Category: Reviews

  • Best of Hip Hop 2023: MVW and Valee No Longer Looking for Valeedation

    With hip hop firmly entrenched within pop music, artists tend to chase a sound in search of mainstream validation. However, every so often, a sound usually existing within its own niche crowd, that captures ears for its inventiveness. In making Valeedation, the duo of Valee and Staten Island native MVW have created their magnum opus (for now) and firmly established their sound within hip hop’s redundant landscape.

    Valee (left) and MVW (right) have teamed for of the unique projects of 2023.

    Background to Valeedation

    Prior to this 2023 release, MVW’s hip hop journey began with two Valee assisted albums released in consecutive years. Despite its fresh perspective, MVW’s prior albums included their share of Hills and Valleys, while maintaining a sense of novelty. While Valee has long-established a niche audience in hip hop for his slick-talking, luxurious idioms, he lacked a go-to producer to consistently bring the best out of him. Correspondingly, as the classically trained MVW cast a wide net for artists to feature, he would not find a better match for his minimalist style than Valee. In essence, Valeedation is a continuance of the unique language that they’ve developed through their shared artistic vision. 

     

    Valeedation Review

    After all, cultivating and establishing a style of production is no easy task. Namely, MVW’s prior efforts maintained an ebb-and-flow between minimalist instrumentation and raging vocals. While this kept the listener on edge, to did very little for the albums sequencing. Conversely, on Valeedation, it all comes together as MVW along with Valee bring about his most cohesive effort yet.

    Valeedation is MVW’s most cohesive effort yet.

    Introduced to the world with the release of singles “Pistachio” and “Tailor Swift,” MVW juxtaposes Valee’s nonchalant delivery with meticulous instrumentation blending into a sound coined as “museum rap.” In light, setting the tone for the album’s easy-going feel.

    Throughout Valeedation, Valee’s usual off-beat, luxurious discourse finds refinement, resulting in extremely digestible-yet-unique songs. For instance, Valee’s concentrated flows and rhymes carries is a tone setter for much of the album. Meanwhile, MVW is meticulous with his isntrument placement, with violins and pianos taking turns in rhythmic dominance. Moreover, records like “Yo Yo,” “Ain’t Exotic,” “Metro PCS” “Shrimp Fried Rice,” — and standout track “Liquid”– leave the Valeedation with a lasting feel-good identity. Thus, even when MVW and Valee deviate rhythmically on songs like “Tailor Swift,” it is only a quick detour before returning to its sonic seance. Together with a host of agreeable features — including standout showings from Tony Shhnow (“Yo Yo”) and Zeelopers (“Metro PCS”) — Valeedation stands as diverse musical oasis.

  • In Focus: Punk-Rock Icon Patti Smith Returns to the Brooklyn Steel for Birthday Show

    This past Friday, December 29, punk-rock icon, singer-songwriter, poet, artist, and New York Times Bestselling author Patti Smith graced the stage at the Brooklyn Steel for two nights. Patti returned for her birthday show, this time commemorating turning 77. Fans from all generations came to see Patti’s incredible, lively performance at Brooklyn’s intimate, 1800-capacity venue.

    Patti Smith, photographed by Sarah Hyun

    Patti Smith, though raised in South Jersey, moved to NYC at the ripe age of 21 to study art and poetry. Her bestselling novel, Just Kids, which details her experience living in NYC, brought a new wave of people—especially younger ones—to Patti’s fanbase and show. Although Patti is not currently touring, she frequently returns to NYC to play with her band which consists of Lenny Kaye, Jay Dee Daugherty, Tony Shanahan, and Jackson Frederick Smith (her son!).

    Patti Smith, photographed by Sarah Hyun

    Patti opened the night with an extraordinary rendition of “So You Want to Be a Rock ‘n’ Roll Star.” Scaling around the stage with incredible ease and her nimble dance moves, Patti made the crowd go wild with her performance. Her silver braids almost seemed to glow under the stage lights, drawing all eyes to her throughout the whole concert. One fan screamed, “I love you Patti! I’m your number one fan!” 

    After playing “Free Money,” Patti stopped and began conversing with the crowd about how confusing TV remotes are. “It’s unbelievable right? You need one to put the TV on, the other for volume, and the other to get the Netflix or whatever you want on. It’s taken me hours just to get the TV on.” A fan screamed “Happy Birthday!” where Patti responded with, “Not yet! Don’t age me any faster than I am.”

    Ending the night on a powerful note, Patti played “Because the Night” and “People Have the Power,” where she brought out her daughter Jesse Paris Smith and her high school friend Laura to sing. Patti Smith is truly legendary, and her show was nothing short of that.

  • Jamming Into The Night: Dogs In A Pile Post-Phish Extravaganza at Sony Hall

    On Thursday, Dec 28, Dogs In a Pile took center stage at Sony Hall, just a stone’s throw away from Madison Square Garden, where Phish kicked off their much anticipated four-night New Year’s Eve Run. Branded as “The Dog Pound” by the band themselves, fervent fans flocked to the venue, securing their spots before Phish even finished their encore. The eclectic crowd, covered in classic Phish donut wear, Aztec patterns, and tie-dye attire, brought an energy that permeated the air.

    Having traversed the entire country on a busy fall tour, Dogs In A Pile had recently graced various New York venues, from Lafayette to Trumansburg, and Williamsburg. Smiles were seen all around as Keyboard player Jeremy Kaplan kicked off the night with a solo opening number, a classical-sounding ballad that set the tone for the night—soon joined by Jimmy Law (guitar and vocals), Joe Babick (drums and vocals), Sam Lucid (Bass), and Brian Murray (guitar and vocals).

    Taking the stage shortly after midnight, fans were jumping, jiving throughout the venue from the rails to the back. Dogs In A Pile’s unique sound is a harmonious blend of the unfamiliar and the strangely familiar. Elements of funk, jazz, and classic psychedelic rock ring out, and their songs are carefully constructed, invoking a circus of sound and feeling. The show was complemented by vibrant lighting, captivating The Dog Pound until the wee hours of the morning, almost reaching 4 AM.

    A special moment came when the band paid homage to the maestros themselves. The iconic notes of “Harry Hood” rang out, showcasing the band’s technical prowess and precision. With an encore of their popular song “Truck Rum”, the evening winded down and fans retreated home just before sunrise. The echoes of this night continued to reverberate. Dogs in A Pile kept the Phish party alive and elevated it to new heights- a testament to the band’s overall aura and momentum.

    For fans in Saratoga Springs, Dogs In A Pile will be at Putnam Palace on 12/30 & 12/31 for what’s sure to be an incredible New Year’s Eve celebration!

    Setlist: G Song, Tillie, Feel Like A Stranger, Look Johnny II, You Didn’t Hear It From Me, Let U Go, Go Set > Gumball, Spun > Drums > Harry Hood, Craig and Pat, Appleseed, Linus and Lucy

    Encore: Trunk Rum

  • Four Men in Four Men’s Land: Phish Return to MSG to Close out 2023

    The four men of Phish returned to Madison Square Garden, their live music home base, to begin another four night run to close out another successful year. It was already their eighth visit in 2023 and their nice-round-number eightieth of their career. It all started with a show almost exactly 29 years prior, with their first traditional four-nighter 25 years ago.

    Needless to say, the band felt right at home on the Midtown Manhattan stage. There’s really no need to warm up to the room that plays like their living room, and their comfort was evident from note one. The final shows of the year began with “No Men in No Men’s Land,” with the nod and wink appropriate lyric, “You’re happy that we’re here.” which received a huge roar from the anticipatory crowd. The band found room to let loose as a unit right away, with Mike Gordon’s bass driving the early action.

    From there the set would take a sharp nostalgic turn, diving deep into the bands early catalog. Classic Phish fare from the irreverent barbershop-esque “Halley’s Comet,” to some of their earliest “hits” like “Sample in a Jar” and “Bouncing Around the Room” provided the crowd a trip down memory lane. Solid takes on other favorites “Runaway Jim,” “Axilla Part II,” and Son Seals’ “Funky Bitch” set the table for a strong finish.

    Sticking to the early material, “Bathtub Gin” would provide the first real fireworks of this New Year’s celebration. Gordon once again pushed the agenda in the early going as the rest of the band remained within “Gin’s” lines. Page McConnell flinched first, moving to his clavinet while Trey Anastatio added sustained wails on guitar. McConell dug into some of his weirder tones and the whole thing got a bit dissonant. John Fishman pushed it forward with a marching beat and eventually locked into a dark groove with Gordon. The dark turned bright in a flash as Anastatio discovered a happy rocking theme that brought the whole thing back into the “Bathtub” to wrap it up neatly.

    “Ghost” would top off the set with some more interesting improvisation, all four members combining to find an interesting theme. They quickly worked it to a peak which they sustained at for an incredible high energy workout. Gordon mixed in some “No Men’s” lyrics into the chaos but it all settled back into the “Ghost” groove as the first set of the run came to a close.

    “The Howling” got things started in set two, as howling sounds bounced around the room, echoing in surround sound.

    “A Wave of Hope” followed, and started innocently enough. The band coasted along for a little bit until you could almost hear the safety line being cut. The whole band dropped any semblance of a connection to the source material, diving into the deep end into a slow ooze. From there they entered mind meld territory, flipping from theme to theme without cue and without hesitation, like it was scripted. The pace quickened, slowed and sped up again. Dark, bright, rocking, cosmic, it was a journey and the map was being drawn in real time. The stage was surrounded by points of white light in a spastic swirl as Anastatio carried the final segment into bliss territory. They found their way to a slick transition into “Rift,” one of a few solid segues on the night.

    A quasi-classic “Mike’s Song” > “Simple” segment gave the set more solid anchors to hang some cred on. Gordon played around with the rocking groove as the lights rode the deep end waves, undulating high above. As a counterpoint to the one-ness found throughout “A Wave of Hope,” in “Mike’s” the band fractured, fragmenting and deconstructing pieces of the jam. It got heavy and industrial, but never lost the underlying groove. It roared up to an unusual “Mike’s Song” peak that had hints of “Tweezer Reprise” hidden just beneath the surface.

    The ensuing “Simple” again provided a contrast, staying spacey and ambient for most of it’s runtime. And as that time ran low, it transitioned excellently into a rocking “Blaze On” set closer, which featured solid in-the-pocket jamming from the whole unit.

    Between new songs, old songs, and a full smattering of influences on display, Phish was setting the table nicely as they invited their fans into their home away from home to celebrate another year in the books. But with a long four-song encore that had multiple “ok now it’s over” moments, they were the hosts who couldn’t let their guests leave without a few proper good-byes. They welcome another party in the next three nights at the Garden. Shows 81 through 83 and year 2024 await. But who’s counting?

    Setlist via Phish.net

    Phish – Madison Square Garden – Thursday, December 28, 2023

    Set 1: No Men In No Man’s Land, Halley’s Comet, Sample in a Jar, Runaway Jim, Bouncing Around the Room, Axilla (Part II) > Funky Bitch, Bathtub Gin > Ghost

    Set 2: The Howling > A Wave of Hope -> Rift > Mike’s Song > Simple > Blaze On

    Encore: mercy, The Squirming Coil, Weekapaug Groove > Say It To Me S.A.N.T.O.S.

    Trey teased San-Ho Zay in No Men In No Men’s Land. Mike quoted No Men In No Men’s Land during Ghost. Mike’s Song contained sound effects used earlier in the show during The Howling.

  • DMVU and Toadface Unite for a Dangerous Night in Buffalo 

    EDM artist DMVU and Toadface have teamed up to bring an innovative tour that had a special appearance at Buffalo Iron Works on December 16. The two producers performed all night at Buffalo Ironworks on the It’s Dangerous To Go Alone tour that included a surprise guest appearance for fans. 

    DMVU, Photo Credit: Maddie McCafferty

    Local talent LURK3R and Thromb started off the night with their infused dubstep. They brought downtempo bass music to Ironworks while still supplying the audience with heavy mixes. 

    Toadface later took on the stage and immediately hit fans with his swampy bass lines. He performed various songs off of his EPs including “Seratonin Machinegun” and “Stone Monkey.” His growth over the past few years has allowed him to develop more into his sound. 

    Toadface, Photo Credit: Maddie McCafferty

    Toadface messes with ambient mystical soundscapes that makes his production style unique. His fun toad visuals play into this as well giving a sense of funk into traditional dubstep. His ability to fuse in elements of trap music make these amphibious grooves have their own twist. 

    After, Denver based artist DMVU hit the stage and elevated even more on blending rap with dubstep. His love for hip-hop and rap shows through his innovative mixes. DMVU’s intro was full of lo-fi tunes and heavy sax, the vibes brought effortlessly to the crowd. 

    DMVU, Photo Credit: Maddie McCafferty

    DMVU then began mixing his love of both old school and new school rap. There is something about hearing your favorite rappers over a chill bass beat that does something for the soul. He also mixed in some of his well-known songs into his set such as “Killa Sound.” 

    DMVU, Photo Credit: Maddie McCafferty

    It’s Dangerous To Go Alone

    The late night set is where these DJs really took it to the next level by performing together. In honor of their joint EP It’s Dangerous To Go Alone, both DMVU and Toadface joined on stage for an epic set. They played countless songs including, “Uncut Diamonds,” and “Jungle Dub.” 

    DMVU, Photo Credit: Maddie McCafferty

    Their separate sounds are unique enough but when they come together it provides groovy dubs that are addicting to listen to. They somehow raised the bar even further when they brought out special guest Distinct Motive who had the crowd cheering with excitement when he played his hit “Shake Junt.” The rest of the night consisted of the DJs switching off and on from the decks. 

    Photo Credit: Maddie McCafferty

    This night at Ironworks was one for the books. And more EDM nights are to come with Churma going to Luna Lounge December 29 and Rusko will be performing a NYE show at Town Ballroom. Get your tickets here.  

  • Book Review: “The Police: A Visual Biography”

    There’s no escaping The Police; they’re everywhere. Individually, members of The Police continued to tour this past fall and winter, and garnered quite a bit of social media and press coverage with their music and publishing projects. A new book is now out by Laura Shenton for Wymer Publishing, The Police; A Visual Biography.

    Featuring photography, text and layout that is visually appealing, The Police; A Visual Biography is a historical treat for Police fans as it chronicles their humble beginnings up to achieving world wide recognition and creative fame.

    The Police a Visual biography

    This coffee table book includes some little known tidbits about the band and some of their song origins. It includes rare press clippings from their unknown days, encompasses their musical journey to becoming what we now know them to be, and includes a discography and member’s solo projects. During their ascension, their record sales, tour grosses and GRAMMYs surpassed even that of the Rolling Stones. The Police would make history becoming the best band of their day, with “Every Breath You Take” still being the most radio played song in American history.

    The Police gained traction here in New York at CBGB’s and in the Hudson Valley as relatively unknowns in 1979, also appearing at The Chance in Poughkeepsie. The song “Roxanne” would make its debut on U.S. radio here in the Hudson Valley on WDST, Radio Woodstock, 100.1.

    Within three months, The Police had two singles and an album in the U.S. Top Ten.

    In a phone interview I had in October, Andy Summers spoke of The Chance fondly, recalling how grateful they all were to get the gig and to be touring America at the time. “What it signified was how we had to maintain our spirit and do a raging show despite a small audience possibly due to a snowstorm at the time.” 

    Although meeting and forming in the UK, New York has been lucky to have shared in The Police’s early days, because it was also here in New York City and the Hudson Valley that The Police started creating such excitement for their unique sound in America and subsequently the world.

    The Police a Visual biography

    Laura Shenton is widely known for her music profile non fiction books, including profiles on Emerson Lake and Palmer, Kate Bush and Supertramp among others. 

    Featuring Alan Perry Concert Photography and Bill O’Leary Timeless Concert Images, the author’s voice is evenly paced, respectful of her subject, and engaging. Her interest in writing this book comes through and a recommended book on The Police.

    The Police a Visual biography

    This particular book differs from others on The Police in how thorough and methodically dates, press clippings, memorabilia, concert posters, song origins, tours, and the creative process is described, as well as how solo projects are detailed, and music reviews, awards, nominations and the discography is presented. The author included many quotes from band members giving us a good idea of their musical journey and lets us know the favorite song they all share.

    As James Adams stated in 1983 and his quote is included in this book, “The Police are a band. Long may they arrest us.”

  • A Winter Wonderland in Binghamton at Broome County Forum Theatre

    On December 16, 2023, the Binghamton Philharmonic Orchestra performed its annual holiday concert, “Winter Wonderland,” to a packed house at the Broome County Forum Theatre.

    A glittering celebration of the season, Winter Wonderland featured Christmas hits both old and new by Tchaikovsky, Johann Strauss, John Williams, and young American composer Quinn Mason; carol singalongs led by soloists from Tri-Cities Opera; and a screening of the British animated classic “The Snowman” with live orchestral accompaniment.

    A Winter Wonderland in Binghamton

    There was something for everyone in the lively concert. Mason showed a distinctly American voice in his lyrical, atmospheric “Christmas Eve Festivities,” which is becoming a new classic. Local newscaster Jim Ehmke was the narrator for Bill Holcombe’s charming “‘Twas the Night Before Christmas,” a musical setting of the beloved poem by Clement C. Moore. The guest conductor for Leroy Anderson’s “Sleigh Ride” was local businessman Jonny Norton, who had won the spot in a fundraising auction, and Norton clearly enjoyed himself heartily, along with the orchestra and audience. Young treble soloist Eva Dixon, a 13-year-old soprano from New York City, sang the haunting solo, “Walking in the Air,” in “The Snowman” with delicacy and aplomb. 

    A Winter Wonderland in Binghamton

    The orchestra played with uplifting energy and precision, led by the confident conducting of Maestro Daniel Hege, who managed to infuse even the most familiar carols with a spirit of wintry revelry. Maestro Hege engaged the audience with his trademark lighthearted banter, and the audience responded with exuberant singing, hand-clapping, and a standing ovation at the end. For the enthusiastic and festively-dressed concertgoers, including many children, “Winter Wonderland” was a truly magical experience, and a not-to-be-missed event of the holiday season in New York’s Southern Tier.

  • Billy Strings Brings Christmas Spirit to Syracuse with Tour Finale

    To close out a tremendous year of touring, Billy Strings arrived in the Salt City of Syracuse on Saturday, December 16, for a performance at Upstate Medical Arena at The Oncenter War Memorial.

    Having just returned from a European tour in November, Billy Strings embarked on a brief, 10 day tour worked its way up the East Coast from Greensboro, NC, stopping in Maryland and Pennsylvania before arriving in Syracuse.

    billy strings syracuse
    photo by Allison Marie

    A usual preshow crowd was found throughout bars and restaurants in downtown Syracuse, with a small lot scene taking shape on this temperate late fall night in Syracuse. Only a trio of shows in New Orleans over New Years Eve remain, following a year touring that was began and ended with shows in minor-league hockey arenas.

    One of the best things about a Billy Strings show happens before the music even begins – the band gives you a heads up that the show will be starting soon, something more bands could and should do (especially if ticket time is all but ignored). Flashing on the three screens that frame the stage, the audience is forewarned with bright and brief flashes of “15 Minutes until Fuzzy Rainbows”, then 10 minutes, and 5 minutes, giving an extra level of anticipation for the patient, sold out crowd.

    billy strings syracuse

    Over the course of two sets, Billy Strings would play nearly 30 songs, more than half of them covers, mainly from relatively obscure bluegrass and early country artists, plus a choice Led Zepplin cover.

    The night began with original “Home,” followed by “West Dakota Rose” by Chris Henry. After “Down Yonder,” Billy greeted the crowd, noting it had been a long time since the band had last played there – but this was indeed the first show, while also having played Rochester a year prior.

    An excellent psychedelic trance formed in “Fire Line” and shifted into the traditional “Raleigh and Spencer,” full of vim and vigor with each repetition of “There ain’t no liquor in this town. No there ain’t no liquor in this town,” with Billy swirling his hair around as he broke the song down. Air Mail Special on the Fly, by Leon Rusk, was among the highlights of the numerous covers, all made unique and brought into a new generation of bluegrass lovers.

    “Be Your Man” gave a reference to the Big Apple with the line “When I got to New York City I was looking for another side of life”, followed by only the fifth version of the new “Escanaba,” named for a city in Billy Strings’ home state of Michigan. The set would close with “Away From the Mire,” a fan favorite, highlighted by bassist Royal Masat and a sparkly background, capped by Strings stepping out to the front of stage and playing to each side of the audience, closing the set on a highest of notes.

    Set 2 would open with “Know it All,” followed by another traditional song – one made popular by The Dillards, Doc Watson, Bill Monroe, Jerry Garcia and David Grisman, “Shady Grove.” Spotting Santa Claus in the audience, Billy Strings dedicated “Just Because” by Nelstone’s Hawaiians, referencing Santa a few times in this nearly 100 year old song.

    billy strings syracuse

    From there, “Blue Mule” again put Royal Masat’s bass prowess on display, giving a smooth jazz club vibe in appearance, presence and sound as the band broke down “Doin’ Things Right,” which included a jam on Led Zeppelin’s “Moby Dick,” then giving way to an outright cover of “Four Sticks” off Led Zeppelin IV, a jaw-dropping version.

    Two mellower songs would follow – “Libby Phillips Rag,” and Ralph Stanley’s “A Robin Built a Nest on Daddy’s Grave.” The soft respite was no match for the finale of the set, a pairing of “Psycho” (Eddie Noack) and “Thunder,” which got very spacey and nearly found a backdoor into “St. Stephen” before calling it a night, huge applause cascading from the audience to the stage.

    billy strings syracuse

    An appropriate encore of Bill Monroe’s “Christmas Time’s A-Coming” was a reminder of the season that awaited all in a week, and with Billy Strings getting ready to head back home to Nashville, Jimmy Martin’s “Tennessee” closed the night.

    billy strings syracuse

    Billy Strings – Upstate Medical Arena at The Oncenter War Memorial, Syracuse – December 16, 2023

    Set 1: Home, West Dakota Rose, Cabin Song > Down Yonder, Fire Line > Raleigh and Spencer, Ernest T. Grass > Air Mail Special on the Fly, Be Your Man, Escanaba, Away From the Mire
    Set 2: Know It All, Shady Grove, Along the Road, I’ll Be Gone a Long Time, Just Because, Long Forgotten Dream, Blue Mule, Doin’ Things Right, Four Sticks, Libby Phillips Rag, A Robin Built a Nest on Daddy’s Grave, Psycho > Thunder
    Encore: Christmas Time’s A-Coming, Tennessee

    Photos by Allison Marie

  • Night 3 of Bob Weir & Wolf Bros Capitol Theatre December 2023 Residency

    As the crescent moon descended over the Capitol Theatre in Port Chester, Bob Weir & Wolf Bros delivered a compelling evening of music, marking the third show of their extended December 2023 residency. 

    Bob Weir & Wolf Pack, Capitol Theatre

    Emerging from the rear of center stage, Bob Weir opened the evening solo with his rendition of “Peggy O.”  A solitary figure with his guitar, Weir exuded a contemplative aura.  Every note plucked and every word sung captivated the audience, drawing them into the profound depths of his soul.

    Bob Weir

    The five-night series harmoniously coincided with the festive season, capturing the joyous spirit of the holidays.  With a twinkle in Weir’s eye and his beard all aglow, this musical Kris Kringle bestowed a plethora of gifts upon all the good boys and girls attending the sold-out show.

    Bob Weir & Wolf Pack, Capitol Theatre Night Three

    Enhancing the magical ambiance was a cadre of Santa’s musical helpers, featuring Don Was, Jay Lane, and Jeff Chimenti, as well as The Wolfpack (Alex Kelly, Brian Switzer, Adam Theis, Mads Tolling, Sheldon Brown, Barry Sless), who graced the stage alongside Weir at different junctures throughout the evening, intensifying the magic.

    Bob Weir & Wolf Pack, Capitol Theatre

    The musical choices for the evening spanned a diverse range of origins, featuring both Weir’s original compositions and beloved Grateful Dead classics.  Each song’s energy seamlessly flowed into the next, creating a dynamic musical journey. 

    Bob Weir & Wolf Pack

    Both sets featured compelling covers, including Kris Kristofferson’s “Me and Bobby McGee” and Marvin Gaye’s “What’s Going On,” broadening the musical scope of the evening.  The band’s portrayal of Eddie Cooley’s “The Fever” transcended into a profound and soulful masterpiece.  Bringing the night to a memorable conclusion, the band encored with the timeless classic, “Going Down the Road Feeling Bad.”

    Bob Weir & Wolf Pack

    As the band bid farewell, the capacity crowd journeyed out into the darkness of the night. If anyone among them cast their gaze skyward, they might have captured the sound of a celestial symphony. Voices from above exalting ‘On Dead, on Ratdog, on Kingfish, on Company; Merry Christmas to all, and to all a Rock’n Night!’

    Bob Weir and Wolf Bros., – Capitol Theatre, Port Chester – December 15, 2023

    Set 1: Peggy-O, The Winners, Mississippi Half-Step Uptown Toodeloo, Tennessee Jed, Odessa, Ramble On Rose, I Need a Miracle, Fever, U.S. Blues

    Set 2: Me and Bobby McGee, Man Smart; Woman Smarter, Bertha, Cassidy, The Wheel, Eyes of the World, What’s Going On, Stella Blue, Not Fade Away

    Encore: Going Down the Road Feeling Bad

    Bob Weir & Wolf Bros

  • mxmtoon, Live in Brooklyn!

    On December 15th, the indie-pop luminary mxmtoon/Maia wrapped up her “plum blossom (revisited) tour” in style at the cozy Roulette venue in Brooklyn, her adopted home. Despite her Bay Area origins, the artist warmly acknowledged the show as a second hometown gig, solidifying the special bond she shares with the Brooklyn crowd. The night was a whirlwind of distinctive moments, from a fan capturing the event with a 3DS to the collective knuckle-cracking orchestrated by Maia, showcasing both the uniqueness of her fanbase and her penchant for the offbeat.

    In a touching moment, the emotional crescendo transpired during the performance of “Stuck.” Overwhelmed by a fan project featuring signs proclaiming “you are more than enough for us,” Maia paused and restarted the song, getting overwhelmed with emotion and tearing up a bit over the profound connection her music forms with her dedicated followers.

    The concert became an interactive experience when Maia encouraged the audience to join her in a spirited rendition of “Prom Dress,” a poignant moment of shared emotion. Adding layers of sentimentality, Mxmtoon revealed that “Hong Kong” held a special place in her heart, as it was her mom’s favorite among all her compositions. The setlist, a carefully curated blend of fan favorites and surprises, included an unreleased jewel titled “Sarah,” a clever and quippy exploration of the concept of hate-watching YouTube videos.

    The night unfolded as more than just a concert; it was a narrative journey with Maia providing glimpses into the stories behind her songs. The anecdote about “I Feel Like Chet,” a song where her youthful enunciation led to amusing misinterpretations (like “I feel like shit”), showcased her ability to infuse humor into her reflections. The concert concluded with an encore, featuring a cover of Vance Joy’s “Riptide,” cementing the evening as a nuanced exchange between artist and audience, leaving an indelible mark on all those present.

    Setlist: cliché, the idea of you, mona lisa, sad disco, fever dream, porcelain, i feel like chet, temporary nothing, sarah (unreleased), hong kong, stuck, feelings are fatal, prom dress

    Encore: Riptide (Vance Joy cover)