NYS Music 2023

Category: Reviews

  • Adirondack Independence Music Festival Continues to Bring the Jams Year After Year

    This year’s annual end-of-the-summer celebration of music in Lake George at the Adirondack Independence Music Festival saw two evenings with moe. and a one evening with Dark Star Orchestra. The three-day festival held over Labor Day Weekend saw day-long music with bands alternating between two main stages.

    Adirondack Independence Music Festival
    photo by Allison Marie

    The festival is always a smooth event, and as attendees we get to see the machinations of soundchecks and the work of loading and off-loading a stage, thanks to side-by-side stages. Emcee Jeff Morad from WEQX gave hourly hydration reminders as he thanked each band and announced the next act. The organization has it down, and it’s great to be there catching all the jams.

    Photo by Derek Java

    Day One saw a mix of regional and national acts. Standouts during the day were the always jammy Dogs in a Pile, a super fun band, and if you haven’t seen them, consider New Years Eve at Putnam Place. Keller Williams was blissful as always, starting his set with a great version of “Breathe.” Throughout a great loop-filled set (he is a master at building songs solo using loops), he dropped covers and originals, and standing out was a fun-filled “Freeker by the Speaker.” You can’t count any of the daytime bands out, though, as all day was filled with fun jams, people dancing, and bubbles floating through the air. Other daytime acts included Hilltop, Sophistafunk, Eggy, Lucid.

    Photo by Derek Java

    Headliners on Friday were the always incredible Dark Star Orchestra (DSO). Bringing an authentic sound to the date they reinterpreted, DSO channeled the Grateful Dead’s show on April 16, 1978 show from Huntington, WV, with clarity and wisdom. The sound was spot-on and the crowd danced and sang along all evening. We know the term “nostalgia act” gets some negative connotations, but for DSO, that is the mission, who make every show fun for spectators to guess the date of the show, and the more knowledgeable in the crowd can guess the direction the show is taking by the equipment being brought out by the players. Super fun evening with a classic Dead show performed by DSO.

    Photo by Derek Java

    Saturday of Adirondack Independence Music Festival saw more attendees and a continuation of killer music. Star-on-the-rise Karina Rykman brought the jams throughout her set, working off her new album, Joyride.

    For listeners at ADK Fest, the first half of her 60 minute set saw only three songs, as she and her two bandmates, Adam November on guitar and Chris Corsico on Drums, set the festival alight, taking risks and diving deep into the jammy sections of her bass-led compositions.

    Photo by Derek Java

    Saturday also had a particular reggae vibe to it. Roots of Creation brought their fiery dub-ska, blending a mythos of Bob Marley-esque roots with Grateful Dead covers including “Row Jimmy” and “Fire on the Mountain,” lots of fun for all seeing this band.

    Mihali brought his reggae vibe, too, bringing out a new tune or two, with Twiddle fans all smiles singing reggae-tinged Twiddle songs and Mihali’s own songs from his album Effection.

    Photo by Derek Java

    There was also a “foodie” aspect to the daytime bands on Ssaturday, with a blend of rock and jam by Creamery Station, Baked Shrimp, and stretching the metaphor, Melt. Fans of these bands and new listeners alike had a great day of music. Rounding out the daytime acts were Dumpstaphunk.

    photo by Chris De Cotis

    moe. has made ADK Fest the spiritual successor to moe.down, with a feel of Labor Day weekends spent in Turin at Snow Ridge Ski Resort throughout the weekend. Opening up with a pair of tunes usually played in reverse – “Okayalright” and “Wormwood” – moe. could have opted for “Not Coming Down” to complete the Wormwood trilogy, but shifted to “Downward Facing Dog” before inviting Ivan Neville from Dumpstaphunk to the stage for “Happy Hour Hero.”

    photo by Dave Decrescente

    Set 2 saw Mihali come to the stage for an intense and exploratory “Recreational Chemistry” (see video below), and moe. breaking out a set nearly full of old school songs, capped off with a classic “Jazz Wank” > “Buster.” For an encore, the addition of Nate Wilson to the lineup has led to the fresh covers making their appearance in the last two years, this evening including Traffic’s “Light Up or Leave Me Alone.”

    Set 1: Okayalright > Wormwood > Downward Facing Dog, Happy Hour Hero^, Yellow Tigers -> Mar-Dema > Brent Black
    Set 2: Recreational Chemistry* > Sensory Deprivation Bank > Seat Of My Pants > Ups And Downs, Jazz Wank > Buster
    Encore: Light Up Or Leave Me Alone, Spaz Medicine
    ^ With Ivan Neville on keys.
    * With Mihali on guitar.

    photo by Chris De Cotis

    Sunday saw Jimkata keep the crowd swaying in the sunshine and get pumped up for moe. later that evening. What made Jimkata’s performance even more remarkable was the fact that they had performed in Virginia for a late night show the evening before, making the seemingly impossible journey from Virginia to Adirondack Independence Music Festival for a mid-day performance a testament to their commitment to their fans.

    photo by Allison Marie
    photo by Allison Marie

    Neighbor graced the stage and dropped an instrumental cover of The Beatles/Joe Cocker’s “With a Little Help from my Friends. Prince Bowie featured Twiddle/Marble Eyes/Breakfast/Kung Fu drummer extraordinaire Adrian Tramontano on drums along with the Cool Cool Cool horns. Luke Bemand from lespecial joined the all star tribute group for Prince’s “Controversy.”

    For moe.’s weekend closing sets, they opened up with “Water” as a nod to Lake George, and closed the set with “Meat” featuring Schleigho guitarist Suke Cerulo joining his one-time bandmates. Set two had no let up, opening with a slow burn of “Tubing the River Styx” > “The Pit”, a cover of Allman Brothers Band’s “In Memory of Elizabeth Reed” – featuring Neighbor/Pink Talking Fish keyboardist Ricky James – followed by “Silver Sun” and a solid 1-2 punch of “George” and “Lazarus.” An encore of “Gone” and “Plane Crash” capped a fantastic weekend of music in Lake George, an annual affair made for a band like moe. and live music fans from across the Northeast.

    photo by Frankie Cavone

    Set 1:Water, ATL, Don’tcha Know, In Stride, Skrunk, Meat^
    Set 2:Tubing The River Styx > The Pit, In Memory Of Elizabeth Reed2, Silver Sun, George, Lazarus
    Encore: Gone, Plane Crash
    ^ With Suke Cerulo on guitar
    * With Ricky James on keys

  • 70 Iconic Vocalists Tell All in New Book, “The Singers Talk”


    Rod Stewart, Roger Daltrey, Tony Bennett, Nick Cave, Norah Jones, Smokey Robinson, Thom Yorke, Chrissie Hynde, Brian Johnson and Chuck D are just a few of the 70 vocal icons whose inspirations and techniques are revealed in a riveting new book, The Singers Talk (Permuted Press).

    The Singers Talk is a first-of-its-king compendium of lengthy conversations conducted with dozens of vocal greats by Jason Thomas Gordon, the lead singer and drummer of buzzworthy LA-based rockers, Kingsize.  Interestingly, Gordon is also the grandson of Danny Thomas, the early television sitcom pioneer who founded St. Jude’s, the world’s foremost hospital for child cancer patients, in 1962.  All proceeds from the sale of this book will go to the hospital through its Music Gives to St. Jude Kids, a campaign created by the author.

    The lengthy subtitle to Thomas’s book tells all – The Greatest Singers of Our Times Discuss The One Thing They’re Never Asked About – The Voices. Unlike guitarists, bassists and keyboardist who get to share their thoughts on their instruments through a plethora of specialty magazines and websites, how our favorite singers cultivate their unique sounds, and what they do to maintain them during high stakes recording sessions, grueling tours and over decades-long careers, is often a mystery.  Interestingly, The Singers Talk also features exclusive interviews about many celebrated voices no longer with us. These include Steven Van Zandt on Little Richard, Butch Vig on Kurt Cobain, Clive Davis on Whitney Houston, Nile Rodgers on David Bowie, Wendy Melvoin on Prince and Jimmy Iovine on Tom Petty.

    Gordon’s conversations with and about the vocal greats are steered by 20 questions he poses to each.  These include where and when they began singing, their earliest influences and dream duet partners (living or dead), five favorite singers and several technical questions like how they warm up (if at all) and keep their voices intact on the road.  Naturally, they also reveal the stories behind some of their most famous performances on record.

    The Go-Gos’s Belinda Carlisle shares that it was Julie Andrews in the film Mary Poppins who inspired her to sing and that she never takes to the stage with consuming two Aleve tablets to fight inflammation that can compromise her performance.  If Emmy Lou Harris’ early dreams came through, she would be a singing actress in musicals like West Side Story. The country rock great credits Gram Parsons and his amazing story songs to helping her find her voice. The original leather rocker girl, Joan Jett, was also all about movie musicals in her youth, especially Liza Minnelli in Cabaret. This was before she would fall in love with rock via Paul Rodgers’ singing in Free’s “All Right Now” and T. Rex’s “Bang A Gong.”  This trio is representative of many singers interviewed here who say they keep their voices is shape while on the road by avoiding overly air-conditioned rooms and by traveling with one or more humidifiers!  And while Chrissie Hynde also ascribes to the above road Rx, she was turned on to singing by the original punk, Iggy Pop.  She says, ironically I trust, his success demonstrated that there was a space on the hit parade for “ugly Midwestern voices like ours.”

    Producer Butch Vig shares that Nirvana’s Kurt Cobain hated to double-track his voice, claiming “it was fake.”  The mercurial musician would also only be good for a couple of takes before he blew out his voice.  But Vig did get Cobain to double-track by using a bit of psychology – by telling Beatlefile Kurt that his idol, John Lennon, did it on almost every record.  The Doors’ Robbie Krieger credits some of Jim Morrison’s vocal punch to the size of his throat commenting: “Have you ever looked at the size of his neck? It’s as big as Pavarotti’s!” He also sets a long-discussed rumor straight saying that his singer’s spine-chilling performance on “The End” was indeed recorded while Morrison on L.S.D.  Ozzy Osborne also brings up the legendary Italian opera star saying he always eats as apple before going on stage, just like Pavarotti himself did (it helps lubricated the voice according to Osborne). The Who’s Roger Daltrey feels he found his voice through the band’s songs, most notably, in the studio and live performances of the rock opera, Tommy. And rock’s most iconic scream, the one in “Won’t Get Fooled Again?” Does it obscure his singing talent?  “It drives me nuts,” he says. “I’m getting to the age where it’s my least favorite song to sing.”

    The recently-departed jazz great Tony Bennett claimed it takes seven years of steady work to learn how to sing properly and that his own influencers are not singers but great jazz sax players and pianists.  Producer Nile Rodgers ascribes the success of David Bowie to his perfectionist preparation and thespian skills.  Like his career and discography, his voice was also about constant change. Bowie would develop wholly new styles and approaches for the “characters” he took on in his songs.  And the secret to Public Enemy’s Chuck D’s success? It’s that he wanted to be – and communicates very much like – a sports play-by-play announcer. “Rap carries the same rhythms as sportscasters like Marv Albert,” adds D.  His technique has been helped by his recent study of Pilates and five-years of core training.

    “Singing is so much more than hitting the right note,” Karen O of Yeah Yeah Yeahs. “It’s about connecting with the audience, connecting with something divine, connecting to your most primitive and deepest intuition, and to your nature as a human on this planet.” Adds Radiohead’s Thom Yorke, mid-interview, “This is the most geeked out I’ve ever talked about my voice!”

  • The Summer Hoot Celebrates 11 Years

    The 11th Summer Hoot was held August 25-27 at the Ashokan Center in Olivebridge, NY. Three days of family, friendship, camping, combined with music, music, music. Two performance stages (affectionally named Toshi and Pete after the Seegers), located at the base of Hoot Hill, showcased a plethora of local and national acts. 

    The Mammals

    Tucked away in a lower-level location the Magical Music Campground hosted the Jubilee Jam tent. Jams ran continuously day and night for the many who brought instruments with them. 

    Summer Hoot - Julie Jam Tent
    Jubilee Jam Tent

    The Hoot utilizes the entire Ashokan Center. Music isn’t confined to specific performance locations. At the instrument petting zoo, the young (and young at heart) could be found creating their own special sounds. Impromptu collaborations were popping up everywhere you turned. Even backstage, musicians arriving could be seen joining in with those warming up before their set. 

    Future musician at the instrument petting zoo

    Nature did not sit by silently for the Hoot. Floating on the sweet Hudson Valley air the rippling sounds of the Esopus Creek filled your ears while strolling through the grounds.  With the setting of the sun, the crickets would emerge to accompany the music flowing from the stage, chirping in rhythm.

    Jordan Hamilton

    The Summer Hoot performers included The Shaker (feat. Simi Stone) opening the Hoot on Friday evening. Brooklyn-based Oliva K and the Parkers playing twice, on Friday and Saturday.  Kingston’s Pulso De Barro sharing their Son Jarocho style of music. The City Stompers giving an exhibition of Appalachian Clogging with Furnace Mountain supplying the musical backdrop. 

    The City Stomperswith Furnace Mountain

    Saturday night a bonfire singalong took people into the late evening. As the clock struck midnight, Cellist Jordan Hamilton performed an intimate set in the Pewter Shop. If you had the energy, the late-night jam at the Magical Music campground took you till the morning light.

    Summer Hoot - Mike Merenda and Ruthy Ungar
    Mike Merenda and Ruthy Ungar

    To reach 11 years for an event is not an easy thing. The effort is huge. Without co-creators Mike (Merenda) and Ruthy (Ungar) none of this would be possible. To say they are the heart and soul of the Hoot is an understatement.  

    Summer Hoot - Pulso De Barro
    Pulso De Barro

    Across the three day these two are going nonstop. Greeting everyone, introducing performers, and sitting in with many performers.  Topping it off their band The Mammals closed out the Toshi stage Saturday night. 

    Summer Hoot - Olive K and the Parkers
    Oliva K and the Parkers

    On the face of it, the Hoot is all about the music. But there is so much more. Creativity plays a special part. From original songs shared, yoga and breathwork sessions to calm your soul, along with food and crafts offered by local artisans. 

    Summer Hoot - Cole Quest & the City Pickers
    Cole Quest & the City Pickers

    Drawing from the Ashokan Center, the spirit of family and community is another cog that makes up the Summer Hoot. Many people brought their young children. Some people even brought their own parents. If you didn’t know the person next to you it did not matter. Everyone is family when you are at the Hoot.

    Summer Hoot families
    Families enjoying the Summer Hoot

    A musical chord can be referred to as a triad. Three notes played together achieving a harmonious outcome. The combination of music, creativity, and the spirit of family and community construct the chord that is The Summer Hoot.

  • In Focus: Noah Kahan Leads Sing Along at Sold-Out Lakeview Amphitheater

    Noah Kahan triumphantly returned to Central New York on Friday for a sold-out performance at Lakeview Amphitheater.  It was Kahan’s second sell-out concert in Syracuse this summer, having previously played Beak and Skiff in June. Ruston Kelly opened the show.  

    Noah Kahan performs at Lakeview Amphitheater

    Few in the music industry have seen the rise to success quite like Noah Kahan.  The 26 year-old singer-songwriter has seen his popularity explode in recent months, selling out nearly every venue in his path.  His successes are never more evident than in Central New York.  Less than two years ago, Kahan performed at The Westcott Theater in Syracuse.  Three months ago, he performed a sold-out concert at Beak and Skiff, and now, he has again returned with a sold-out performance at the much larger Lakeview Amphitheater.  

    Noah Kahan performs at Lakeview Amphitheater

    As 8pm hit, opening act Ruston Kelly took the stage with his bandmates.  The Nashville based singer-songwriter kicked his set off with “Cover My Tracks,” the opening number on his 2018 release Dying Star.  The song was a good preview of what was to come during the 45 minute set.  Kelly delivered a stream of well-written moderate tempo Americana style tracks, with Kelly showing that he excelled at telling a story while delivering his heart-felt lyrics.  

    Kelly showcased his ability to hype the crowd as well, performing two well-placed covers during his set.  Early on, Kelly led the crowd in his rendition of Wheatus’ “Teenage Dirtbag” which had fans young and old singing along to the familiar chorus.  Later in his set, Kelly delivered the Taylor Swift cover “All Too Well,” which had nearly everyone in attendance on their feet and singing along.  Kelly would close out his set with “The Weakness,” the opening track on his latest release of the same name. The slow moving track would build in intensity until reaching an impressive crescendo.

    Ruston Kelly performs at Lakeview Amphitheater

    As the final stage preparations wrapped up between sets, anticipation through out the concert grounds kept building, with palpable anticipation for Noah Kahan’s arrival.  Finally, just after 9:20, the house lights went dark and the four members of Kahan’s band took the stage.  After a brief instrumental introduction, Kahan strutted to the front of the stage.  With a wave and a smile, and a deafening roar from the crowd, the band launched into the high energy “Northern Attitude,” the lead track on Kahan’s 2022 release Stick Season.  The opening song served as a preview for what was to transpire over the next 95 minutes.  Nearly everyone in attendance sang along, in deafening fashion, to nearly every word.   Kahan kept the energy flowing early, moving into “She Calls Me Back,” and “New Perspectives.”

    Noah Kahan performs at Lakeview Amphitheater

    Early in the set, it was clear Kahan could not contain his excitement.  He urged the stage workers to turn on the house lights, so he could catch a glimpse of the crowd in front of him.  “This is the largest show we’ve ever played, thank you all so much,” Kahan proclaimed, giddy with excitement. He took turns dancing with his band mates early in the set, skipping across the stage and jumping from the drum riser.

    Noah Kahan performs at Lakeview Amphitheater

    Through out the evening Kahan’s energy would give way to more serious subject matter. The singer-songwriter spoke of loneliness and isolation at times, and urged those in attendance to seek help when needed. He sang of his journey through therapy on “Growing Sideways,” and sang of a close friend’s similar struggles on “Call Your Mom,” a track Kahan himself said is often too emotional for him to perform live. Through the heavy subject matter, Kahan would lead his listeners back to more up-tempo sing-along tracks, at times urging their participation, to which the crowd feverishly obliged. After a brief encore break, Kahan and his bandmates would close out the evening with three more songs, including perhaps his biggest hit to date, “Stick Season.” It provided those in attendance one final opportunity to showcase their voices, and they too did not disappoint.

    Noah Kahan

    Ruston Kelly

  • DJ Muggs “Soul Assassins 3: Death Valley” – A Gritty Masterpiece with Exclusive NYC Premiere

    DJ Muggs, the legendary producer known for his groundbreaking work with Cypress Hill and countless other hip-hop luminaries, is back with a vengeance. On August 25th, he dropped Soul Assassins 3: Death Valley, an album that oozes gritty beats and showcases his production prowess. But that’s not all; it’s accompanied by an upcoming short movie directed by Jason Goldwatch, adding an extra layer of intrigue to this already captivating project.

    First things first, the album itself is a masterclass in production. DJ Muggs has assembled a roster of rap heavyweights to spit fire over his beats, and the result is nothing short of spectacular. “It’s On” featuring Boldy James sets the stage with its ominous vibes. “Check In (Original Version)” with Jay Worthy offers a gritty original flavor, while “Sicilian Gold” featuring Ghostface Killah and Westside Gunn is a lyrical showcase over Muggs’ haunting beat. “67 Keys” featuring Roc Marciano, Rome Streetz, and Meyhem Lauren delves into the underground hip-hop scene with finesse, and “Mr. Cartoon Interlude” adds an artistic touch.

    “Burn The Playbook” featuring Evidence and Domo Genesis showcases sharp verses over Muggs’ hypnotic production. “Crazy Horse” featuring Roc Marciano and Crimeapple continues the underground exploration, and “Metropolis” featuring Method Man and Slick Rick combines veteran talent for a standout track. “We Coming For The Safe” featuring Boldy James keeps the intensity high, and “Skeleton Bones” featuring Rome Streetz brings it back to the gritty underground.

    The album’s energy intensifies with “Dump On Em” featuring B-Real, MC Ren, and Ice Cube, and it all comes to a captivating close with “Outro,” leaving listeners eager to hit replay on this unrelenting sonic journe

    Moreover, the cinematic experience associated with this album adds a whole new layer of excitement. The short movie directed by Jason Goldwatch, set to release on September 13th, promises to be an audio-visual journey that complements the music’s dark and mysterious vibes. You can catch a glimpse of what’s in store by watching the movie trailer below.

    As if all of this weren’t enough, an exclusive movie premiere took place at SoHo House in NYC on August 30th, giving fans an early taste of the visual storytelling that accompanies Soul Assassins 3: Death Valley. The premiere was made even more special with a Q&A session featuring DJ Muggs and Jason Goldwatch allowing fans to gain insight into the creative process behind this groundbreaking project.

    In conclusion, DJ Muggs has once again proven why he’s a force to be reckoned with in the hip-hop world. Soul Assassins 3: Death Valley is an auditory and soon-to-be-visual masterpiece that deserves a place in the collections of hip-hop aficionados everywhere. From the star-studded tracklist to the imminent short movie, this project is a testament to Muggs’ enduring talent and creativity. Don’t sleep on it.

    https://www.youtube.com/watch?v=FmG_9et-D-o

  • Quinn XCII Brings The Party To Brooklyn Mirage

    On the picturesque summer night of August 31st, Quinn XCII (pronounced Quinn ninety-two) shifted the EDM narrative of Brooklyn Mirage to experimental hip-hop pop. While the Mirage wouldn’t be the typical host for Quinn’s self-established genre of music, the wrap-around screens and pristine sound system served his performance well. Michael Temrowski, stage name Quinn XCII,  has been making music since 2011 when he was a student at Michigan State. From college house parties to venues like Red Rocks and the Brooklyn Mirage, Quinn XCII has established a loyal fanbase. 

    Photograph by Shauna Hilferty

    As the sun rolled overhead the outdoor amphitheater, Quinn fans filled the venue. Quinn XCII’s crowd was made up of out of office sorority presidents and Manhattan finance bros who just can’t seem to let go of the glory days. Even Temrowski himself tweeted, “I make music for guys that make awful parlay bets,” “I make music for east coast lacrosse teams,”  “I make music for girls who make emotional montages of their last high school field hockey season.” Needless to say the audience was friendly as can be, and they weren’t scared to party. It was like hanging out with that college friend group you can’t part ways with, in the best way.

    Photograph by Shauna Hilferty

    Openers Stay Over and Skizzy Mars, a New York City native, revved up the crowd. It seemed that Quinn wanted to uphold the experimental artists, to pay tribute to their creativity and brave approach to navigating the music industry. Stay Over put on a show blended with rock and hip-hop, two very loud and vocal genres. Skizzy Mars also dabbled in hip-hop with a more indie flair. Both of their sounds were celebrated by the audience.

    Photograph by Shauna Hilferty

    When 10:30 PM rolled around, the lights dimmed and the bass amplified. As soon as Quinn XCII stepped foot on stage, confetti cannons showered the fans in an endless spill of rainbows. People cheered and through their hands up, letting the paper wash over their faces. His most recent hit single, “Georgia Peach,” got the crowd grooving.

    The setlist was a culmination of old and new music, sort of a “best of Quinn XCII” kind of performance. The audience welcomed each phase on stage with nostalgia induced excitement. Songs dating back to 2015 got the audience just as loud as his latest releases. As notes from the past wove through his set, Quinn’s personal sound was never lost. From “Kings Of Summer” by aokay featuring Quinn XCII to “The Lows,” featuring Big Sean, his reggae influenced and rap driven style remained.

    Before his song, “My Wife & 2 Dogs,” Quinn stopped the show to give respect to his beloved french bulldog, Nelson, who had to be put to rest that day. Emotions were heavy on stage and respected in the audience. Each word to the song was sung from Quinn’s heart and from the chest of everyone in the audience. Behind him on stage, was a video montage of Nelson and his other pup.

    Photograph by Shauna Hilferty

    For one of Quinn’s newer releases, “The Lows,” New York City artist Blu DeTiger joined him on stage to play bass. With her blue sparkly bass guitar, mini-skirt, and stomper boots, Blu added a whole other energy to the song. She tossed her lengthy blonde hair back as she headbanged to Quinn’s catchy beat. The crowd received her rock addition with vim.

    Quinn XCII has been around for a lot of listeners since their grade school days. To grow up with an artist is a very intimate experience. To listen to Quinn as an adult is like getting a second chance at growing up again in your twenties. His music normalizes the wide spectrum of human emotions felt while in serious relationships, during inevitable change and stagnancy, and even while getting high in the back of your high school girlfriend’s car. The show at Brooklyn Mirage was a celebration of being alive and figuring it out.

    Photograph by Shauna Hilferty

    As the show came to a close, the audience chanted for an encore before Quinn was able to leave the stage. He exited the stage, but the lights darkened to a deep blue. Before everyone knew it, Quinn was back singing his first encore song, “Always Been You.” The next song, “Another Day In Paradise,” was another crowd favorite from one of Quinn’s most esteemed records, “Change Of Scenery.” Before he started to sing, he spoke sentimentally to the crowd about being present: “The good shit, the bad shit – nothing is permanent, let it pass…”

    Photograph by Shauna Hilferty

    Quinn XCII wrapped his show with one of his youngest songs, “Candle.” His original fans bounced on their feet and swayed their arms the entire song, almost as a wave goodbye. The confetti went off once more before the show wrapped. Quinn XCII at the mirage was the perfect summer send off. As the confetti settled and Quinn and his band took a bow, the night ended on a good note.

  • Rod Stewart Delivers Timeless Performance at Fallsview Casino

    Rod Stewart brought the house down at Fallsview Casino in Niagara Falls, Canada on Saturday September 2nd. A concert that was a whirlwind of musical hits, wardrobe changes, and a crowd with an average age of about 65 years old.

    Stewart, the legendary British rock star, dazzled the audience with his timeless charisma and signature raspy vocals. He kicked off the night with a bang, opening with the Robert Palmer classic “Addicted to Love.” The audience, a sea of silver hair and nostalgic smiles, was immediately transported back to the heyday of rock and roll.

    One of the standout features of the evening was Stewart’s numerous wardrobe changes. From sharp suits to flamboyant outfits, he brought a sense of style and showmanship that has defined his career. Each costume change was met with applause and anticipation, adding an extra layer of excitement to the show.

    The setlist was a journey through musical history, with Rod Stewart effortlessly covering a wide range of classic songs. From “You Wear It Well” to “Infatuation” and “Young Turks,” he showcased his versatility as an artist and a performer. The crowd couldn’t get enough, singing along to every word.

    Stewart paid homage to some of the greats with his selection of cover songs, including Creedence Clearwater Revival’s “Have You Ever Seen the Rain?” and Cat Stevens‘ “The First Cut Is the Deepest.” These renditions were met with a nostalgic appreciation from the audience, who knew every lyric by heart.

    As the night continued, hits like “Maggie May” and “Tonight’s the Night (Gonna Be Alright)” had the entire casino venue swaying and singing along. Stewart’s powerful stage presence and undeniable charm kept the energy levels soaring throughout the concert.

    The encore was a fitting conclusion to the night, featuring the Faces classic “Stay With Me.” The crowd roared with approval, and it was clear that Rod Stewart’s music still held a special place in their hearts.

    In a night filled with unforgettable moments, Rod Stewart’s performance at Fallsview Casino was a testament to his enduring talent and the timelessness of his music. It was a concert that transcended generations, reminding us all why he is considered one of the greatest rock icons of all time.

  • The Pretenders Perform Intimate, Career-Spanning Set At The Stone Pony In Asbury Park, NJ

    On the threshold of releasing their 12th studio album Relentless (Rhino Records) on September 15, their first in three years, frontwoman Chrissie Hynde and The Pretenders are supplementing their seven summer stadium shows in support of Guns N’ Roses with their own U.S. headlining tour.

    The string of special dates – nine in total – are bringing to their fans a rare look at the iconic English-American rockers as they play intimate clubs across America. The trek kicked off at NYC’s Bowery Ballroom on August 16, followed by a second gig in Nashville, TN on August 26. This past Tuesday (August 29), on a humid night in Asbury Park, NJ, it was The Stone Pony’s turn to perform host duties.

    Photo: Michael Dinger Photography | Pit Perspectives

    The new album’s title, as described by Hynde, refers to “The life of the artist. You never retire. You become relentless.” And relentless she and her crew were as they thrilled the 850-capacity crowd with a 20-song assault that featured deep cuts across the landscape of their 44-year discography. Made famous by their helping hand in launching the careers of local natives Bruce Springsteen and Jon Bon Jovi into superstardom, the seaside bar was filled to the rafters with a healthy contingent of Baby Boomers, hundreds of which were queued along Ocean Avenue more than 2 hours before doors!

    Photo: Michael Dinger Photography | Pit Perspectives

    Promptly at 8:30 pm, as the entrance aria from the 1875 French opera Carmen played over the house PA, the quartet discretely slipped into the venue from a side door and entered stage right to a raucous ovation. Rocking knee-high leather boots, Levi’s and a black Stony Pony tee over a waffle-knit shirt, Hynde took up her Fender – she would relinquish it only once during the night – and immediately offered up a brand new track (“Losing My Sense of Taste”) for their forthcoming release. Speaking of The Boss, Hynde quipped early in the set, “Bruce, are you hear? I lost your phone number, or I would’ve called.”

    Photo: Michael Dinger Photography | Pit Perspectives
    Photo: Michael Dinger Photography | Pit Perspectives
    Photo: Michael Dinger Photography | Pit Perspectives

    While playing all their hits in the stadium gigs with Guns N’ Roses – choice numbers the likes of “Don’t Get Me Wrong,” “Back on the Chain Gang,” “I’ll Stand by You,” “Brass in Pocket,” “Middle of the Road” and “Talk of the Town” – tonight’s setlist was tailor-made for all the die-hard Pretenders fans in attendance, the ones who know every album inside and out. For nearly 90-minutes straight, Hynde enchanted her followers while showcasing powerfully distinctive vocals and captivating, emotional depth, making it evident as to why The Pretenders have long since carved their name into the annals of rock history with unwavering authenticity. The only hiccup in an otherwise flawless performance was a false start to the opening verse of “Thumbelina,” a track taken from their third studio album Learning to Crawl (1984).

    Photo: Michael Dinger Photography | Pit Perspectives

    Injecting a raw, edgy quality into the performance, infused with the unmistakable sound that defines The Pretenders’ signature style, “The Buzz” (Hate for Sale, 2020) was dedicated to the late Johnny Thunders who came to prominence in the early-70s as a member of the New York Dolls and with whom Hynde made a guest appearance on his first solo album. The Pretenders would dedicate another song later in the night, albeit sarcastically to the Sackler family, with their delivery of “Junkie Walk,” another track from Hate for Sale. The epic night of rock and roll concluded with a three song encore featuring the lone cover of the night, “I Go to Sleep,” an homage to The Kinks by Hynde and The Pretenders whose very first single in 1979 was a cover of The Kinks’ “Stop Your Sobbing,” quickly giving the newly founded band critical attention that they would preserve for nearly the next five decades.

    Setlist: Losing My Sense of Taste > A Love > Turf Accountant Daddy > The Adultness > Downtown (Akron) > The Buzz > Domestic Silence > Time the Avenger > Biker > Boots of Chinese Plastic > Don’t Cut Your Hair > Gotta Wait > You Can’t Hurt a Fool > Tequila > Thumbelina > Let the Sun Come In > Junkie Walk
    Encore: I Go to Sleep (The Kinks cover) > Precious > Tattooed Love Boys

    UPCOMING TOUR DATES

    September 3 – Toronto, Ontario (Rogers Centre)*
    September 5 – Detroit, MI (Shelter)^
    September 7 – Minneapolis, MN (7th St Entry)^
    September 9 – St. Louis, MO (Busch Stadium)*
    September 17 – Leicester, UK (BBC Radio 2 In The Park)◊
    September 19 – Paris, France (Maroquinerie)†
    September 20 – Paris, France (Maroquinerie)†
    September 21 – Utrecht, Netherlands (Tivoli Vredenburg Ronda)†
    September 23 – Hamburg, Germany (Reeperbalm Festival)◊
    September 25 – Berlin, Germany (Columbia Theatre)†
    October 1 – Dana Point, CA (Ohana Festival)◊
    October 2 – Los Angeles, CA (The Regent Theater)^
    October 4 – Pioneertown, CA (Pappy + Harriet’s)^
    October 6 – San Francisco, CA (Bimbo’s 365 Club)^

    * With Guns N’ Roses
    ^ Headlining show (U.S.)
    ◊ Festival appearance
    † Headlining show (Europe)

  • Pixies and Modest Mouse Knock it Out of the Park in Cooperstown

    It was rain-soaked double header in Cooperstown on Friday, August 25th, as a near-capacity crowd braved the elements at Brewery Ommegang for a pair of headlining sets from legendary alternative rockers Pixies and Modest Mouse.  Along with support from critically acclaimed opening act Cat Power, the powerhouse bill proved to be a home run with fans of all ages, despite some minor curveballs thrown by Mother Nature. 

    Upon arrival, the ominous sky over Brewery Ommegang felt only fitting. That’s because every time DSP Shows bring Modest Mouse to town, dating back to their first visit in 2014 and again in 2021, the weather seems to head south just prior to showtime. The same was true this year when opening act Cat Power had to abruptly cut their set short when it started raining cats and dogs in an absolutely torrential downpour that sent fans running for cover under the tree line.

    Dark Center of the Universe: An ominous sky over Brewery Ommegang felt only fitting on 8/25/23.

    Doing little else to detour the remainder of the show, however, the audience was quick to embrace the soggy scene and use the minor rain delay to fill up their beer cups and grab some merch of which there was plenty.  A simple glance around the grounds showed that while many fans were already sporting their brand new (and dry) Pixies and Modest Mouse threads, plenty of bands they’ve helped influence were represented as well. Twenty-somethings wearing shirts for bands like Nirvana, Smashing Pumpkins and Built to Spill, along with newer acts like King Gizzard and the Lizard Wizard and The Strokes, but it was the surprising amount of Deadheads and Ramones fans in the audience that proved just how diverse the appeal of this show was.  

    Fire It Up: Modest Mouse was “beautifully bold” in their return to Cooperstown on 8/25/23.

    Taking the soaking wet stage shortly after 8pm and greeting the audience with his best impersonation of an old-time radio sports announcer, Modest Mouse front-man Isaac Brock immediately connected with the crowd with some playful baseball banter, before ‘leading off’ with “Dark Center of the Universe,” one of the groups oldest and most iconic songs. Comfortably dressed in a sweatshirt depicting magic mushrooms, on deck was the infectious groove of “Tiny City Made of Ashes,” which the band seemed to jam on for a minute before Brock gave his OK to “Fire It Up.” Then came a pair of songs that helped introduce Modest Mouse to the masses back in 1996 with the first two tracks from their debut album This Is a Long Drive For Someone With Nothing to Think About.

    A beautiful and always appreciated “Dramamine” would seamlessly segue into “Life Like Weeds,” before the angst-ridden rock of “Breakthrough” would fall just shy of turning the muddy grounds into an all-out mosh pit. Cooling off the aggression with some of Brock’s signature thought provoking lyrics, “Baby Blue Sedan” had sentimental fans singing along to the lyrics of “I am doing the best that I can” in a touching moment of solidarity.

    “Sad song, last dance and no one knows who the band was, except this one mattered and I felt it had a spirit.” – Issac Brock

    Up next came “Back to the Middle” from Modest Mouse’s most recent album, 2021’s The Golden Casket, before Brock would swap out his guitar for a banjo and deliver a playful backwoods rendition of “This Devil’s Workday.” His intense delivery and ferocious growls often overshadowing the brilliance of his songwriting, Brock’s unique perspective and ability to translate surrealism into words have long made him among this generations most thought-provoking lyricists.

    After busting out the beloved B-Side of “King Rat” and then 1997’s “Heart Cooks Brain,” Modest Mouse would then get the crowd singing along with the recent radio hit “We Are Between,” before Brock would really sink his teeth into the performance with a jaw dropping version of “The Ground Walks, with Time in a Box,” which featured Isaac playing the guitar solo behind his head and then with his mouth! Falling just short of going full blown Marty McFly, the kids at Ommegang absolutely loved Brock’s vintage rock-star antics here and would erupt even further when the song seamlessly transitioned into the chart topping “Float On,” the bands breakout hit from 2004’s Good News For People Who Love Bad News.

    Following“The Whale Song,” the quick 75 minute, career spanning set would come to a close with another upbeat singalong, “Dashboard.” Fantastic, focused and swinging for the fences, the amount of “good songs” this band still had left in their arsenal is quite a testament to just how deep and diverse their catalogue runs.    

    Modest Message: “Don’t worry, even if things end up a bit too heavy we’ll all float on.”

    With two bonified headliners on the same bill, there was a strong showing of followers for each. Between sets, it was a playful conversation starter to ask which of the two you were really there to see. While the majority didn’t hesitate to say “both,” I was surprised by just how many blamed the Friday night out on their partners, saying “oh, my wife loves the Pixies, she was obsessed with them in high school,” as if there was some kind of wrong answer or guilt for admiring either of these groups and still listening to them. 

    After a brief “7th inning stretch”, suddenly the lights went dark and the legendary Pixies stepped up to the plate using The Beatles “You Know My Name (Look Up the Number)” as their walk-up music. Stoic, confident and fierce, the band opened up their performance with fan favorite “Gouge Away,” followed by two more songs also from the bands iconic 1989 album Doolittle, “I Bleed,” and “Crackity Jones,” before going all the way back to the beginning with “Isla de Encanta” from their earliest album Come on Pilgrim.

    A lot of Doolittle: Pixies performed 9 songs from their iconic album Doolittle on 8/25/23.

    With the current lineup consisting of original members Black Francis, Joey Santiago, and drummer David Lovering, the band would name Paz Lenchantin as their permanent bassist in 2016. Providing ample energy on the low end, the crunchy groove of “Planet of Sound” never sounded better as bandleader Black Francis belted out at the near full moon, before “There’s A Moon On” had fans dancing under it. Black Francis, the type of guy that wears sunglasses at night, appeared to be dressed for a funeral, but make no mistake, Pixies are alive and well in 2023. Often imitated, never duplicated, his primal and raw delivery sounded as visceral this night as it did 30 years ago.

    With his distinct vocal style ranging from dynamic bloodcurdling shrieks, to melodic, near spoken word nonchalance, his lyrics remain as cryptic and open to interpretation as ever. We’d get a healthy dose of the new stuff next with a “triple play” of songs from their latest album. 2022’s Doggerel, before bringing the audience back to more familiar territory with some of their biggest tunes like “Here Comes Your Man,” “Motorway to Roswell,” and “Caribou,” which the person next to me hailed as their best song.

    Here comes your frontman: Black Francis was in fine form at Brewery Ommegang on 8/25/23.

    While many romanticize about the Pixies and their obvious influence on 90’s music, you don’t often think of them as a romance band meant for date night. The fans at Ommegang, however, never got that memo as couples all around found great joy in reliving the soundtrack of their youth, stealing kisses in the key moments, savoring every second as one of their all-time favorite groups serenaded them under the misty, cinematic skies. Enchanting and magnetic, Paz Lenchantin, the original bass player of Maynard James Keenan’s A Perfect Circle and Billy Corgan’s Zwan, here now as a Pixie, seemed to be having the most fun out of everyone. Headbanging through the fog and shadows on her beautiful Fender 69 P-bass, picking away on classic tunes like “Hey,” “Cecilia Ann” and the crowd pleasing “Debaser.”

    Debasser: Paz Lenchantin picks away on classic Pixies songs on 8/25/23.

    Bright, loud, and beautiful, fans knew almost every word to every song for the remainder of the show.  From 1987’s “Holiday Song,” to another pair of hits from Doolittle, a surfed-out version of “Wave of Mutilation” and the climate change wakeup call of “Monkey Gone to Heaven” that saw the often experimental Francis take sonic frequencies to the warning track, building a wall of swirling distortion as he shoved his guitar into the amps creating intentional feedback. The career spanning set wouldn’t be complete, though, without the most well-known song in the Pixies catalog, “Where is My Mind?”

    Gone to Heaven: Pixies performed a Hall of Fame setlist on 8/25/23.

    While playing it every night may feel like a chore for some members of the band, it was quite clear that it still resonates after all these years and that the next generation of kids who only know Pixies from the 1999 David Fincher film Fight Club – were here for it too. Holding their phones up in lieu of lighters, the massive field of cellular fireflies created a stunning visual image and a feeling that you were experiencing an epic moment in time courtesy of one of Rock’s most influential bands. While the show could have ended there and no one would have complained, we were then treated to one final ‘call to the bullpen’ for a cover by one of the original pioneers of Punk. Closing the show with a searing rendition of Neil Young’s “Winterlong” to put an emphatic stamp on a fantastic 26-song set of timeless alternative anthems. Convening at the center of the stage to take their bows, fireworks began illuminating the night as the Pixies slowly faded into it, triumphantly bringing another successful Summer Concert Series at Brewery Ommegang to a close. A bitter-sweet realization, but hey, as they say in baseball, “there’s always next year.” We’re already looking forward to it.

    Pixies closed out Brewery Ommegang’s Summer Concert season on 8/25/23.

    Pixies | August 25, 2023 | Brewery Ommegang | Cooperstown, NY

    Setlist: Gouge Away, I Bleed, Crackity Jones, Isla de Encanta, Planet of Sound, There’s a Moon On, Who’s More Sorry Now?, Get Stimulated, The Lord Has Come Back Today, Mr. Grieves, Death Horizon, Here Comes Your Man, Motorway to Roswell, Snakes, Caribou, Hey, Doggerel, Cecilia Ann*, St. Nazaire, Debaser, Cactus, The Holiday Song, Monkey Gone to Heaven, Wave of Mutilation**, Where is My Mind?, Winterlong***

    *The Surfones cover
    **UK Surf version
    ***Neil Young cover

    Modest Mouse | August 25, 2023 | Brewery Ommegang | Cooperstown, NY

    Setlist: Dark Center of the Universe, Tiny City Made of Ashes, Fire It Up, Dramamine > Life Like Weeds, Breakthrough, Breakthrough, Baby Blue Sedan, Back to the Middle, This Devil’s Workday, King Rat, Heart Cooks Brain, We Are Between, The Ground Walks, With Time In a Box > Float On, The Whale Song, Dashboard.

    Pixies

    Modest Mouse

  • In Focus: JVKE Stops at the Rooftop at Pier 17

    Rhode Island born pop-artist JVKE took the scenic stage at the Rooftop at Pier 17 this past Wednesday, August 30th. Fans from all over – and many of them younger kids with their parents – flocked to see the “golden hour” singer put on his This is What Tour Feels Like show. 

    JVKE, photographed by Sarah Hyun

    JVKE, blowing up in part on TikTok for songs like “this is what falling in love feels like” and “this is what sadness feels like,” previously played at Irving Plaza on January 25th. Crafting songs with his producer-brother Zac truly transformed JVKE’s music into the masterpieces they are today. The body-shaking beats, powerful vocals, and intricate piano accompaniments have created a sound so uniquely him. Aside from the beautiful melodies and productions of each song, JVKE’s lyrics touch on heavy subjects like love, heartbreak, sadness, and acceptance in the most unfiltered and gut-wrenching way. 

    JVKE, photographed by Sarah Hyun

    Before the show began, a robotic-like female voice came on and introduced itself as JVKE’s emotional intelligence. The stage was set up like his bedroom, with JVKE even sporting a pair of plaid pajama pants and a black oversized hoodie. As he journeyed through his this is what ____ feels like album—which is divided into four groups of three songs—he made a point to give a small anecdote for each by detailing his experiences with certain people and emotions. For example, during “this is what heartbreak feels like,” “i’m not okay,” and “ghost town,” JVKE described the betrayal and utter hopelessness he felt after his first breakup. Before singing songs “this is what falling out of love feels like,” “catch me,” and “i can’t help it,” he described his initial struggle but ultimate success in moving on from that past relationship. JVKE is truly a talented storyteller, as emotions were at an all-time high throughout the whole show. 

    JVKE, photographed by Sarah Hyun

    During “golden hour,” JVKE sat down at his bedroom desk and began playing the iconic opening notes on a keyboard that laid there. Children eagerly climbed onto their parents tall shoulders, tweens stood on their tippy-toes with poster in hand, and couples slow-danced in the back of the crowd as golden lights lit up with venue. The performance of this song was truly breathtaking. Fans passionately reached out their hands as they belted lyrics like, “I don’t need no light to see you shine” // “It’s your golden hour” // “You slow down time” // “In your golden hour.”

    JVKE ended the night at Rooftop at Pier 17 with an incredible encore and promised to return for another show. He has two more scheduled dates for this run of tour, one in Philadelphia and another in Boston.