Electrifying punk rock group Meet Me @ The Altar blew the roof of Gramercy Theatre on March 2 as part as their first ever headline tour. Along with their openers Daisy Grenade and their intense sound, and Young Culture’s standout stage presence, the Meet Me @ The Altar show was absolutely unforgettable for anyone in attendance.
Photograph by Chinaza Ajuonuma
Meet Me @ The Altar is a three-piece WOC pop-punk band, consisting of guitarist/bassist/singer Téa Campbell (Florida), drummer Ada Juarez (New Jersey), and singer Edith Johnson (Georgia). Originally formed in 2015, the three members—all of whom lived in different states at the time—worked on music remotely through the internet. The band went on their first tour in 2018 and were signed by Fueled by Ramen in 2020. Their creativity continues with their new album Past // Present // Future that came out on March 10.
Photograph by Chinaza Ajuonuma
Daisy Grenade is a power-punk bubble grunge band that serves a punch with a lip-glossed kiss on the side. Made up of the two gorgeously disturbed girlies Keaton Whittaker and Dani Nigro, they turned their unapologetically feminine angst into sickeningly catchy, morbidly worded bubble-grunge bops that are dripping out of a saccharine shell. With Pete Wentz as a mentor and the collaboration of The Ready Set for their sophomore EP, CULT CLASSIC, these two theater kids started making music in 2020 and haven’t looked back.
Daisy Grenade Setlist: Heavy Metal Parking Lot Kind Of Cool, Darby, Stone’s Throw, Skin, I Got It Bad, Rorschach, Dominoes, Colm’s, Veritas, Pocket Change
Photograph by Chinaza Ajuonuma
Hailing from Albany, the trio of Alex Magnan, Gabe Pietrafesa, Troy Burchett that make up Young Culture have been brewing their sound for the past couple of years and most recently have released their album You Had To Be There. Their music can be described as early 2000s-sunshine-rock-meets-modern-technology that pops with bright color and vibrant emotion. The band signed with Equal Vision Records in 2018 and have been releasing banger after banger ever since.
Young Culture Setlist: Not In Love, Drift, Smooth, Fantasy, Silver Lining, Shiver, Holiday in Vegas, Serendipity, Different Now, Kinda Over It
Photograph by Chinaza Ajuonuma
Daisy Grenade took the stage first, launching directly into a hardcore “Heavy Metal Parking Lot Kind Of Cool”. Embodying female angst and jumping around the stage, the energy in the room was electric. The crowd was moshing along as they played new songs, like “Skin” and “I Got It Bad”. After a quick shoutout to their parents in the crowd, the fans for bringing the energy, Daisy Grenade retired the stage with a bang after playing “Pocket Change.”
Photograph by Chinaza Ajuonuma
There was a shift in the room when Young Culture emerged. The chants from fans were almost deafening, as all you could hear was their little tagline, “YC F*CKS”. Launching right into “Not In Love” from their most recent album. The crowd’s enthusiasm skyrocketed as Alex left the stage to stand on the barricade, directly interacting with the fans during the set. With encouragement from the band, the crowd surfing began, putting security to work. From the constant chanting to the jostling of the fans around in the pit, the energy in the room built up to new heights.
Photograph by Chinaza Ajuonuma
By the time Meet Me @ The Altar took the stage, the crowd was buzzing with anticipation. With Téa and Ada tuning and prepping their instruments. Riding off the high of the crowd chanting their names, leading lady Edith hops out and launches into one of the bands most well known songs, “Say It (To My Face)”. With an energy equivalent to a pop punk rager, this hardcore show can only be described as feral and free. The chanting and the crowdsurfing didn’t cease, even long after they performed their final song. Only a week before the release of their new album, Meet Me @ The Altar is on an upward trajectory when it comes to their sound.
Meet Me @ The Altar Setlist: Say It (To My Face), Beyond My Control, Hit Like A Girl, King of Everything, Try, May The Odds Be Ever In Your Favor, Now Or Never, Feel A Thing, [unknown song], Complicated, Same Lane, A Few Tomorrow, Garden
Photograph by Chinaza Ajuonuma
In terms of upcoming shows, Daisy Grenade will be on tour with Meet Me @ The Altar until April. They’re then scheduled to head on tour supporting Fall Out Boy on multiple dates from June 23rd in Montana to July in Colorado. For any updates on future shows and tours, check out their website.
Young Culture will also be with Meet Me @ The Altar until April, but past that, there is nothing scheduled. For updates, check their website and socials.
After tour wraps, you can find Meet Me @ The Altar at an array of different festivals, from Adjacent Festival in New Jersey to Leeds Festival in the UK.
Miley Cyrus released her eighth studio album, Endless Summer Vacation, on March 10. The album, which Cyrus describes as her “love letter to LA,” was preceded by two singles, “Flowers” in January, and “River” on the same day as the album’s release. The former Disney star delivers again with her newest release, reminding her fans why they love and support her so much.
A streaming special, Endless Summer Vacation (Backyard Sessions) was released in support of the album. Photo Credit: Good Morning America
Miley Cyrus was born in Nashville, Tennessee in 1992, originally as Destiny Hope Cyrus. While Cyrus has since made a new for herself in the music industry, she comes from a famous family, being the daughter of county singer Billy Ray Cyrus and his wife Tish, who has managed her daughter since the start of her career. She got her big break when she landed the starring role in Disney Channel’s Hannah Montana, which made her into a teen icon and role model for young children while the show was airing from 2006 to 2011.
In the early days of Hannah, Cyrus released her debut album, Hannah Montana 2: Meet Miley Cyrus, which doubled as the soundtrack album for the show’s second season, followed by her first solo album, Breakout, in 2011. She has since made a name for herself outside of Disney, shedding her “good girl” image as early as 2010 with her third album, Can’t Be Tamed, while still starring on Hannah Montana.
Endless Summer Vacation starts out strong, stays steady throghout, and picks up again for the last few trakcs. Highlights from the album include “Flowers, “Jaded,” “Thousand Miles,” “Muddy Feet,” “Island,” and “Wonder Woman.”
The album closes out with “Wonder Woman,” and perfectly so, reminding us exactly who Cyrus is: a modern day Wonder Woman. The singer was born to a famous father but has come to be known as much more than the daughter of Billy Ray Cyrus, and was given a platform through Disney that spearheaded her to success, yet she was still able to break free from that “Disney bubble” that so many stars find themselves in. Endless Summer Vacation is sure to guarantee Miles Cyrus an Endless career in the music industry.
On a rainy Friday night in Brooklyn, fans eagerly lined up outside Elsewhere to catch New York native Skizzy Mars’ return to the venue after a few years. Despite the rain, the line on March 10 extended around the block, a testament to the rapper’s popularity in New York.
Inside the venue, Skizzy Mars delivered an exceptional performance, playing a mix of his most popular singles including “Do You There” with Marc E. Bassy, “Crash” with Pell, and “Recognize” with Joji, alongside his solo hits like “Leave Me,” “Calabasas,” and “STROBE LIGHTS.” The crowd sang along with every word, creating a lively and engaging atmosphere.
Skizzy’s interaction with the crowd was exceptional, showing his love and appreciation for his fans throughout the night. The production of the show was top-notch, with perfectly coordinated lighting and sound that elevated the performance to another level.
As the show came to a close, fans were left wanting more and cheered for an encore. People stayed behind to take pictures with Skizzy Mars and purchase merchandise, adding to the already charged atmosphere.
Skizzy Mars’ return to Elsewhere was a testament to his incredible talent as an artist, leaving fans eagerly anticipating his next show and the new music he has in store for them. His performance was exceptional, showcasing his growth as an artist and his connection with his fans.
In conclusion, Skizzy Mars delivered an unforgettable performance on a rainy Friday night at Elsewhere, leaving fans eager for more. The show had an exceptional vibe, with an enthusiastic and lively crowd that had patiently waited in the rain to see their favorite artist. The production of the show was outstanding, and Skizzy’s performance was exceptional.
Jenna Ortega, best known for her role as Wednesday Addams in the Netflix special show Wednesday and for the new rendition of the Scream franchise, hosted Saturday Night Live for the first time at the age of 20. The musical guest on March 11 was The 1975, a British indie group that is gaining popularity through expansive tours and social media virality.
The cold open features hosts on the red carpet for Access Hollywood at the Oscars. They made fun of carpet shows, including awkward pan-downs of women’s bodies, and the famous Oscar slap. They bring in Kenan Thompson as Mike Tyson, who does a scarily accurate impression, and Chloe Fineman comes in as Jamie Lee Curtis, bringing up the fact that she came out in a statement about going to bed early. There was also a sketch about betting odds for the Oscars, speaking more about Chris Rock and politicians. They brought in a few more guests, like George Santos pretending to be Tom Cruise, played by Bowen Yang.
Jenna Ortega’s monologue featured a discussion about how she isn’t dark and scary despite the characters she plays and she showcases a clip of her first commercial when she was a little girl talking about germs and toothpaste. She talks to actor Fred Armisen, who played Uncle Fester in Wednesday alongside Ortega. She has been the youngest host this season and says how excited she is to be on.
The first sketch features a school versus school game show, with Kenan Thompson as the host. One of the schools is for normal people, but the second one titled Professor Zander’s Academy for Extraordinary Children has children with special gifts, including mutations and more. Ortega plays the character Zena, who keeps trying to rebel because she can’t use her powers, and people think she is a freak. Other students and teachers include Mikey Day, Michael Longfellow, Molly Kearney, and Marcello Hernández. She eventually uses her “electric wind” powers and hurts the teacher (Punkie Johnson) on the other team.
Please Don’t Destroy followed with a video featuring Ortega, with the team going on a road trip, break out in a song about the fact they are going out on a road trip, subsequently missing the exit multiple times. Following that is a sketch about Ortega filming Parent Trap, with Fred Armisen playing the body double. They don’t film the scenes correctly, with Armisen messing up and saying lines off the script until he finally does it correctly.
Continuing on is a spoof of the popular MTV show Ridiculousness, with host Rob Dyrdek (Mikey Day), Steelo Brim (Kenan Thompson), and Chanel West Coast (Chloe Fineman). Jenna Ortega plays a popular TikToker, telling gory stories after each video is shown. Preceding that is a pre-filmed sketch about Ortega talking to her boyfriend about moving away for school at a Waffle House while a physical fight happens in the background, as well as other chaos, including a guy getting tased.
The 1975, an English pop rock band formed in 2002 in Wilmslow, Cheshire and now based in Manchester, consists of lead vocalist and rhythm guitarist Matty Healy, lead guitarist Adam Hann, bassist Ross MacDonald, and drummer George Daniel. Healy was nominated for Grammy for the group’s song “Give Yourself A Try,” and in the Best Boxed Or Special Limited Edition Package for I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It (Box Set). They have garnered billions of streams, releasing their newest record Beign Funny In A Foreign Language last year, featuring songs “About You,” and “I’m In Love With You.”
For the first song, The 1975 perform “I’m In Love With You,” dressed in suits but with a more laidback, chill vibe. Healy did his signature dance moves between breaths and sings in his unique voice, smiling cheek to cheek at the honor of being on Saturday Night Live. The group does a coordinated side step at the end of the song as there is a prolonged period of instrumentation, receiving a big round of applause.
https://youtu.be/JiPPvXRDUjI
Weekend Update featuring Michael Che and Colin Jost focused on speaking about Tucker Carlson and his newfound hatred for Donald Trump, the new bans on Drag Shows, and the fact that Walgreens is going to stop selling abortion pills in certain states. Special guest Molly Kearney, in their first Weekend Update appearance, was followed by James Austin Johnson filling in the last minute by doing random impressions, including Adam Driver, Batman reading Where’s Waldo, and more. A sketch playing off Exorcist movies had Ortega playing the girl being exorcised, featuring Ego Nwodim as a comedic character telling making comments downplaying the possession. Other guests include Kenan Thompson performing as the vessel for Ortega’s demon, ending with his head being swung around.
The second performance by The 1975 was “Oh Caroline” featuring more of that laidback vibe, with Healy switching his guitar out for a striking red one. The song is very groovy as he sings “Oh, Caroline/I wanna get it right this time/’Cause you’re always on my mind,” featuring an extended guitar solo at the end.
The crowd cheered loudly again, very happy that The 1975 had returned for an SNL appearance.
Important note: due to a stall in contracts between NBCU and Saturday Night Liveeditors, there will be a historic strike planned for on April 1. Negotiations started back in October, with union members focusing on healthcare benefits and pay inequity. Without a viable decision reached months later, 12 to 20 SNL editing team members are threatening to halt their work entirely. “Strikes are not funny, and it’s also not funny that NBCU is driving us to take this step to guarantee fair pay and benefits for our members,” says Alan Heim, president of the Motion Picture Editors Guild, in an official statement.
The April 1 episode features host Quinta Brunson and musical guest Lil Yachty.
Goose and their flock of fans have descended upon Port Chester for five nights of indie jam rock. With three nights down, there have been debuts, fresh covers and a sit-in from none other than Jimmy Fallon.
Goose closed out their five-night stand at the Capitol Theatre on Sunday night with a blazing hot show packed with pockets of dense improvisation.
Opening the night with “Time to Flee,” the quintet wasted absolutely no time and delivered a punchy 17-minute version highlighting guitarist Rick Mitarotonda’s scorching guitar tone and playing. The band next offered up the synth-drenched arrangement of “Indian River” coupled with its usual “Welcome to Delta” jam. The peppy piano-led groove felt more energetic than its normal laid-back vibe, blasting to more incredible peaks as the energy in the crowd seemed to continue rising.
A big trend for the final two nights of the Cap run was pure ENERGY. The 1800-capacity venue was amped from the first note of Wednesday night’s show but the weekend crowd took it to another level.
A deceptive cool-down song in the Peter Anspach-penned “Honeybee” quickly elevated to more soaring guitar licks from Mitarotonda before Goose fired up the dance party of “Jeff Engborg.” Named for Anspach’s old Great Blue bandmate, the fifth Goose performance of this song is a personal favourite of mine due to what I call “Big Clav Energy.” The rhythm section of drummer Ben Atkind, percussionist Jeff Arevalo, and bassist Trevor Weekz locked in as Anspach and Mitarotonda shredded over peak after peak.
Taking a moment to breathe and reflect with the 75-show bustout of “It Burns Within,” the band jumped into a fun “Butter Rum” to close the set. While a concise and energy-filled 8-minute version could have done just fine in this slot, Goose opted to deliver possibly the finest version of the song played to date, stretching just past the 20-minute mark. Anspach’s Prophet and Nord synths got a serious workout in the latter half as Mitarotonda riffed on a theme similar to Kylie Minogue’s “Can’t Get You Out Of My Head.”
The final set of the five-night run began with a lengthy “Arrow,” breaking its longest show gap in three years. Mitarotonda attacked the jam with the same animalistic ferocity he had been displaying all week, and while it stayed relatively within the song’s boundaries, it should NOT be overlooked. A calm and beautiful reading of ballad “A Western Sun” led to another dance party in “Into the Myst.” Atkind propelled the band into a steady jam as Anspach worked his Vintage Vibe electric piano through the segue into “White Lights.”
Looking at the setlist on paper, this relatively short song in the middle of the set may look innocent enough, but it is well worth a listen. One of the biggest peaks of the entire weekend took place as the incredibly positive energy of the band and crowd flowed. Anspach danced like a happy camper within his keyboard rig as all five members became pieces of the same improvisational brain and launched the Cap into orbit.
A patient build on iconic Goose song “Elmeg the Wise” brought the tenth and final set of the run to a close in fine fashion. Anspach took a moment before the encore to thank each and every member of the Goose crew as well as the venue staff for an unforgettable week before the band absolutely tore “The Empress of Organos” to shreds. Weekz got his final bass solo to cap of what was undoubtedly the week of the BASS.
Over the course of five nights, Goose played 64 songs – 60 of which were originals and three of those debuts. The band took new risks in improv, debuted new rigs and tones, a new light rig – the list goes on!
With an extensive spring tour beginning next week in Boston, their first proper “tour” since October, anticipation could not be higher for what is to come in the future!
Goose – Sunday, March 12
Set 1: Time to Flee, Indian River[1], Honeybee[2], Jeff Engborg, It Burns Within, Butter Rum
Set 2: Arrow[3], A Western Sun, Into The Myst[3] > White Lights, Elmeg The Wise
Encore: The Empress Of Organos
[1] 80s synth version. With Welcome to Delta jam. [2] With Coach on rainstick. [3] Unfinished.
Saturday, March 11
For night four of five at the Capitol Theatre, Goose delivered what some have called the best show of the run yet – two dense sets packed with energy, improvisation and incredible playing from all five members.
Opening up the show with an upbeat “Echo of a Rose,” guitarist Rick Mitarotonda quickly led the jam from an airy space into a grimy section propelled by drummer Ben Atkind’s persistent beat. Using that as a launchpad for a modulation into Bob Seger’s “Hollywood Nights,” the band and crowd alike blazed through the rocking cover with great aplomb.
Ripping through a thick “Bob Don” next, Mitarotonda and multi-instrumentalist Peter Anspach locked in on the outro “With” jam as the crowd’s energy continued to climb higher through the band’s return to the ending of “Echo.” The twin parts of “Seekers on the Ridge” offered a bit of a breather before another incendiary Mitarotonda solo blew up the building in Part II.
“Mr. Action” was tapped ahead of a set-closing “Same Old Shenanigans,” a perfect call for the energy-focused first set. Anspach and Mitarotonda shined once again during their respective solos as the rhythm section locked in underneath them on the path to several mountainous peaks that ended the first frame.
Returning with “Hungersite” to open the second set, Goose wasted no time before diving directly into a heavy-hitting space that Mitarotonda peaked massively. Atkind and percussionist Jeff Arevalo’s insistent drumming helped push the blazing improv. Post-peak, bassist Trevor Weekz stepped out as the band led into a thick and grimy motif that has popped up numerous times throughout the Cap run.
“Silver Rising” offered a cool-down after the intensity of the “Hungersite” jam before the band debuted Anspach original “Feel It Now.” This catchy and danceable song is highlighted by a peppy groove and bright guitar lines from Mitarotonda – there is also tremendous jam potential that I am certain will come to fruition as the song gets played more.
Where else to go in the middle of a Saturday night second set than with “Arcadia”? Weekz once again absolutely brought the house down with a deep and funky bass solo before an aggressive theme developed. Picking up the pace and energy once again, Goose blasted the capacity crowd with peak after peak as they shredded through the ending of the song. A heartfelt and tender “726” closed out the second set.
Ripping into “Dripfield” for the encore was a perfect choice, getting the crowd moving in time with the pounding drums as the title track to the band’s most recent album rocked the Cap to close.
Goose – Saturday, March 11
Set 1: Echo Of A Rose[1] -> Hollywood Nights[2] > Bob Don[3] -> Echo Of A Rose, Seekers On The Ridge Pt. 1 > Seekers On The Ridge Pt. 2, Mr. Action, Same Old Shenanigans Set 2: Hungersite, Silver Rising, Feel It Now[4], Arcadia, 726 Encore: Dripfield [1] Fast version [2] Bob Seger & The Silver Bullet Band [3] With [4] FTP
Friday, March 10
For the third of five nights at the Capitol Theatre, Goose delivered two blazing sets that were lighter on the improv that the first two shows but had possibly the highest energy of the run so far.
Opening up the night with a funky “Animal,” the band jumped into a concise “Flodown” next where multi-instrumentalist Peter Anspach threw in Prophet synth sounds as guitarist Rick Mitarotonda toyed with his delay pedals. Upbeat rocker “Everything Must Go” and Anspach tune “The Whales” continued the set before the energy really got taken up a few notches with “Turbulence & The Night Rays.”
The rocking Vasudo-penned song seems to reach new heights each time it gets played, and Mitarotonda’s emphatic solo had the packed Cap eager for more. Anspach took a second to introduce the next song, debut “Lead Up.” Displaying a rocking vibe similar to the Red Hot Chili Peppers at times, “Lead Up” retained that distinctive Goose song as well as showing off the band’s dual-guitar sound – the last two Goose original debuts with Anspach on guitar were “Butterflies” in June 2022 and “The Whales” in June 2020!
The momentum and energy of the first set came to a peak with crowd and band favourite “Thatch,” which featured its first extended improv and some mind-blowing work from drummer Ben Atkind and percussionist Jeff Arevalo, the latter of whom seemed to be at risk of breaking his cymbals from the sheer force of his hits.
Returning from a lengthy setbreak, Anspach took a stroll into the crowd during the intro to “Creatures.” The dance party song morphed into a gorgeous bliss jam distinctly reminiscent of its counterpart from Legend Valley in 2022. Bassist Trevor Weekz really stepped out in this segment, while Atkind spun a beat that made the jam feel like the beginning of an “Empress of Organos” jam. Slowly returning to earth, Anspach led the band into “Red Bird” as lighting director Andrew Goedde bathed the stage in that colour for the duration of the song.
The bird took flight with a rocking jam led once again by the rhythm section – Atkind’s pounding toms and Weekz’s bursting envelope filter playing propelled the quintet to a series of big peaks ahead of a transition into Peter Gabriel’s “In Your Eyes.” Offering up the finest improvisation of the night, the classic cover tune quickly opened up into a thrashing groove as Mitarotonda took the reins with some serious fretboard fireworks. Building into some darker themes, Goose exploded into an amazing major-key section with strong “SOS” vibes before landing in tender ballad “Arise.”
Most known for its acoustic performances with offshoot group Orebolo, this gorgeous and heartfelt song translated exceptionally well to an electric setting for just the fifth time ever. Arevalo made an inside reference to a well-known acoustic performance with a reminder for the crowd to “zip it” before the song began (note: his instruction was followed by some, but not all). A blazing “Hot Tea” complete with filthy wah guitar from Mitarotonda, crunchy clav from Anspach, and a bass solo from Trevor closed out the set.
Goose welcomed comedian Jimmy Fallon to the stage for an encore of “Mustang Sally” last night that had the crowd eating up every moment of the fun shtick.
Goose – Friday, March 10
Set 1: Animal, Flodown, Everything Must Go, The Whales, Turbulence & The Night Rays, Lead Up[1], Thatch Set 2: Creatures, Red Bird, In Your Eyes[2], Arise, Hot Tea Encore: Mustang Sally[3]
[1] FTP [2] Peter Gabriel [3] Wilson Pickett. With Jimmy Fallon on vocals
Thursday, March 9
Goose threw down another heater on Thursday night at The Capitol Theatre for the second of five shows at the historic venue. While nothing quite reached the improvisational heights of Wednesday’s show, the band but together two well-flowing and complete sets with fantastic moments throughout.
Beginning the night with a hot “Jive I”, guitarist Rick Mitarotonda and multi-instrumentalist Peter Anspach took their usual spotlights on the song with energetic solos as the crowd got warmed up. A jamless “Atlas Dogs” followed before the quintet fired up Anspach tune “Elizabeth.” The first extended jamming of the night, while just barely cracking the 10-minute mark, saw the band get into some nice churning themes.
The slinky vibe of “California Magic” fit the vibe of the first set perfectly before a new double-time arrangement of “Borne” was tapped next. Part of this new take on the song is a much cleaner slide into the jam which the band took full advantage of, developing a spacey theme with reverb-drenched piano at the forefront. Bassist Trevor Weekz led a slow build as the band worked together in a very democratic fashion. Drummer Ben Atkind pounded away at his toms as the jam build to a solid peak.
Anspach stepped out again on the Vintage Vibe outro to “The Old Man’s Boat” before Mitarotonda led Goose into “Rockdale.” Getting into the grime immediately, Anspach’s low clavinet colouring and Weekz’ deep bass accentuated Mitarotonda’s tension-building guitar as the band built to several phenomenal and explosive peaks to close out the first set.
The second set began in fine fashion with a long “Tumble.” The jam began with its classic dual-guitar churn groove as Mitarotonda got the energy of the crowd up. After hitting a first peak, the band took the vibe down and Anspach hit the keyboards. Displaying his impressive interplay with Mitarotonda that we’ve been seeing this week, Goose dove deep into a quieter section within “Tumble” that gave percussionist Jeff Arevalo an opportunity to really step to the sonic forefront of the jam.
Reaching a progression reminiscent of “Love is a Battlefield,” Mitarotonda took back the reins of the improv and built back to a final peak and return to the song. The guitarist then fronted the quintet on the debut of original “Not Alone,” a tender ballad that was received extremely well by the crowd – it acted as the perfect breather between two big second-set jams.
“Rosewood Heart” was tapped next and saw Anspach dialing up percussive loops on his Prophet synthesizer as Goose took a very different route in the jam. Eschewing the normal Type I section, they opted for a funky and percussive groove that had the venue getting down for its duration. A powerful rendition of Nina Simone’s “Sinnerman” came next before Goose ripped out “Madhuvan” to close the set.
Few songs elicit a crowd reaction on the level of this massive jam vehicle, and last night was no different. Beginning in a space not unlike its counterpart from Glens Falls this past November, Anspach laid down low tones on the Vintage Vibe while simultaneously creating feedback from his guitar, lending to the immediate dark and eerie tone of the jam. Patiently exploring every inch of this motif, Weekz dropped massive bombs as synthesizer loops and guitar arpeggios dominated the space. Gradually picking up steam, the improv took on a lighter tone as the band hit on their second “Loose Ends” tease of the week. Continuing the huge build, Mitarotonda led his bandmates into the ending of “Madhuvan” at full tilt, bringing an excellent set and show to a close. A brief encore of “Turned Clouds” sent the crowd home happy.
Goose – Thursday, March 9
Set 1: Jive I, Atlas Dogs, Elizabeth, California Magic, Borne[1], The Old Man’s Boat, Rockdale Set 2: Tumble[2], Not Alone[3], Rosewood, Heart > Sinnerman[4], Madhuvan[5] Encore: Turned Clouds
[1] Double time feel [2] With Pick Up The Pieces tease from Ric [3] FTP [4] Nina Simone [5] With Loose Ends teases
Wednesday, March 8
For the first night of Goose’s Capitol Theatre five night run, starting the run with what they ended Okeechobee Music and Arts Festival with, Eddy Grant’s “Electric Avenue.” Check out video and more photos from Cory Schwartz below.
Set 1: Jam -> Electric Avenue[1], All I Need[2] > Dr. Darkness, Butterflies, Jive II, Earthling or Alien?[3], So Ready Set 2: Wysteria Lane > Doobie Song, Drive[4], Yeti, Your Ocean Encore: Pancakes
[1] Eddy Grant. Ending only, finishing the version from 3/3/23 Okeechobee [2] Slow, melodic version [3] With Jive II teases from Trevor [4] With Loose Ends teases
Evanescence, the iconic rock band fronted by lead vocalist and pianist Amy Lee, lead guitarist Troy McLawhorn, bassist Emma Anzai, drummer Will Hunt, and rhythm guitarist Tim McCord, brought their “The Bitter Truth” tour to the Scotiabank Arena in Toronto on March 9th, and it was a night that will not be soon forgotten.
With a setlist that included a mix of old favorites and new hits, the band showcased their incredible musical talent and emotional depth, delivering a powerful and unforgettable performance.
Will Hunt
From the moment the band took the stage, it was clear that they were there to give their all. Opening with “Broken Pieces Shine,” a haunting and emotional ballad that set the tone for the night. Evanescence launched into a setlist that showcased their versatility and their passion for music.
Emma Anzai
Throughout the night, Amy Lee’s voice was as powerful and evocative as ever. Her voice soared above the instrumentation to create a sense of drama and intensity that was felt by everyone in the arena. Her piano playing was equally impressive, adding depth and texture to the band’s sound.
Troy McLawhorn
But the rest of the band was equally impressive. Troy McLawhorn’s blistering guitar solos and Tim McCord’s rhythm guitar and backing vocals adding a layer of complexity and energy to the music. Emma Anzai’s bass and Will Hunt’s drumming provided a solid foundation for the band’s sound, driving the music forward and keeping the audience on their feet.
Amy Lee
The setlist was a mix of old favorites and new hits, with songs like “Going Under,” “Call Me When You’re Sober,” and “My Immortal” drawing huge cheers from the crowd. But it was the newer songs that really stood out, with “Better Without You” and “Blind Belief” proving that Evanescence is a band that is constantly evolving and growing.
Tim McCord
One of the highlights of the night was “Lithium,” a haunting and emotional ballad that showcased Amy Lee’s incredible vocal range and emotional depth. As she poured her heart out on stage, the audience was transfixed, hanging on every note and every word.
Overall, Evanescence’s “The Bitter Truth” tour is a testament to the band’s incredible talent and enduring popularity. With each member bringing their own unique skills and energy to the stage, it’s clear that Evanescence is a band that is at the top of their game. If you have the chance to see them live, don’t miss out – it’s an experience you’ll never forget.
Their next show will be in New York City at Madison Square Garden on March 17.
And here we are at Round 3 of NYS Music’s March Madness 2022. Below you’ll find 8 matchups between 16 bands and artists from across New York State, from numerous genres, all on the rise and ready to make a name for themselves.
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 promises to be 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 2 here.
Enter your email address, meet the bands and artists below, and vote for your favorites!
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Yard Amphitheater Region
The Yard Amphitheater is an outdoor music venue nestled in the rolling hills of NY State with BBQ on site, an outdoor bar, space for lawn games, and room to dance! Watching a performance at The Yard is similar to watching a concert in your own backyard, with the exception that this backyard features a fully stocked outdoor bar, mouthwatering BBQ, and nationally touring performers.
eberwine vs. Honey Suckle Vine
Buffalo-based rock and blues quintet eberwine (sic) is known for innovative improvisation, soulful lyrics, and high-energy shows. The band’s music highlights the best of rock and blues with nods to 90s alt-rock and jam. eberwine is the brainchild of frontman and guitarist Todd Eberwine (Dive House Union, Soul Roach, Todd Eberwine Band). What started as a solo project in 2016, is now a touring five-piece pulling seasoned musicians from the Buffalo music scene into a Western New York supergroup featuring Ryan Nogle (Funktional Flow, Aqueous), Evan Laedke (Tim Britt Band), Aaron Ziolkowski (Little Mountain Band), and Jay Race (Dead Alliance Buffalo). While they don’t have any upcoming shows at the moment, check back for any new show announcements on their website.
Honey Suckle Vine (HSV) is a high-energy 4-piece blues-rock band based out of the Capital District of New York State. The songwriting team of Joey Jaquez (vocals, harmonica) and Jeremy Silverman (guitar, vocals) have been creating original material for over 20 years across the USA. Joined in 2017 by long time friends Graham Espe (bass, vocals, recording and production) and David Snediker (drums, vocals), HSV is ready to entertain. Check out their most recent album Painted Nights. On March 24th, they’ll be playing at Putnam Place with Tops Of Trees, Kyla Silk, and House of Saturn.
Mainline vs. An Easy Death
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. Their last show was March 10 at Pete’s Saloon in Elmsford, NY. You can find Mainline next on April 22 at Dingbatz in Clifton, NJ, opening for Kore Rozzik!
An Easy Death is a 5-piece Post-Punkcore band based out of the Rochester area drawing influence from bands like Blink-182, Oceans Ate Alaska, Everytime I Die, MxPx, and It Dies Today. The band formed in 2020 and has since been making a name for themselves in the Rochester and Buffalo areas. Check out their most recent release from January, “The Debt That All Men Pay“. Their next appearance will be on March 25 at 7:00 PM with Dark Divine and Catch Your Breath at Rochester’s very own Montage Music Hall.
Voting for Round 3 has ended. Stay tuned for Round 4, starting at 8am on Thursday, March 16
Funk n Waffles Region
Farrow vs. Fine Grain
With thought provoking lyrics, strong melodies, and deep grooves, Farrow brings to life a vibe reminiscent of decades past whilst grounded in a modern sonic landscape. Based in Buffalo and led by producer/bass player Andre Pilette and singer/lyricist Michael Farrow, the band features Tim Webb on drums, Michael Ruopoli on percussion, Cory Clancy on guitar, Rufus “Breexy” Cole Jr. on keps, and Danielle Johnson on backing vocals. Check out the band’s website for show updates, like their past show on March 10. They also have an upcoming show on March 21, 2023 at the Buffalo Sabres vs Nashville Predators hockey game at Key Bank Center in Buffalo.
Fine Grain floats in between shoegaze haze and punk posturing. With prog-inspired riffs, post-punk murk, and the occasional ripping sax solo, fine grain offers up rambunctious reverie fit for hardcore fans of all generations. Fine Grain’s maturation is a testament to the transformative possibility of punk, showing how pulled threads of the past can still stitch together a promising new future. Visit here to listen to their latest release, their album “Missing Adult“.
Jennie Angel vs. The Forest Dwellers
Jennie Angel is an actress who recently rediscovered her love for music. Started playing the guitar when she was 16 and has been singing she was born, now performing popular country hits! Jennie has most recently been added as a member of the Academy of Country Music and will be attending the awards show in March. Music and merch are both available on her website. Check out her most recent single, released on Valentines Day, “You Proof“. Catch her next performance on March 16 at the SXSW Balanced Breakfast Showcase.
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.
Voting for Round 3 has ended. Stay tuned for Round 4, starting at 8am on Thursday, March 16
Jane Dough Region
Jane Dough help cannabis entrepreneurs win business licenses, optimize facility design, standardize operation, increase revenue and design their future.
PEAK vs. Murder in Rue Morgue
PEAK’s music, described as Psychedelic Indie Funk, is a mix of poetic, melodic songwriting, moody electrofunk, riffed-out blues-rock, and exploratory danceable improvisations. Some of their many influences include artists such as The Band, The Talking Heads, Phish, The Grateful Dead, Radiohead, James Brown, and Miles Davis, as well as modern songwriters such as Conor Oberst, Mac Demarco, Kurt Vile, and Jack White to name a few. The band’s website has links to their music, including their most recent album, “Choppy Water“. Tour/show information can be found here, like their most recent show on March 10, and their upcoming show on March 25 in Lake Huntington, NY.
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. Listen to their 2019 album “Endless Cycles” here.
Whaley vs. Sarah King
Whaley comes from Long Island, and they are a culmination of the best material & musicians Logan has written & met over the last 8 years since graduating from music school. His music can be best described as having old-school sensibilities with a new-school vibe. He released his debut album “Funky Tonight” this past February. Keep up with Whaley at all their shows, the next one being March 16th at Long Island Stage in Riverhead, NY.
Known for her powerhouse voice and “fiery, vulnerable songs,” Sarah King creates thought-provoking, versatile Americana music. Her genuine stories about real-life emotions and situations also draw on classic folk-blues themes, balancing songs about the devil and booze with hard-won moments of reflection and acceptance. Her acclaimed 2021 EP The Hour, produced by Simone Felice and David Baron, earned her recognition as the New England Music Awards Songwriter of the Year and performances at the 2022 Folk Alliance International and Philadelphia Folk festivals, as well as supporting slots for acts including Blues Traveler and The Steel Woods. While Sarah doesn’t have any shows slated in NYS at the time, her next show is March 11 at The Colonial Theatre in Keene, New Hampshire.
Voting for Round 3 has ended. Stay tuned for Round 4, starting at 8am on Thursday, March 16
Strand Theatre Hudson Falls Region
The E-Block vs. Hilltop
The E-Block is a 5-piece indie R&B band based in Upstate New York, blending the acoustic warmth of singer-songwriter music with an ice-cold rhythm section informed by modern R&B. Led by guitarist Luke Pascarella, with the line up of saxophonist James Soren keyboardist Devin Tetlak, bassist Daniel Folds, and drummer Leroy “Rudy” Dalton, the band’s deep bag of influences and free-flowing style have earned them a reputation as a unique live act in the Capital Region scene. Follow their instagram for all the current action, including their new project “Waterfall” releasing this spring. In the meantime, listen to their most recent track “Stay” here. There are currently no upcoming shows, but check back on their website for any announcements.
Hilltop is a four piece jam band from Albany, NY. Over the past four years they’ve made a name for themselves with carefully crafted originals, mind bending improvisation & fun, diverse covers. Each member offers a proficient, unique approach to their instrument that defines the musical experience. This band of young musicians is eager to spread their music and will continue to engage crowds wherever they go. Listen to their newest release, a collection of live performances, titled “Live Rips” here. With an upcoming tour, there are 5 chances to see Hilltop live in NYS. Be sure to catch them at their next show on March 25 at the Monopole in Plattsburgh, as well as at Zen Barn in Waterbury, Vermont on March 23.
Deb Cavanaugh vs. Seize Atlantis
Singer-songwriter, multi-instrumentalist and roots singer Deb Cavanaugh lives in the foothills of the Taconic Mountains, in Upstate New York. In the mid-nineties, Deb focused on traditional folk music such as Old Time, traditional ballads, and Irish dance tunes. She now formed Deb Cavanaugh & Dandelion Wine, playing a variety of styles including blues, rock and traditional folk as well as a variety of instruments. Dandelion Wine’s line-up may vary depending on the venue and availability of musicians. Dandelion Wine is Jared Carrozza on bass and Ben Hart on drums, who also provides vocals and occasional lead guitar. The unique blend of blues, rock & roll, and folk is what gives Dandelion Wine a genre best defined as “psychedelic folk.” Find out more about her incredible story and listen to songs at her website, including their most recent release “Electric Avenue“. Catch their performance at Troy Speakeasy on March 25th with Jared Carrozza, Ben Hart and Mandy Valentine.
Formed in 2019, Seize Atlantis, is an Alternative Rock Band located in Upstate NY that play a variety of genres, including originals and covers. The band consists of James Mullen (Lead Vocals/Guitar), Mike Dardas (Bass/Vocals), Luc Bourgault (Lead Guitar) and Cody Platt (Drums). Listen to their most recent release, “I Need It” here. Catch their performance at Pauly’s Hotel in Albany on March 12th.
Voting for Round 3 has ended. Stay tuned for Round 4, starting at 8am on Thursday, March 16
Voting ends at 11:59pm on Wednesday, March 8th. Winners will be announced on March 9th, with voting in Round 3 running March 11-13. Good luck to all the bands!
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, Round 1 and Round 2.
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.
For many Talking Heads’ fans, their 1980 album, Remain In Light, is the pinnacle. It’s groundbreaking blend of Afrobeat rhythms, synth textures, obtuse lyrics, Brian Eno’s crafty production and the searing “stunt guitar” of Adrian Belew made it a classic – the disc that put the funk into punk and New Wave. It was also the album that propelled this art school educated band of newbie groove nerds into the MTV mainstream. This was a non-stop dance party with cerebral trimmings, a collection of fierce tunes that were always the best parts of a Talking Heads’ live show, something evidenced in the peerless concert film made about their tour to support it, Stop Making Sense.
Last month, the band’s founding keyboardist Jerry Harrison teamed up with Belew and the band Cool Cool Cool to bring a concert celebrating the iconic album to 19 cities coast-to-coast.
If the March 8th performance at Albany’s Empire Live was any indication, they have achieved their stated goal – to recreate the excitement and joy of the Talking Heads’ remarkable 1980 tour.
The evening opened with a strong seven-song set by Cool Cool Cool, a super slick collective of funkateers with tight vocal harmonies, punchy horns, clavinet soul and stage presence to spare. The band is comprised of seven musicians who split – dramatically and en masse – from their former long-running band, the popular festival attraction Turkuaz, a year back. It includes Shira Elias and Sammi Garett (vocalists), Chris Brouwers (trumpet), Josh Schwartz (tenor/baritone sax/vocals), Greg Sanderson (alto/ tenor sax), Michelangelo Carubba (drums) and Craig Brodhead (guitar/keys). For this tour, the group is augmented by master bassist Julie Slick (Adrian Belew Power Trio/The Crimson ProjeKct) and percussionist Yahuba Garcia-Torres.
The Prince/Sly Stone/Tower of Power vibes were in evidence from the opener, “Gotta Give It Away,” sung with bravado and David Byrne-like hand gestures by Josh Schwartz (those would return in the next set too!). Shira Elias distinguished herself with lead vocals on “NAH” and “Tied Up,” while Sammi Garett shined on the ballad ,“With You,” and the baritone sax-driven set closer, “Try.”
Cool Cool Cool is not only a joyful party band but an ensemble of players’ players. In a duo of tunes, saxman Greg Sanderson slowly architected long spiraling solos that brought to mind the great Kenny Garrett in Miles Davis’ late 80s/early 90s band. On “With You,” Chris Brouwers offered up a muted trumpet solo with plenty of spacey echo. It was one that fused his own Milesisms with the prog/ambient leanings of ECM Records’ trumpet great Nils Petter Molvaer.
Harrison and Belew covered 14-songs in their set, most of Remain In Light, along with classics like “I Zimbra,” “Cities” and “Drugs” from their 1979 album, Fear of Music, and “Psycho Killer,” the set opener from their debut disc, Talking Heads: 77.
As he did in King Crimson, Belew handled most of the lead vocals in a style that bears more than a passing resemblance to David Byrne.
As anyone who’s seen him live can attest, Belew has boatloads of charisma. He’s got an amiable everyman vibe that invites everyone into the party, while sometimes obscuring his revolutionary talent as a guitarist. On “Psycho Killer,” he projected the appropriate amount of psycho and slayed with the first of his many animalistic guitar solos on the outro. The following tune, a rendition of “Houses in Motion,” greatly benefited from the backing vocals Shira and Sammi provided to Harrison’s lead. And here, there was another revelatory solo from Belew, who made his guitar sound like the Indian horn instrument heard on another Harrison’s The Beatles tunes, the shehnai.
Cool Cool Cool’s horn section ladled on added heft to many of the songs, especially “Cities” and “Born Under the Punches.” The latter was sung, more so preached with Byrne-like hand gestures, by Schwartz.
Jerry Harrison enjoyed a solo spot on two tunes, “Rev It Up” from his solo disc Casual Gods and “Slippery People” a much-covered song from the Heads’ 1983 album, Speaking in Tongues. The first number left space for an obtuse keyboard solo from Harrison and a nice guitar solo from Cool’s Craig Brodhead, who added some funky wah wah clavinet through both sets. Belew got his solo turn with a high-energy take on “Thela Hun Ginjeet” from King Crimson’s Discipline. More whammy bar guitar solo torment (a very VERY good thing) from Adrian on this track, one which featured a playback of his recounting his mugging in NYC from Crimson’s original recording.
Schwartz was back on lead vox doing his best Byrne for “Once In A Lifetime” and the set reached a peak with “Take Me to the River.” The Harrison/Belew version had even more punch than the Talking Heads’ original, bolstered by a Stax Records/Memphis stew of horns and backing vocal power.
The evening ended with a delightfully off-the-rails spin on “The Great Curve.” On Remain In Light, this tune percolates at 152 beats-per-minute, a hectic pace bettered in this live performance. It is also the song where Belew first got to fully stretch out on record. On record and at this concert, he stopped the show with his uniquely “apeshit” brand of Fender Stratocaster abuse, a step ahead in guitaring and stomp box logic that was the natural extension of Hendrix’s “Star-Spangled Banner” at Woodstock.
As fan well knows, the likelihood of seeing the original Talking Heads reformed in concert is quite dim. And Remain In Light itself is one of the sticking points, with songs that grew out of collective grooves and improvs at rehearsals for which Harrison, drummer Chris Franz and bassist Tina Weymouth may not have gotten their due.
And while he just dropped in to overdub his parts, Belew is another important ingredient without whom this album may not have been quite as iconic and continually relevant to new generations of music-lovers.
Each Sunday evening from 7-9 p.m. you’ll find EQXposure on WEQX, featuring two hours of local music from up-and-coming artists. Tune into WEQX.com this Sunday night to hear new music from Blur Beside You, Front Biz, and Seize Atlantis.
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you. There will also be music from artists moving to the next level in NYS Music’s March Madness competition including Sarah King, Fine Grain, Honey Suckle Vine, Black Tongue Reverend, and Elephant Back.
Blur Beside You is a shoegaze indie rock trio from New York and Florida. It features 3 founding members of the South Florida band, Mindlikewater, Jim Wells, Joseph Butera & Joseph Beaty. Their most recent track “Worn Thin” will be playing on EQXposure.
Front Biz is a “shell company for an intergalactic real estate firm primarily focused on laundering money through an Earth-based rock band.” They play neo-funk music and just released their brand new single “The Mack,” but they are not stopping there, they will be releasing new music the rest of the year, so make sure to stay tuned!
Formed in 2019, NYS Music March Madness 2022 Final Four group Seize Atlantis is an Alternative Rock Band located in Upstate NY that plays a variety of genres, including originals and covers. The group is comprised of close friends, including James Mullen (lead vocals/rhythm guitar), Mike Dardas (bass/backing vocals), Luc Bourgault (lead guitar/backing vocals), and Cody Platt (drums). The most recent single frok Seize Atlantis playing on WEQX, “I need it,” was released on March 8.
Brooklyn based singer/songwriter Taylor Crawford has just released his newest avant-pop single “Heartbreak Hotel” on March 10th. He will also be playing live again on March 28th at Arlene’s Grocery, alongside owynnmusic.
With his musical influences as infamous artists like Barry White, Dua Lipa, Remi Wolf, Madison Cunningham, Ichiko Aoba, and many more, Taylor is certainly making his way into popularity within NYC culture. Using a combination of upbeat melody and his unique vocals, Taylor came up with his newest single “Heartbreak Hotel,” a reflection of his trip to Germany where he may have caused a relationship to split unknowingly.
When asking Taylor what inspire him to write this piece, he responded with, “”Heartbreak Hotel” is actually named after a bar in Bremen, Germany literally called Heartbreak Hotel. I do not play the good guy in this story. I met a delightful lady while I was visiting my friend in Germany. One night we all went out together to this bar, one thing led to another, then she and I spent the evening together. This would have been a happy ending, however, she had a partner at the time. I hurt not only this partner of hers whom I never met, and worst of all, I ruined their relationship. The song is my reflection on the pain that I caused to these people.”
Speaking about his profound influence on his own musical journey, Taylor stated, “I initially played trombone and bassoon when I was in 4th Grade. So I was about 10 years old. Then when I got to high school, I honestly did not know who I needed to talk to so I could continue playing in the band. So I stopped with the big band instruments. I started teaching myself guitar when I was around 13 years old. I remember sitting in my brother’s bedroom where we had the family computer. I would look up Coheed and Cambria songs on “Ultimate-guitar.com” and learn the tabs to songs like “Welcome Home,” and “The Suffering.” These were the first songs I was learning and their prog-rock. It’s hilarious to think about considering the music I make now. My brother was getting guitar lessons at the time and I think my mom just did not want to pay for a whole other lesson, which makes sense because they were expensive, but I taught myself everything I know because of that.”
Then I basically wanted to become the next John Mayer. I learned ALL of his songs. And they were the only things I could play for about 4 years. I pigeon-holed myself until I got to college where my roommate taught me the pentatonic scale and it completely changed my perspective on music as a whole. Since then, my understanding and love for music has been nothing but exponential.
– Taylor Crawford
Taylor Crawford is an incredible musician, artist, and person, he deserves the hype that he gets from his music. His use of vocals is dreamy, making his overall sound so unique and invigorating. Lastly, when asked about the best performance of his career, Taylor says, “I hope the best has yet to come. But, for now I would say the Sofar Sounds show I did in Madrid, Spain this past December. It was just an acoustic show but the reaction I got from the audience was surreal. I’ve never made people cry before and to have that happen means I really touched them emotionally – which is what I aim to do as an artist. I connected with people, and they connected with me. To me, that means I gave a good performance. I hope to continue to do the same as the shows keep coming.”
Listen to “Heartbreak Hotel” by Taylor Crawford by clicking the link here.
To listen to more by Taylor Crawford, click the link here.
