors like the Morgan Le Fay Dreams Foundation and Friends of Free Dead in the Park.
Bill Orcutt, one of the most distinctive voices in experimental and alternative guitardom, brought his latest disc, Music for Four Guitars, to life before a sell-out crowd at downtown Brooklyn’s home to all things sonically avant-garde, Roulette, on March 27.
Orcutt is the former guitarist and founder of the notorious ‘90s group Harry Pussy. His sound is a stuttered reimagining of blues guitar, one weaving looping melodic lines and angular attack into a dense, fissured landscape of American primitivism, outsider jazz, and a stripped-down re-envisioning of the possibilities of the guitar.
Bill Orcutt’s Music for Four Guitars is comprised of 14 brief pieces built upon tiny minimalist phrases which evolve into dense tapestries of sound, texture and mood. On the disc, Orcutt plays all the parts. For the performance at Roulette, he was abetted by three of the most noteworthy players who are bending and mutating the borders of guitaring – Wendy Eisenberg, Ava Mendoza and Shane Parish.
The 12-tune set began with “A different view,” the album opener. This is a knotty Gamelan guitaring affair, one that brings to mind some of the work of ‘80s era King Crimson with the dirty guitar tones reminiscent of Trout Mask Replica Captain Beefheart. For this and many of the compositions, the players stayed close to the tight arrangements on the record.
On “Or from being,” Mendoza was a standout riding the higher melody guitar parts and taking a lengthy solo spot followed by Parish. For many of the compositions, Orcutt and Parish held down the bottom while Mendoza and Eisenberg took to the melodic rafters. Eisenberg takes the prize for the most melodically out soloing, for an extended run across the pulse-y tune, “Only at dusk.”
In the dense jungle of weaving guitars and harmonies, a listener gets many musical cross-currents – a bit of fractal boogie, Irish reels, the dense orchestral guitar minimalism of Glenn Branca and, as mentioned earlier, elements of Beefheart, Crimson and Fripp’s League of Crafty Guitarists and Gamelan.
About six songs in Orcutt spoke to audience in an entertaining and self-effacing manner. No naming of the tunes played, just an introduction of his collaborators then a jump into one of the most pleasant chapters of the evening – a traditionally melodic, very spacious unaccompanied solo reminiscent of his “Odds Against Tomorrow” from his 2019 disc of the same name. All the players would get their solo moments and demonstrate differences in approach – unique melodic and textural languages that are adding a fresh face to this very been-around-the-block instrument.
A guy who does with words what Orcutt does with the guitar, the edge-pushing alt.poet and writer William A. Lessard, accompanied me to the show. A lover of pretty much every boundary pushing genre of music, he had his own observations:
“The surprise for me was the moments when the music would drift into Stained Class-era Judas Priest, then give way to microtonal playing by Wendy Eisenberg. Eisenberg, for me, was the big surprise of the night, bringing that Pete Cosey groove into a new context. Anyone who has the chance should see this band; watching them weave together all these influences is a delight.”
The set will soon be available for a limited time at Roulette’s Live Stream Channel on YouTube.
Setlist: A different view, Seen from above, At a distance, In the rain, Out of the corner of the eye, Or from behind, Only at dusk, On the horizon, Barely driving, In profile, From below, Or head On
If Melody’s Echo Chamber were to release a recording of their performance at Music Hall of Williamsburg on Sunday, April 2, the second of back-to-back sold out shows, I would buy it immediately. This was their first show in New York City in nearly eight years, and based on how the crowd responded to this one, they won’t have trouble selling out more whenever they come back.
The band was an absolute force on stage from the moment they kicked off their set with “Endless Shore.” And throughout their set, they brought already-excellent songs to life in rollicking fashion while staying true to the vibe established in the studio versions. It’s one thing to listen to a band’s records, but when a band is this good live, getting to feel the music and have it played loud hits harder.
Hailing from France and led by Melody Prochet on vocals in both French and English, synth, and tambourine, the band featured Reinhardt N. Fischer on guitar, bass, and synth, Frederik Swahn on bass and guitar, Johan Holmegard on drums, and Jay Pich on guitar and backing vocals. And all five of them were excellent.
Not that there were any doubts about where the night was going after the first few songs, but “Some Time Alone, Alone” off the band’s self-titled 2013 release was an early standout in the set, showcasing the band’s collective and individual talents. And the setlist was very well crafted, with a mix of songs from all of the band’s studio releases intertwined, with songs from the self-titled album serving as the backbone.
“Quand les Larmes D’un Ange Font Danser la Neige” closed out the main set, and about halfway through the song, Prochet exited the Music Hall of Williamsburg stage, allowing the full focus of the audience to remain on the rest of the band as they blasted through a jam that felt like it could last forever.
As for the encore, the band kicked into the super popular “I Follow You,” one of their catchiest. And they closed out with “Cross My Heart,” the first track off Bon Voyage, another one that felt like time had stopped specifically for the audience to bask in the sound of this incredible band.
If you’re looking to catch the band live and happen to be out west in the fall, they’re playing Seattle, Portland, and San Francisco. Those shows are just days before Desert Daze, and while there’s no lineup info about the festival yet, it wouldn’t be surprising if they wound up playing there, too.
Setlist: Endless Shore, Looking Backward, Mount Hopeless, The Hypnotist, Some Time Alone, Alone; Personal Message, Quand vas-tu rentrer?, Pêcheuse de Lune, Bisou Magique, Unfold, Where the Water Clears the Illusion, Crystallized, Shirim, Visions of Someone Special, on a Wall of Reflection; Alma, Quand les larmes d’un ange font danser la neige
Troy band Adequate Phil has shared a unique new single, “Mystery Jam,” the band’s first live recording, which is accompanied by a multi-cam video of the performance filmed at the Jive Hive in Albany.
The single showcases the band’s signature sound, blending catchy, experimental hooks, dreamy jams, and intricate rhythms to create a captivating listening experience.
Adequate Phil is an indie rock band, drawing influences from Radiohead, Animal Collective, The Beatles, and The Shins, with a sound blending experimental rock, psychedelic pop, and alternative folk.
Since forming in 2021, Adequate Phil has been making waves in the local music scene, earning plays on WEQX and performing at local festivals such as Bacchanalia and at various venues, including Rare Form, No Fun, and the Troy Speakeasy. They have also performed in Massachusetts at venues such as Greylock Works in North Adams, where they have an upcoming 3-show residency, dubbed as the “Doritos Daze” Residency.
Monday April 10 is “Cool Ranch” night with special guests Boss Crowley, and Monday May 8 is “Spicy Nacho” with special guests Headless Relatives.
With a growing fan base and a reputation for delivering unforgettable live performances, Adequate Phil is poised to become a force to be reckoned with in the indie rock scene.
On Thursday March 30th, The Yumi Kurosawa Trio showcased their new new album “Metamorphosis” in the intimate setting of East Village’s historic Joe’s Pub. The small public theater had a limited guest list, for Yumi’s sound pulled in a high demand of listeners. The contemporary Japanese composer commanded the dimly lit setting as she and her instrumentalists told phonetic stories to the audience.
Photograph by Emma Dowd
A multitude of instruments were perched on display before the trio and a couple of musical guests began to woo the crowd with their sound. A violin, a drumset, a variety of percussion instruments, a microphone, and Yumi’s infamous twenty-string koto. She grew up playing the koto, Japan’s national instrument, and eventually her talents transcended her into national stardom. On her koto, she composed her discography, and with the addition of strings, percussions, and horns her album “Metamorphosis” was fortified. Naho Parrini on the violin and Eric Phinney covering percussion completed the trio.
After performing some soothing introductory songs, Yumi took to the microphone. With gratitude overtaking her stage presence she beamed, “I have waited for today for a long time.” She proceeded to introduce the members of the trio, which elicited a warranted applause from the audience. Thanks were made to ZOHO Records, the Chamber Music Award, the Howard Gilman Foundation, and lastly those who chose to be there that evening.
Photograph by Emma Dowd
With each song came a story. While one song embodied the anxieties and thrills of traveling through South America on her previous tour, the other was meant to infuse life into the emotional stages she goes through when she composes. Her range as a composer was admirable. Traditional Japanese musical roots, Middle Eastern sounds, and contemporary instrumentals were living influences in “Metamorphosis.” She spoke on her ideas, calling them her most “beautiful and unusual” ideas, and referred to the term mandala – sequenced art.
The Yumi Kurosawa Trio surrendered to their music as the instruments seemed to be in control of their bodies. Yumi’s arms flailed into the air and swarmed across the koto strings. Her hands looked so natural. How new spring branches dance from the body of a tree. One couldn’t help but pay attention to their physical show, it almost seemed inhuman, the way they moved. Or perhaps it was the most human thing a person can do, devote their bodies to their instruments and their sound. Their expertise was magnetic, no one could pull their eyes away.
Two guests joined the trio on stage; Carlos Maldonado on the Latin percussion, and Zac Zinger on the shakuhachi and the alto saxophone. Their sound layered ethereally with the trio’s. All of their instruments blended to produce music of the elements. The very raw echo of the hand drums, the fine notes of the violin, the pluck of the koto, and the hollow whistle of the shakuhachi transported the audience out of New York City, to the forests of Japan. If a sound could float, “Metamorphosis” hovered above our heads as a soft rain cloud.
Carlos and Zac left the stage, taking their bows and waving their goodbyes. The trio thanked them and carried out the rest of their show. Once they arrived at their final song, Yumi spoke about her hometown Morioka-city, Japan. She told the audience about their annual event “Obon,” a tradition of welcoming back their ancestors and bidding them farewell again. She related the celebration to the closing of her show by performing their song “Departure.” Each instrumentalist on stage took turns soloing in the middle of the song to “display their roots.”
When Yumi signaled their outro, the audience erupted into lengthy applause. Yumi, Naho, and Eric took to their bows and expressed their grace. The trio reminded everyone to pick up their CD copy of their album, and to tell their neighbor about their sound. Yumi took the microphone and with a proud smile she bid farewell. “We hope to see you again somewhere.”
Photograph by Emma DowdPhotograph by Emma DowdPhotograph by Emma DowdPhotograph by Emma DowdPhotograph by Emma DowdPhotograph by Emma DowdPhotograph by Emma Dowd
Indie artist, composer, and New York native Shayfer James brought his Shipwreck tour to Rochester’s Photo City Music Hall on April 2. Opening the show for the mostly under 30 crowd was Rochester based Bellwether Breaks and Atlanta’s Sarah and The Safe Word.
Bellwether Breaks opened the show right about 7pm and immediately got the crowd into it. Lead singer, Elyse Coughlin was donning a 70s style wardrobe, and had some vocals reminiscent of the era. Her range and smooth sounds were similar to Amy Winehouse, with some early cabaret hints being tossed around. Playing a 9 song set, including newly released The Oracle, the band consists of: drummer Dave Goebel, guitarist Peter Goebel, vocalist Elyse Coughlin, keyboardist Chris Coon, and bassist Eugene Bisdikian. Chris Coon also plays a mean sax, as displayed at this show.
Having only been around for a few years, BB has developed a great following and in 2022 both Elyse and Chris received nominations for local “best of…” competition and the band was nominated for best rock band as well. Pretty damn good for this newly formed quintet.
Setlist: Say it Like it’s True; Headed Home; Peaches; About a Girl; Perfect Universe; The Oracle; I Put a Spell on You; The Prime Directive; Blow the Roof Off.
Following Bellwether Breaks was Sarah and The Safe Word. While not normally the music I gravitate to, this group from Atlanta left it all on the stage, with the crowd looking for more. Sara Rose is the leader and made their presence known. Smooth, clean vocals with a story behind every song, the band had the crowd moving all over the place.
Not normally politically charged performers, the band is strong advocates for the LGBTQ+ community and promotes support groups on their website. While they don’t necessarily put it on the forefront of the show, they are not afraid to slip in the well-placed political jab between songs, which also work as segways for next song.
The band consists of: Sarah Rose (vocals), Kienan Dietrich (guitar, vocals), Susy Reyes (violin, vocals), Beth Ballinger (keys, vocals), Maddox Reksten (bass, vocals), and Carlos Gonzalez (percussion, vocals).
As stated before, this is not normally the music I gravitate towards, but Susy Reyes absolutely blew me away. Jumping around on stage while playing violin, Lindsay Sterling-esque, Reyes stole the show for me. Amazing voice, with the occasional deep scream (think Jinjer), Reyes will leave you in awe every time.
Shayfer James. If you aren’t familiar with him, you need to be. James has released 10 albums, including his newest, Shipwreck.
James is known for his silky piano skills as well his thought out lyrics. Sometimes dark, sometimes sentimental, sometimes cliche. Regardless of how you hear them, James will leave you tapping your feet or bopping your head before you even realize what he is singing about.
The crowd at Photo City Music Hall had dissipated by the time James took the stage, but those who were still there, crowded the front of the stage almost within arm’s reach of this talented composer. They were treated to an amazing, intimate performance, as James played songs from most of his albums, including Welcome Back, Misery; For the Departed; and Weight of the World.
Follow Shayfer James and check out his music: Shayfer James
