On St.Patrick’s Day, the Freaker himself, Keller Williams headed down to Asbury Park to play an incredible show at Asbury Lanes. Keller has been a staple in the jam band community and his longevity is matched only by his musicianship and incredible improvisation abilities.
Keller’s set was filled with fan favorites like “Kidney in a Cooler,” “Freakshow’ & “Freaker by the Speaker.” These were paired with intricate, multi instrumental, psychedelic loops. Keller also covered The Grateful Dead, Phish, and had to pay homage to Bruce Springsteen with “Born to Run,” as the show was so near the Jersey shore.
“Runaway Jim” & “Run Like an Antelope” were some of the covers peppered into his set by Keller this evening.
Brooklyn based folk-pop trio Camp Bedford have just shared the second single from their upcoming debut EP So Often & So Sweet titled “Jupiter.” With Roxanne Quilty on guitar and vocals, Mariela Flor Olivo on lead rhythm guitar and vocals, and Tallen Gabriel helming the cello, this anticipated album comes out on March 31st.
The queer and femme-led band’s deep friendship shines through in their music. At once witchy, nostalgic, and magical, “Jupiter” and “2 AM,” which were released in February to warm reviews, both capture Camp Bedford’s sonic essence beautifully. Thus, these two releases are setting the stage for what’s soon to come from the band.
Of their newest single, Camp Bedford wrote, “‘Jupiter’ is about recognizing the parts of yourself that no longer serve you and setting them on fire. Written like a spell or incantation, this track’s ethereal elements and driving energy capture the experience of surrendering to your own power.”
“This folk-pop trio finds beauty in the form of complex musical arrangements packed with substance”
When talking about their follow-up single “2AM,” the band wrote, “A rousing angsty anthem, ‘2AM’ captures the post-breakup frustration and anger of watching your former partner give someone else the time and energy you wished they would have been able to give you. Even if it’s not logical and both parties grow and expand into new versions of themselves after a breakup, we wanted to honor the gnawing hurt that comes in initially watching an ex be ‘better’ to someone else than they were to you.”
By melding their unique voices and styles of instrumentation, Camp Bedford is a folk-pop-rock band spinning tales of adventure, self-discovery, and overall, their life’s journeys. They are nostalgic forward-thinkers, for instance, Camp Bedford’s music is infused with the magic of possibility. Compared to the likes of Joseph, First Aid Kit, and Wye Oak, the group finds inspiration in poetry, nature, and musical genres ranging from bluegrass to hyper pop.
New York State is home to hundreds of theaters and music venues both big and small. Each building has their own unique history and character. The Earlville Opera House, located between Madison and Chenango County, in Central New York, is no exception.
The Earlville Opera House in present day – Photo courtesy of Earlville Opera House
The original Earlville Opera House was constructed back in 1892. It was destroyed by fires twice in its early years, but the current building has stood strong for over 125 years. As of 1974, the Opera House is listed on the National Register of Historic Places. Although the village Earlville has a population of less than 800 people, the Opera House makes this small town a stunning cultural landmark.
Over the years, the Opera House has served many roles within the community. In the late 1800s and all the way to the Roaring Twenties, the venue was a stage for vaudeville acts, three-penny operas and traveling medicine shows. At one point, it became a silent movie house and at another served as a public auditorium for town meetings and even high school graduations.
While the Opera House is now a wholly unique feature of Earlville, it wasn’t always that way. In the late 1800s when these sorts of theaters were widely popular, there were as many as six other opera houses in the adjacent towns, including Waterville and New Berlin. Over the years, they became relics of the past and faded from memory both metaphorically and literally. In Central New York, one was torn down to become a parking lot and another in Hamilton was rebuilt into apartments, while another in Oriskany Falls was destroyed by a fire.
The Earlville Opera House in 1892 – Photo Courtesy of Earlville Opera House and Tim Carey
The Earlville House experienced nearly all of these fates at one point or another. The theater first closed its doors during the Great Depression. Though it re-opened in 1937 as a theater showing “talking movies,” the Opera House closed once again in 1952 and wouldn’t see the light of day until 1971. It was bought by Joey Skaggs, an artist, activist educator and self-proclaimed “media prankster.” Before he bought the place, it was slated to be torn down into a parking lot just as the Sherburne Opera House had met its end that same year.
Skaggs proved to be the defining difference between the two theaters. He stopped the motion to turn Earlville’s Opera House into an empty lot and instead placed the theater in the hands of a volunteer board of directors called Earlville Opera House, Inc. He sold them the theater for the grand price of $1.
Michelle Connelly is now Executive Director of the Opera House and she says she is grateful for Joey Skaggs’ investment in the theater and community.
“We kind of live off of inspiration and good vibes and that gains momentum when people believe in what you do and support you and it’s inspiring,” she said. “Joey’s mission and vision we keep alive … Our mission is to enrich the Central New York and Southern tier regions through the visual and performing art but also to help maintain our building here for future generations to use.”
The interior of the Earlville Opera House
A great deal of restorative work was needed after the theater’s 15 year hiatus. Although the building was updated in many ways, it was merely restored, not changed. The theater remains pretty much the same as when it was first built. It may not have air conditioning, but Connelly said that just adds to the old-school charm.
“We have a beautiful venue where we can create events that provide for shared experiences between people that create memories and form community bonds,” she said. “You can’t really articulate the worth of that… it’s absolutely priceless … It’s an intangible thing, but that’s a byproduct of what we do.”
According to Connelly, the theater also boasts one of the only remaining horseshoe balconies in the U.S.
“It’s sloped and our stage is raked which means it has a slight downward lean to it, so when the balcony also does that, it kind of meets in the middle and the acoustics are incredible in that theater,” Connelly explained.
The horsehoe shaped balcony inside the Opera House – Photo Courtesy of Earlville Opera House
In 1976, five years after it was purchased by Skaggs, the Opera House had its first live performance in more than fifty years. It hasn’t looked back since.
In the past, performing artists have included David Bromberg as well as Heritage Blues Orchestra, Los Blancos, Martha Redbone and Savoy Brown. This year, singer-songwriter and blues musician Carolyn Wonderland will grace the stage. Other notable acts coming to the Opera House include Hazmat Modine and Marcia Ball. For a full list of upcoming performances, click here.
The theater is largely sustained through grants and other funding. It is well off enough that it actually administers grants of its own to artists and arts organizations in three counties: Broome, Chenango and Oswego. This year the Opera House will re-grant over $230,000 for cultural initiatives and supporting the performance arts.
Center stage at the Opera House
The Opera House continues to be a fixture of the small community in more ways than one.
In addition to the main stage, an arts cafe and outdoor courtyard allow local and emerging musicians to perform. They also have a free art gallery on site, featuring the works of local artists. There is currently a gallery on display from March 18th until April 22nd featuring painting and photography from three regional artists: Tom Schmitt, Frank Vlossak and Bill Baburchak.
Workshops are also hosted and open to all, for a small fee. Gary Talley, lead guitarist of the Box Tops, will teach a masterclass guitar course at the theater in July as part of an Earlville guitar workshop weekend hosted by the Opera House from July 28-30th. Talley will then be doing a public performance that weekend on the 29th at 7pm.
Connelly said being a source of community support like this ties directly into Skaggs original mission to enrich the arts of the surrounding area.
“If you can make any kind of impact or difference in a positive way, we should,” Connelly said. “That’s the role of the arts. Arts are used to express and help people in many different ways as an avenue of expression.”
King of punk rap music Curtis Waters brought the Bad Son Tour to the iconic Baby’s All Right in Brooklyn. As part of his first ever headline tour, with help from Tommy Richman and Jonah Roy, Curtis Waters turned Baby’s All Right into an anticapitalist-rock paradise for an incredible show.
Curtis Waters (Photograph by Chinaza Ajuonuma)
Curtis Waters is a rising star in the music industry, known for his infectious beats, catchy lyrics, and fearless experimentation with various genres. Born in Nepal and raised essentially everywhere, Waters has been making music since his early teens and honed his skills through online collaborations with other musicians around the world. His breakthrough hit, “Stunnin’,” which he produced, wrote, and performed, went viral on TikTok in 2020 and propelled him to mainstream success.
Since then, Waters has continued to push boundaries with his music, blending elements of hip-hop, rap, and punk to create a unique sound that better reflects who he is and resonates with fans worldwide. With recent releases HIMBO and GOD’S LONELY MAN that were 7 years in the making, Curtis Waters is poised to become one of the most exciting voices in music today.
Tommy Richman (Photograph by Chinaza Ajuonuma)
Hailing from Woodbridge, Virginia, Tommy Richman is a certified star. Tommy’s passion for music started at a young age, when he began taking voice lessons and singing in his church choir. After dropping out of college to pursue his dreams, Tommy persevered and has become a force to be reckoned with in the music industry. With hit releases such as “Star Girl”, Richman’s music gives us a glimpse into the mind of a true musical genius. Richman just released “Wish I Never Knew You”, produced by him and Jonah Roy. With his signature sound and unwavering commitment to his craft, we can’t wait to see where Richman’s journey takes him next.
Curtis accepting the “Most Humble Musician Ever” Award (Photograph by Chinaza Ajuonuma)
The energy of the show was absolutely unmatched. From start to finish, the concert was akin to an eventful burst of a supernova, with support from Jonah DJing and playing guitar all night, to opening up the pit during every single song – even launching himself off the stage to mosh with the people. Between the jumping and yelling, there were sentimental moments, like when two dedicated fans presented Curtis with a specialized “Most Humble Musician” award and a brand new tie he wore at the rest of the stops on tour. While there was a general set list, because the crowd was so engaged with the show, he performed a never before seen song, specifically requested by his self proclaimed biggest fan. Riding off the high of the buzzing crowd, Curtis and friends left the stage to interact with fans after the show, showering them with support and admiration for the hardcore show. From anticapitalist rants to heartfelt speeches about success, anyone who attended the show is already counting down the days until the next time they can attend a Curtis Waters concert.
Curtis moshing in the crowd (Photograph by Chinaza Ajuonuma)
Though Bad Son Tour may be over, stay tuned to Curtis and Tommy’s socials for news for any upcoming performances.
And then there were four: welcome to the Final Four of NYS Music March Madness 2023, featuring up and coming bands from around New York State, all coming to a local music venue near you.
For the past 8 years, this annual competition has been shining a spotlight on the talented artists and musicians from across the Empire State. This year’s competition is the biggest and best yet, with a lineup of diverse genres and highly skilled performers. March Madness 2023 highlights 64 bands and artists you might not know, but should know, as these homegrown talents are making waves through the New York State. Check out Round 4 here.
Enter your email address, get to know the bands, and vote for your favorites below!
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Yard Amphitheater Region Winner
Mainline
Mainline officially hit the scene at the end of 2019 when Anthony Schettino (Bass), Johnny Iodice (Lead Singer & Guitar), Mason Servedio (Drums), and Devin Reck (Guitar) released their debut single “Open Fire” which eventually led to the self-titled EP that came out in February of 2020. Their album “The Unholy Idol” has garnered up over 80,000+ streams across platforms, and has gotten worldwide attention. The current lineup since 2022 now includes Ryan Hartell on guitar, replacing Devin Reck. As of November 2022, the band released their most recent single “In Nothing We Trust” everywhere on streaming. You can find Mainline on April 15 at The Chance Theater.
Straight from the band:
“We are just excited to have been asked to be part of this year’s March Madness competition, and now to make it into the final four! It’s been a great way to engage with our own fans, also to promote ourselves and everyone involved. Thank you to everyone who has been voting!”
Mainline
Funk n Waffles Region Winner
The Forest Dwellers
The Forest Dwellers are a reggae-infused folk/ indie group based out of Rochester, NY that plays universal medicine music. The band blends melodic music with incredible vocal harmonies. Stemming from different styles and genres, The Forest Dwellers fuse them into a new take on a familiar sound all its own. Listen to their song “Open Road” here. The Forest Dwellers are playing Sterling Folkfest in Sterling, NY dates May 25th- 29th. As well as The Family Hoedown at the G Lodge in Hannibal, NY dates June 9th-11th. You can also catch them playing every Wednesday in June at Abilene Bar and Lounge in Rochester as part of their first residency.
Straight from the band:
“We’re very excited to have made it into the final four of the NYS Music March Madness! We didn’t anticipate it happening but we’re just incredibly grateful for all the support. Over the last 5 and a half years we’ve had the pleasure to play music over the greater NYS region, and we hope to receive more opportunities to continue doing what we love. Thanks to NYS Music Magazine, the sponsors, venues and all the contributing bands. Much Love.”
The Forest Dwellers
Jane Dough Region Winner
Murder in Rue Morgue
Murder in Rue Morgue is CJ Carr, John Wolff, Matt Biss, and Dan Ouimette, hailing from the hometown of Manowar, and Level 7 in Auburn. The band is highly influenced by melodic death metal, such as In Flames, Killswitch Engage, and Times of Grace. The band is a group of hardworking musicians who leave it all up on the stage giving the best show every time. On the news front, Murder in Rue Morgue are representing the 315 metal scene, and are soon releasing their brand new single and music video for “Blood Song”. Listen to their 2019 album Endless Cycles here.
Straight from the band:
“Throughout New York there are tons of incredible bands and it is an honor to be part of this bracket! We are excited to see all the scene coming together and supporting each other! Together we flourish! Every week that has gone by we’ve listened to so many new artists and did some deep dives and research on our opponents. Genuinely incredible. We are also very excited about the possibility of playing at new venues in the state, many places we haven’t heard of.
We are grateful to be here, we are driven to keep going, and we respect and love all these wonderful musicians from all over New York State! “
Murder in Rue Morgue
Strand Theatre Hudson Falls Region Winner
Seize Atlantis
Seize Atlantis has a unique, tight sound fueled by punchy bass, hard-driving percussion, melodic lead guitar, and pronounced moody vocals with meaningful lyrics, a truly dynamic range of soft to heavy Alternative Rock. Formed in 2019 out of Glens Falls, Seize Atlantis is a four-piece band most closely influenced by bands such as Red Hot Chili Peppers and Pearl Jam, providing their own spin on a variety of covers from classic rock to modern pop in addition to their own original music.
Catch them this Friday and Saturday at Scally’s Roadside Bar and Grill in Hudson Falls NY and Pauly’s Hotel in Albany, respectively.
Straight from the band:
“We couldn’t be more grateful and excited to have reached the Final Four of NYS Music March Madness! We’ve been up against some truly amazing and talented bands, and this competition has shown a light on how many quality performers there are in New York. We couldn’t be more proud to be a part of this state’s independent music scene! We look forward to competing with some legitimate powerhouses this round, and even if we don’t win we will continue to support and collaborate with as many other independent artists and prestigious venues as possible. We also can’t wait to release our new EP this summer!”
Seize Atlantis
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NYS Music has partnered with these great businesses across New York State to highlight the 64 up and coming bands and artists of NYS Music March Madness.
The finalists of of each region will be rewarded with a collection of prizes worth $3000. Partners for NYS Music’s March Madness 2023 include Mirth Films from Albany, a music news/entertainment outlet that specializes in original video content and live streaming, with news coverage ranging across the whole country, who will provide a professional multi-camera recording session at a prestigious venue in Albany for the winning band, premiering exclusively on Mirth Films.
Additionally, one finalist will earn a spot on the lineup for the Scarsdale Music Festival, held on June 3, 2023.
WEQX is a radio station in Manchester, VT. They’re are completely independently owned and operated, always have been, since 1984. This station exists out of a love for music, a love for radio, and the commitment to always giving their listeners the best of the best.
Regina Spektor opened up to her crowd at the Capitol Theatre on Thursday, March 16. Of all the dates on her spring tour, which kicked off in Ithaca earlier this month, it was the nearest show to the neighborhood in which she grew up in The Bronx.
About midway through the set, Spektor opened up about her Bronx roots. She told the crowd how she and her family came to know violinist Samuel Marder and his late wife Sonia Vargas. An accomplished classical musician, Vargas became her piano teacher. Samuel and his sister Eva—both Holocaust survivors—were in attendance at the show. And Spektor was wearing a dress that had belonged to Sonia and was gifted to her by Samuel.
Spektor understandably needed a moment to gather herself after recalling all of that, wearing a dress that had belonged to Sonia and was gifted to her by Samuel. She then launched into the powerful “Ink Stains,” a song that she was inspired to write after she first heard there was such a thing as a Holocaust denier. It was just one song from the twenty in her setlist, but it was the perfect representation of the mood she established on stage over the course of the night: kind, humble, warm, and absolutely not afraid to say what needs to be said.
Openness and kindness were themes throughout the night. Spektor spoke to the crowd as if she were talking to a close friend, and her performance was on point. Even during a set that continuously displayed her versatility, “Poor Little Rich Boy” stood out. That song features Spektor playing percussion on a wooden chair with her right arm and keyboard with her left as she sings.
Between her immense musical talent and ability to connect with the crowd, Spektor had the entire venue hanging on her every word.
Regina Spektor – The Capitol Theatre, Port Chester – Thursday, March 16, 2023
Setlist: Ain’t No Cover, Folding Chair, Becoming All Alone, Loveology, Baby Jesus, Better, What Might Have Been, Eet, Ink Stains, Silly Eye-Color Generalizations, Bobbing for Apples, That Time, Ballad of a Politician, Poor Little Rich Boy, Après Moi, Raindrops, Spacetime Fairytale, Us, Fidelity Encore: Samson
Back in 2012, Alt-J somewhat quietly released their debut album, An Awesome Wave. The Leeds, UK band officially released the LP (on Infectious Records) in May of that year, just after finishing a run of shows supporting fellow British indie-rockers, Wild Beasts. Alt-J would spend the rest of 2012 on the European festival circuit, supporting bands like Grouplove and Bloc Party, and playing tons of local shows across the UK.
Alt-J’s first US shows also came in 2012, at the incredibly intimate Glasslands and Mercury Lounge venues in New York City. This pattern drastically changed in November of 2012 when Alt-J was awarded the coveted Mercury Prize, given to the best album released in the UK by a British or Irish artist.
Fast forward less than one year from the shows at Glasslands and Mercury Lounge (roughly 200-person capacity local venues), Alt-J found themselves headlining Hammerstein Ballroom in Manhattan in front of over 3,500 fans. The world tour that spanned much of 2013 catapulted Alt-J into legendary indie rock status, where they remain today over a decade later.
An Awesome Wave album cover.
While the prestige of the Mercury Prize is sure to garnish fresh attention for a new band, it was hardly the only reason Alt-J saw so much success early on. The band spent nearly five years working on the album, after meeting at Leeds University in 2007. The time and dedication the band put into their beloved project culminated in a truly unique and fresh take on indie rock. The genre had already been a little over 10 years old at the time and was in need of an evolution.
The music on An Awesome Wave was a diverse blend of psychedelic rock and melodic storytelling, with deliberately sparse arrangements giving all the different layers wide spacing in the mix. The percussions feel as if a different set of elements were used for each song, cohesively tied together with frontman Joe Newman’s unique voice and vocal delivery. Different parts of the album feel rooted in various past eras of folk and rock music, all crafted with a modern focus on production and presentation. It feels almost “stripped back” in ways, while creating a thunderous atmosphere with very few layers. It is almost impossible to find any band or album that compares to Alt-J on An Awesome Wave; the prime reason the band took off once the world was able to get their hands on the record.
Earlier this month, Alt-J set out on a short run of shows to celebrate a decade of An Awesome Wave. The tour kicked off with two nights at Brooklyn’s historic Kings Theatre in Flatbush, the perfect venue in NYC for such a show. After the renovations, Kings Theatre has become one of the premier concert venues in NYC; boasting pristine audio production in a stunning setting. The songs from An Awesome Wave thrived in the cavernous, sold-out theater backed by a dynamic visual production and an audience singing along to the entire record. Alt-J played An Awesome Wave in order to start the show, followed by a short set of songs from all three of their subsequent releases.
Hearing An Awesome Wave at Kings Theatre transported me right back to when I first saw Alt-J at Hammerstein Ballroom in 2013. I took my Dad to that show, a die hard Yes fan, promising him that this new band was somewhat of a modern Yes with their blend of prog and folk. We were both left stunned after that show. I’ll never forget hearing those thick and evil chords from “Fitzpleasure” live for the first time, dropping into them with a trippy, ascending light pattern in the back of the stage. I had listened to the album a few times by then, but the live presentation of that song in particular elevated how I would hear An Awesome Wave forever. I anticipated this same moment of the show for weeks leading up to Kings Theatre. Joe Newman sang the cryptic lyrics at the top of the song, “In your snatch fitzpleasure, broom-shaped pleasure” and when the synths dropped a chill ran down my spine and my whole body moved along to the rhythm of that song. A decade of listening to that song did nothing to dull the feeling of hearing it live again.
Alt-J have a few more An Awesome Wave anniversary dates this month, with three nights at The Wiltern in LA followed by two nights at the Fox Theater in Oakland. After that, the band heads to Australia for an extensive tour around the country before a final run of shows in Europe and the UK. Head over to their website for the full tour itinerary, and check out the rest of the photo gallery from night two at Kings Theatre last week below.
Just a hop skip and a jump from the historic boat houses of Canandaigua Lake is the Fort Hill Performing Arts Center. A newer venue repurposed from an older one, Fort Hill PAC house about 400 seats, with 40 mezzanine seats that provide amazing views of the stage. Amazing view for acts like Stanley Jordan who brought his solo guitar show the house on March 18.
Rising to notoriety in the mid 80s, Jordan was first artist signed to Blue Note Records by new president, Bruce Lundvall, as they were working to re-establish their label to include contemporary jazz. Subsequently, Jordan’s album Magic Touch was released and hit number 1 on Billboards Jazz chart for nearly a whole year. Jordan has released 13 other albums, with number 15 in the works for release early 2024.
Hitting the stage at Fort Hill PAC, Jordan was welcomed by a blend of younger baby boomers, with a pinch of Gen-X’s and a dash of young Gen-z patrons. Quite a diverse group of ages for Jordan, whose sound is lightly reminiscent of island sounds, perfect chill music after a long days work.
While Jordan didn’t interact with the Fort Hill Performing Arts Center crowd too much, he was definitely aware of everything going, and acknowledged the random “We love you, Stanley” or the unexpected ovation. Just as well, there was issue during set with the center speakers in front the performer, and while he played most of the first half of show with it, he addressed the issue and assured the fans that the show will be so much better when he can actually hear all the sounds. As expected, the crowd laughed and gave short round of applause.
To finish the first set, Stanley, took seat at the piano and did some double duty as he continued playing the guitar, while adding piano to the mix. Truly an amazing arrangement and showcase of his skill set on the stage.
Coming back from intermission, Jordan continued to play the guitar in his own way, which consists of very little traditional strumming, and more tapping along the neck to create his own unique sound. He opened up the second set with his rendition of Mozart’s Piano Concerto #21 and Blue Monk (Thelonius Monk), both remarkable in their own rights.
While I was not able to see the end of the show, he finished off with a cover of the classic Rogers and Hammerstein’s “Somewhere Over the Rainbow.” If like the rest of the show, I am sure the crowd was in awe with this, as I am sure I would have been.
Follow Stanley for up-to-date news including the release of his much anticipated 15th album. US tour dates continue through April, before headed off on his international tour.
On the evening of Wednesday, March 15, New York City’s Carnegie Hall served as a gathering place to pay tribute to Sir Paul McCartney. Produced by Entrepreneur and Philanthropist Michael Dorf, The Music Of Paul McCartney was the 18th annual Music Of benefit concert to grace Carnegie Hall.
Photograph by Bobby Banks
In front of a sold-out house, Will Lee, Alexis Morrast, Peter Asher, Lyle Lovett, Patti Smith, Sammy Rae, Shovels & Rope, Christopher Cross, Danny Laine, Allison Russel, The Cactus Bottoms, Jennifer Nettles, Resistance Revival Chorus, Music Will Kids Group, Lake Street Drive, Bruce Hornsby, Graham Nash, Ingrid Michaelson, Glen Hasard, Jonathan Russel, Hamilton Leithauser, Betty Lavette, and Nancy Wilson sang their praises. Each artist performed one song from Paul McCartney’s vast catalog and celebrated his musical career.
The evening was marked by golden moments. Patti Smith, who was not originally on the line-up, surprised the crowd with a rendition of The Beatles, “She’s Leaving Home.” She added her own lyrical twists throughout the song, reaffirming her already widely known and beloved creative prose.
Patti Smith at Carnegie Hall on March 15, 2023 in New York City. Photo by Bobby Banks.
The New York City Chapter of The Resistance Revival Chorus then took the stage. The chorus is “a collective of more than 60 women, and non-binary singers, who join together to breathe song and joy into the resistance and to uplift and center women’s voices,” according to the Resistance Revival Chorus. The group performed The Beatles’ “Let It Be.” In doing so, they transformed the event into an interactive experience between the performer and the audience. They radically broke down all barriers between performer and viewer; between stage and seat.
They put their arms up to the sky, and audience members did the same. They danced, and the audience danced. The grand, wide-open room that is Carnegie Hall suddenly became one. They walked tall off the stage to a symphony of cheers, snaps, and the sudden shuffling of a standing ovation – The first of the night.
Photo by Bobby Banks
The stage also welcomed Music Will Kids Group to perform The Beatles’ “Get Back.” The group consisted of four students from a New York City-based high school. Before strumming a note or singing a tune, the lead singer shouted a thank-you into the microphone for their music teacher, Mr. Paris.
To close out the evening, all 23 performers joined on stage to perform their group finale, “Hey Jude.” Performers clapped, hugged, smiled, and filled the stage with joy. Fans stood, swayed, and joined in on the music. Carnegie Hall’s choir of 3,000+ voices reverberated through the city and solidified an already unshakable legacy of one of history’s greatest, Sir Paul McCartney.
The Music Of tribute series has donated collectively over $1.5M in proceeds to organizations that provide music education programs and opportunities to underserved youths. Paul McCartney’s tribute was preceded by tributes to other greats, such as Aretha Franklin, David Bowie, David Byrne, Bob Dylan, Joni Mitchell, and more.
Group encore performs “Hey Jude” for the final song of The Music Of Paul McCartney at Carnegie Hall on March 15, 2023, in New York City. (Photo by Bobby Bank/Getty Images)
Music Of Paul McCartney Setlist: “Ooh You” performed by Will Lee, “My Love” performed by Alexis Morrast, “A World Without Love” performed by Peter Asher & Lyle Lovett, “Things We Said Today” performed by Patti Smith, “Heart of the Country” performed by Sammy Rae, “Helter Skelter” performed by Shovels & Rope, “Mother Nature’s Son” performed by Christopher Cross, “Mull of Kintyre” performed by Denny Laine & Christopher Cross, “Blackbird” performed by Allison Russell, “And I Love Her” performed by The Cactus Blossoms, “Silly Love Song” performed by Jennifer Nettles, “Let it Be” performed by Resistance Revival Chorus, “Get Back” performed by Music Will Kids Group, “Let Me Roll It” performed by Lake Street Drive, “I’ve Just Seen a Face” performed by Bruce Hornsby, “For No One” performed by Graham Nash, “I Will” & “Calico Skies” performed by Ingrid Michaelson, “We Can Work It Out” performed by Glen Hansard, “Let Em In” performed by Jonathan Russell, “With a Little Help from My Friends” performed by Hamilton Leithauser, “Maybe I’m Amazed” performed by Betty LaVette, “Yesterday” performed by Lyle Lovett, “Band On the Run” performed by Nancy Wilson, “Hey Jude” performed by entire line-up.
One music that never fails to soothe me is Celtic music. I can just feel the stress and the tension of the day wash off, and something crisp and green take its place. It is always welcome, and in turn always welcoming, and there’s a heaviness and a frivolity that can dance with each other. But Kilashandra is not a strictly Celtic band.
They are a Celtic-inspired jam band, and while my questions center around the Celtic part, I hope you will see the band as they will show you below. Maybe we can get them to jam.
I sit with Mark Emanatian, Eileen Markland, Chris Gil and Tom Dolan of Kilashandra and we discuss the rarity of four-leaf clovers.
Liam Sweeny: Celtic music is instantly recognizable, and it makes people feel a certain way, like a gentle breeze on a hilltop of rolling grass, or the bow of a ship destined for the promise of the New World. So the sound is unmistakable. Do you think Celtic lyrics, if read without the music, would be unmistakable as Celtic? Why or why not?
Mark Emanatian: I think the deep rivers of Irish literature, poetry, storytelling and history would make Celtic lyrics unmistakably Irish.
LS: The music of Ireland is a tradition that goes back centuries, and listening to Celtic music, you can hear themes that, though timeless, did originate in a time. But it wasn’t just Ireland, was it? How much of Celtic music comes from Ireland, and how much from Irish immigration to America? MARK: All music is transformed as it intersects with new places and new experiences.
ME: Vocalist Chris Gil has an interesting story. I’m all about those, stories. But his was an impromptu chance to sing at the Pepsi Arena, and a standing ovation. If that doesn’t tell a person they got something, right? So something started shit right there, something inside, a switch from a private thing to a public pursuit. Tell us about it, will
Chris Gil: It was an honor and a thrill to sing the National Anthem at the Pepsi Arena and receive a standing ovation. I put the same energy into my singing whether it’s to a full crowd or 1 person in the back of a pub. It’s all about connecting with the audience.
But I really like singing and playing with this band Kilashandra. Mark Emanatian writes some great songs and is a master guitar player. Eileen Markland is a force of nature. Tom Dolan holds us together. We really connect with each other and we let the audience in on it too.
I’m looking to forward to some big gigs we have coming up: opening for the Young Dubliners at the Colonial Theater in Pittsfield and the Watertown Irish Festival. And of course, we’ll be hitting the pubs from the Berkshires to the Catskills to the Adirondacks.
Come see us at a big show or a pub, I love singing to people
LS: Eileen Markland is a Berklee trained composer and arranger, with a universe of talent with different instruments, having played with more folks than can fit in a small club with the tables removed. One thing I read was that you work with music for visual media. How does playing for visual media differ from playing for the crowd?
Eileen Markland: Harmony is the reason I wake up each morning and endless melodies accompany every activity and quiet moment throughout my day. Composition is the only place in life where I experience true freedom. I can create and mix any scenario I’m craving or feeling by crafting a series of chords, melodies and vocal/ instrumental combinations which then have the potential to perfectly express what I need, if I get it right. Yes, I can tell you what I’m feeling in words, but a musical description is three dimensional, even four dimensional! Composition (and improvisation), for me, is the deep exploration and expression of the state of my soul.
Live performance is a unifying, raw experience that creates a shared sense of community and, really, nothing less than pure love between the people performing and those watching and listening. It’s a social experience with both tangible qualities, such as dollars earned and new friends made, and intangible qualities such as relieved anxiety and the lessening of feelings of loneliness. I deeply believe that live music has been and always will be one of the staples to a peaceful society on a worldwide scale. For me, personally, my best friends are the musicians in my life. The music we create together and the real bonds that come with this ride keep me happy and sane in all corners of my life.
LS: Mark Emanatian, you come from a background I’m very aware of; the blues. Coming to Celtic from blues, and going back again, must be an interesting experience. It seems that they are very different music with different conventions and origins, different historical contexts, so on. What is the common thread that unites them?
ME: First off, they come from a deeply emotional story…and tough histories of people oppressed…the music arises from that…and the music has several similar qualities based around major and minor pentatonics…you can hear a lot of the crossover in bluegrass music that was influenced by both of these musical rivers.
LS: Improvisation is my favorite quality in music. If my brain wasn’t so blues-soaked, I would’ve hopped on to the jazz train and would still be a passenger. Tom Dolan, you are an improviser. In Celtic music, is improvisation the same as it is in jazz, or is it more structured? Is there phrasing that you have in Celtic music that you base on?
ME: There is not a lot of bass in traditional Irish music. Often uilleann pipes are used for drone or acoustic guitar or bouzouki are used in place of the bass to add harmony and movement to songs and tunes. Irish music does not generally use chromaticism or altered and extended chords. So, there is not much similarity between improvising in Irish music and jazz. However, there is modal playing, and the use of pedal tones in common and that is useful for improvising in both genres. And listening to each other. Listening helps. It is using intensity, volume, rhythmic variations to push the tempo to move the song along, hopefully to greater heights, or down to support the lyrics. I have been playing in bands with Mark for 50 years. We have a good understanding of what each other might play. Mark and I have played with Eileen in various groupings for over ten years. Chris is an inventive rhythm guitar, acting as a catalyst, often playing bodhran rhythms, propelling the songs forward. We have a shared vocabulary that allows us to have a conversation on stage. Sometimes full group improvisation can break out. But above all the playing must support the song.
