Michael Ian Cummings, former lead singer and songwriter of SKATERS, released his debut solo EP Oldest Troubles. The indie rock record is made up of five tracks where Cummings reflects on his own past experiences in a skillful way, as the listener is able to feel connected to each of his songs.
Oldest Troubles comes after Cummings took a six year hiatus from music. When Warner Brothers Records dropped his band SKATERS, Cummings felt disillusioned with the industry. He was left in the common place many musicians find themselves when the band life stops and needed to unplug, reset, and find his inspiration once again. Now, Cummings found that inspiration again. He also described making the album as “cathartic.”
“This was 100% for me to regain my balance in making and releasing music,” Cummings said in an interview. “And part of that was not doing things I didn’t feel good about in my gut. And whether that was a choice, like re-recording something so it sounds pristine, or keeping the live take, keeping the fucked up guitar that might be out of tune because it just felt better.”
His attitude paid off. While it may have been more for Cummings himself in how he recorded the EP, it also made the record better as a whole. In songs like “Contemporary Me,” the listener can feel more of his emotions because of how raw it sounds.
The title track, “Oldest Troubles,” reflects the melancholic feeling Cummings may have felt when writing and recording the song. The strings in the background only add to the beauty of the song, making it the most replay-able track on the record.
Diana Ross, the legendary diva and iconic figure in the music industry, mesmerized a sold-out crowd at Radio City Music Hall during her Music Legacy Tour. The concert was a celebration of her numerous chart-topping hits, and it was an evening that will forever be etched in the memories of her fans.
Diana Ross at Radio City Music Hall 6.29.23
Accompanied by a magnificent 19-piece band, Diana Ross took the stage and immediately captivated the audience with her timeless charm and magnetic presence. The show was a true testament to her enduring talent and the incredible impact she has had on the world of music.
Throughout the evening, Ross graced the stage in five stunning costume changes, each one adding to the spectacle of the performance. Her elegant outfits perfectly complemented her larger-than-life persona, making her a vision of beauty and grace.
Diana Ross at Radio City Music Hall 6.29.23
In addition to performing her greatest #1 hits, Diana Ross took a moment to speak about her latest album, Thank You, which she recorded during the pandemic. With heartfelt sincerity, she expressed her gratitude to the audience, dedicating the album to each and every one of them. She shared her realization during the challenging times of the pandemic, acknowledging that true happiness could be found in the simplest thingsâbeing with loved ones and maintaining good health.
The setlist for the evening was a nostalgic journey through Diana Ross’s remarkable career. The crowd was treated to unforgettable renditions of classics such as “Come See About Me,” “Reflections,” “You Can’t Hurry Love,” and “Ain’t No Mountain High Enough.” The performance also included gems like “Mirror, Mirror” and “I’m Still Waiting” from her 1970 album Everything is Everything. The energy soared during the disco hit “The Boss,” and Diana Ross playfully encouraged the crowd to get on their feet and dance.
Diana Ross at Radio City Music Hall 6.29.23
During the iconic song “Upside Down,” Diana Ross injected a dose of humor into the performance. Addressing her age, she exclaimed, “Move it or lose it… if I can move my body like this at 47… you know I’m 79, right?” Her vitality and enthusiasm were infectious, inspiring the audience to join in the celebration and embrace the joy of music.
Diana Ross’s Music Legacy Tour at Radio City Music Hall was a testament to her enduring talent and her indomitable spirit. Her enchanting presence, combined with her timeless hits, created an evening that will be treasured by her fans for years to come. The sold-out show served as a reminder of the impact she has had on the music industry and the love and admiration she continues to receive from audiences worldwide.
Setlist: I’m Coming Out, More Today Than Yesterday, Come See About Me, Reflections, You Can’t Hurry Love, Love Child, The Boss, Touch Me in the Morning, Mirror, Mirror, Upside Down, Chain Reaction, He Lives In You, I’m Still Waiting, Endless Love, Home, Love Hangover, Take Me Higher, Ease on Down the Road, Don’t Explain, God Bless the Child, Tomorrow, I Still Believe, If the World Just Danced, Why Do Fools Fall In Love, Theme From Mahogany, Ain’t No Mountain High Enough, I Will Survive
It was a night to celebrate 90s rock music on Sunday, as Counting Crows brought their Banshee Season Tour to CMAC on Sunday, July 2nd. The concert featured direct support from Dashboard Confessional.
It’s hard to believe it’s been 30 years since Counting Crows burst onto the music scene, releasing their multi-platinum debut album August and Everything After in 1993. The California natives have gone on to release seven more studio albums, along with numerous live albums.
Fronted by Adam Duritz (vocals), the band also features David Bryson (guitar), Charlie Gillingham (keyboards), Dan Vickery (guitar, pedal steel), David Immergluck (guitars), Jim Bogios (drugs) and Millard Powers (bass guitar). The band is touring in support of their latest release, Butter Miracle Suite One (2021).
Heavy showers swept across the concert facility minutes before gates opened on Sunday evening. This did not deter a passionate fan base from arriving early to take in opener Dashboard Confessional. Originally the solo-acoustic project of Chris Carrabba, it would morph into a full band in 2002, as Carrabba was asked to perform on MTV Unplugged. The added bandmates allowed Carrabba’s songwriting to take on new depths and sounds.
Just after 7:30, Carrabba and his band mates took to the stage, and were met with a heavy cheer from the audience. The band launched into the upbeat “Don’t Wait”, which delivered a call and echo vocals, to with the audience enthusiastically obliged. From there the band would perform “The Sharp Hint of New Tears”, a song from Carrabba’s 2000 debut release (with lyrics that showcase the origin of the band’s name). Once known for writing acoustic emo rock, with themes centering around heartbeat and loss, Carrabba and his mates delivered a 60 minute set, spanning the band’s twenty year catalog and was filled with songs of hope and self-triumph. The band would close out their set with perhaps their biggest hit, the high energy “Hands Down”, which saw his band mates jumping and leaping around the stage.
As the 9pm hour approached, a pedal steel guitar was wheeled to stage left. Moments later, the house lights would dim and Duritz and his bandmates took to the stage. A lone spotlight illuminated guitarist Dan Vickery as he began to pluck the hauntingly familiar guitar riff to “Round Here”, one of the band’s most well known songs. Additional lights would slowly illuminate the remaining members of the band as Duritz moved to the center of the stage to start delivering his poetic lyrics, at times acting out key moments in the song. As the song built on energy and emotion, the audience became engaged, belting out lyrics. The band continued to build on the energy and emotion, following up with the upbeat “Hard Candy” and then the familiar “Mr. Jones”.
While the band’s set would lean heavily on music from their early years, Duritz didn’t hide his excitement when they would perform tracks of the band’s latest two releases. Tracks like “God of Ocean Tides” and “The Tall Grass” hit home with the audience as well as the band’s early hits. The later portion of the band’s set saw them perform their latest release Butter Miracle Suite One in entirety. They would conclude the main set with the familiar classic “Long December” which saw the grounds illuminate with cell phone lights and erupted into an audience sing along.
Crowd pleas for an encore would be obliged by the band, as they would return to the stage and deliver a four song encore. Returning to the stage with “Time and Time Again,” a beautiful track of their debut release, Duritz’s voice proved to be strong as ever, as the chorus echoed through out the center. Chris Carrabba and his band would join the Counting Crows for the next piece of the encore, Dashboard Confessional’s 2006 hit “So Long, So Long” which saw Duritz provide a guest vocal appearance on the studio recording. Carrabba would return the vocal favor on the next song, trading lyrics with Duritz on the hit “Hangin’ Around”. Fans flocked to the aisles to sing and dance along, as Carrabba and Duritz bounced around the stage, singing and triumphantly trading high-fives with fans.
Counting Crows ‘Banshee Season’ Tour – CMAC, Canandaigua, NY – July 2, 2023
Setlist: Round Here, Hard Candy, Mr. Jones, Colorblind, Butterfly in Reverse, Omaha, Catapult, God of Ocean Tides, Friend of the Devil, Goodnight Elisabeth / Pale Blue Eyes, The Tall Grass, Elevator Boots, Angel of 14th Street, Bobby and the Rat-Kings, Rain King, A Long December
Encore: Time & Time Again, So Long, so long, Hanginaround, Holiday in Spain
Even a day of hard rain was not enough to prevent Rodney Atkins and Sammy Kershaw from helping the Southern Tier celebrate 4th of July weekend at Tags in Big Flats, NY on Sunday, July 2nd.
By the time Sammy Kershaw took the stage at 7pm, it was light sprinkles and by the time Rodney Atkins took over the rain had completely stopped and made a wonderful night of classic and modern country music.
Sammy Kershaw at Tags in Big Flats
Sammy opened the night with one his most popular hits “Cadillac Style”. Along with the wonderful gift of his music, Sammy took the fans down memory lane with mini stories of his life in between songs. How he started playing the “Honkey Tonks” and bars of Texas as early as 12 years old. He also told a tale of his life with Country Music legend George Jones. His hit “Queen of my Double wide” got a huge ovation.
Sammy Kershaw at Tags, in Big Flats NY.
Rodney Atkins hit the stage with his hit “Backroad”. Atkins, a native of Cumberland Gap, TN, has been banging out hits since 2003 with his debut LP Honesty. Fast forward to 2023 with Atkins supporting his latest LP Caught up in the Country witch the title single has set a record for the longest run on the Country Singles charts.
Rodney Atkins helped the southern tier celebrate the 4th of July with a well received show at Tags in Big Flats, NY.
During a recent local interview Rodney stated that Charlie Daniels was a major influencer to his chosen path. He honored Charlie Daniels tonight by adding the opening segments of CDB “The South’s Going to do it Again “ into his hit “About the South” and played Charlie’s hit, “Long Haired Country Boy”.
Rodney told a story about how when was getting started and how the “suits” in Nashville tried to influence him on what he could and could not write about. The song “Cleaning My Gun” was a direct response to wanting to be in control of his subject matter and lyrics which has proved very beneficial for Rodney.
Rodney Atkins at Tags in Big Flats NY.
The night ended with huge CMA hits “Watching You,” “It’s America” and “ These Are My People.” Coming back for one more, Rodney treated the mildly soggy crowd to a encore with his huge single “Going through Hell”.
Local fans missing this show can catch Rodney very soon on August 5th at the Buffalo Country Music Fest in Akron NY. This show was a continuation of the 30 year anniversary of concerts at Tags, in Big Flats NY.
Big shows still coming up is next Saturday July 8th rock fans will fill the place as Cinderella’s Tom Keifer, joins Stephen Percy (Ratt) and the all-girl band Vixen come to the Summer Sound Stage. After that country music sensation Dustin Lynch will play for the Southern Teir on Aug.11th. For more info on Tags and tickets to their remaining events go to tagstickets.com.
In order to drive oneself to new heights – you must obsess. Moderately, everything arrives in due time. The contextual irony cloaked within the bubbling progression shown by lowkey Nas of my generation amounts to Don’t Feed the Pigeons. One to cause contemplation, it truly remains an honor and a privilege to witness YL’s progression.
Carrier Pigeon v. Passenger Pigeon
Heretofore, any endeavor relies upon its core components. The way that YL of the RRR Music Group drops content tends to resonate. Indubitably, he facilitates his functions with multiple cryptic previews and properly timed balance of project releases. Again, core components derive from learning all facets of music – production, promotion, precision. Intellectually appealing aesthetics and scenarios never hurt either.
Aside: As a thorough interviewer and journalist – I pay attention to my surroundings. Twice a week, time is spent at the Empire State Plaza displays and interesting walks of life. Ironically, many public moments with her occur in the opposite manner – as if surrounding glances hold absolutely no weight. Yet it goes to show how incredibly poignant Upstate NY foliage genuflects the rhythmic nature of existence.
Additionally, the simplistic nature of mathematical musical lens’ lends generously beneficial outcomes. Simply done, YL provides ample time to build up hype revolving around upcoming releases. “Illusions” proved worthwhile with staying power as a skit and small verse sample hit airwaves last October. Clearly, this album serves reminiscent of previous intellectually calculated releases with thematic imagery via intros/skits/outros too.
Artistically, one of the first, Pigeon singles to drop made its way onto timelines one month before RRR dropped their project titled after their music group.
Wholeheartedly, the most ideal characteristic about thee Triple R timing propels any life joy. One thing is for sure – two for certain – any listener cannot hear their collections and resist the urge to feel. The feeling elicited by some of these smooth synchronous samples creeps up on a meticulous listener and hits ‘em where it counts.
Contextually, many of YL’s albums released within just the right era to help me navigate dark times. The songs have carried cruises for extended views and such. Alas, nobody needs to brave this world or music industry alone – big shouts to Waqas.Ghani [RRR Orchestrator] Also loved was a Roper Williams reunion – the top rope from whence the producer duo struck!
Among the highlights of Don’t Feed the Pigeons: YL lets the beat speak on Nothing’s Changed ft. Ankhlejohn, YL says: “Gettin poppin on some present day fame – kind of strange how you hate but stuck in the same place,” and Beat says: “Guess nothing’s changed”
‘Tis impossible to undermine the magnitude of giving space to three man weave with the beat speak.
Real artists make you look inward via introspection. With that being said, i find it very intriguing the way in which @youngwhybaby approaches the notion of $20 pic.twitter.com/mQczHClIUL
“Can’t dwell on what it once was – you finally getting bread that’s wassup.” – YL consistently taps in and touches upon thematic lines. He simply rearranges placements and tests out pockets where words, phrases and lingo might interact more beneficially.
Seemingly, his concept of $20 has escalated to $100 on this project – listen closely.
“$100 dollars on the floor Y’s it seem like a test?”
Wallice, the rising indie-pop sensation, graced the stage at Bowery Ballroom in Manhattan on June 27th, captivating the crowd with her infectious melodies and magnetic presence. This performance marked her triumphant return to NYC (and Bowery Ballroom) after her opening act with JAWNY last March.
With her irresistible charm and undeniable talent, Wallice delivered a performance that was nothing short of electric. Sharing the spotlight was the indie rock boy band Nitefire, whose infectious energy and captivating melodies set the perfect tone for the evening.
As the lights dimmed and the first chords resonated through the venue, it was evident that this would be a night to remember. The atmosphere was charged with anticipation as fans eagerly embraced the fusion of Wallice’s honest lyrics, vulnerability, and witty storytelling. With each song, she effortlessly transported the audience into her world, exploring themes of love, self-discovery, and the rollercoaster of emotions that come with growing up. The synergy between Wallice and Nitefire created a dynamic and unforgettable concert experience, leaving the crowd craving for more.
Nitefire,the dynamic musical project of Nico Geyer and Luke White, boldly defines themselves as the “budget Wallows.” Blending the pop sensibilities of turn-of-the-century indie rock with the vibrant sonics and youthful spirit of Brit-pop, Nitefire fearlessly carves out a lane that is uniquely their own, leaving nostalgia behind. With their roots embedded in the thriving Los Angeles music scene, the band has gained recognition for their DIY approach, hosting their own events and shows that embrace an “if you build it, they will come” mentality, diverging from the digital-dominated landscape of today. Nitefire’s sound and attitude are entirely their own as they carve out a distinct lane. With their debut single “Up 2 U” released, the band has already amassed an impressive following and garnered over 40K monthly listeners on Spotify. Nitefire’s journey has only just begun, and their upcoming releases and live performances promise an exciting and vibrant future for the band.
Nitefire’s opening performance was an electrifying display of energy and connection. Despite a minor setback earlier in the day, with Luke breaking his pinky, the band turned it into a playful guessing game during their set. Nico, the charismatic frontman, challenged the crowd to speculate on the cause of Luke’s injury, teasing them with the statement, “You’ll literally never guess.” Hilarious suggestions of door-related incidents were quickly debunked, fueling the curiosity of the fans. To their surprise, it was revealed that the pinky was actually broken in a Frisbee accident, leaving many scratching their heads and engaging in animated discussions.
Nico’s crowd interaction was a highlight, as he jumped into the crowd multiple times with guitar and mic in hand, creating a central pit of excitement. One fan attempted to converse with Nico in French, only to be misheard, prompting Nico to ask if she was speaking Spanish instead. The lighthearted exchange drew laughter and further showcased the band’s down-to-earth and approachable nature. The finale saw Nico leaning back into the crowd, crowd surfing during the last song, “Saturday.” Nitefire’s performance was a thrilling and engaging experience, leaving fans captivated by their boundless energy and genuine connection.
Nitefire Setlist: Daisies, Here We Go, La La, LAâs Got Gorgeous, Love Gets Ug, Uptight, Lovekiss, Life Gets Funny, Worth It, Saturday
Wallice, the rising indie-pop sensation hailing from Los Angeles, is making waves with her captivating blend of honesty, vulnerability, and wit. With a musical upbringing that exposed her to a diverse range of influences, from classic rock to 90s R&B, Wallice has developed a unique sound that sets her apart in the industry. Her breakout hits, including “23” and “Off The Rails,” have garnered attention for their raw and authentic approach to songwriting, tackling themes of love, loss, and self-discovery with remarkable vulnerability. Her newest EP, “Mr Big Shot,” released June 23rd, further showcases her exceptional songwriting prowess, offering a masterclass in Gen Z’s hopes, dreams, and failures.
Following a successful run of North American shows with JAWNY and Australian dates with The 1975, Wallice is now embarking on her own headline tour across the US, captivating audiences with her infectious energy and tongue-in-cheek, self-effacing anthems. With each release, Wallice reaffirms her status as an artist to watch, captivating listeners with her authentic storytelling and undeniable talent.
Wallice’s performance at the iconic Bowery Ballroom was an extraordinary display of her artistry, accompanied by heartwarming moments and genuine interactions with the audience. The show kicked off with a sweet gesture as she gave her guitarist a peck, setting a playful and affectionate tone for the evening. A fan’s gift of a black gemstone studded cowboy hat became a striking accessory as Wallice embraced it during her soulful rendition of “John Wayne,” captivating the crowd with her magnetic presence. After the song, she graciously returned the hat from whence it came.
Throughout the set, Wallice’s affection for New York was evident as she expressed her love for the city, instantly establishing a connection with the enthusiastic crowd. The audience reciprocated with adoration, elevating the energy in the venue. A touching moment occurred when a fan handed her a crochet bandana and a heartfelt letter accompanied by personal photos. Wallice graciously accepted the gift and wore the crochet bandana while performing the introspective and introspective song “Quarterlife,” adding an intimate touch to the performance.
In a playful exchange, Wallice humorously reprimanded her bassist for removing his goggles after the spirited performance of “Why Do You Love Me?“. This lighthearted banter showcased the camaraderie and dynamic chemistry within the band, further enhancing the overall experience for the audience. Following the energetic performance of “Prepaid Wireless,” Wallice took a moment to introduce her talented band members by name, highlighting their contributions to the music.
Although faced with a technical glitch during “Japan,” Wallice’s professionalism shone through as she gracefully restarted the song, seamlessly carrying the audience along with her. Her ability to handle unexpected situations with poise and maintain a strong connection with the crowd was a testament to her artistry and stage presence.
Wallice’s set at Bowery Ballroom was a memorable and captivating experience, filled with genuine moments of connection. Her ability to embrace fan gifts, engage in playful interactions, and overcome technical challenges showcased her authenticity as an artist. With each song, Wallice’s honesty and vulnerability resonated deeply, leaving the audience with a lasting impression of her talent and charisma.
Wallice Setlist: Disappear, Little League, Loser At Best, Punching Bag, 90s American Superstar, Wisdom Tooth, Rich Wallice, John Wayne, Headache, Quarterlife, Dramamine, Hey Michael, Why Do You Love Me?, Prepaid Wireless, Off The Rails, Japan, 23, Best Friend, Funeral
In terms of upcoming shows, Wallice and Nitefire will be on the road with plenty of chances to catch them on tour until they wrap up on July 20th in San Francisco.
Updates for any future Wallice shows can be found on her socials, and her linktree. The same goes for Nitefire, and you can find their socials and linktree here.
For those looking to dive deep into the darkness that is inherent in the Goth scene, “The Art Of Darkness: The History Of Goth” was released on May 16th (Manchester University Press). Author John Robb takes an in-depth look at all that makes up the Goth music scene – the music, the culture, and the history.
A book that took eight years to be published, “The Art of Darkness: The History of Goth” has received rave reviews across Europe, the nexus for Goth. The Irish Independent said of the tome, “Gloriously knowledgeable…stuffed with stories about the bands who changed your life as a teenager.”
John Robb is a veteran of the global alternative music scene, coining the term “Britpop” in the 1990s, was the first UK writer to interview Nirvana back in 1989, and has written on popular music for The Times, The Guardian, NME, and founded the UK music website, Louder Than War. John has previously written the best-selling books “Punk Rock: An Oral History” and “The North Will Rise Again: Manchester Music City 1976-1996”.
John Robb: Photo by John Middleham
This 546 page book takes the reader into a Goth club, before expanding to take a look at the wider culture and history of the times. Examining the subculture that rose in underground UK clubs, spread thrrough word of mouth at pubs or via posters and handbills, the early scene included hippies, scenesters, dominatrices, and gives a breakdown of what went down in the club scene.
Taking a look at the social conditions at the time that led to the rise of Goth in the post-punk period, Robb finds history influencing art, shifting gears as he looks upon the fall of Rome, folk tales from Europe, the occult, Gothic architecture and more to tie present-day Goth to these continental roots.
Examined is the Goth connection to the punk club scene and how it shifted from punk to goth over time, plus that which makes up various goth sub-groups: mall, traditional, romantic, vampire, etc… all the way to Glam Rock and how Goth arrives at present day, and even how certain genres of music (heavy metal, indie) correlate to the Goth culture.
The book is built mostly around the 80s post-punk Goth period and features interviews with Andrew Eldritch, Killing Joke, Bauhaus, The Cult, The Banshees, The Damned, Einstürzende Neubauten, Johnny Marr, Trent Reznor, Adam Ant, Laibach, The Cure, Nick Cave and many others.
An enjoyable read, one of the biggest takeaways, especially for the uninitiated, are the origins of Goth in the club scene of the 1960s, and the evolution of the beatnik/mod era through punk and post-punk, with goth borrowing as it arose during the time period.
Order a copy of the definitive deep-dive into Goth here!
Ed. note: Thanks to Lola for her insight into goth culture.
Ruel, the prodigious Australian singer-songwriter, took the stage by storm at New York City’s renowned Terminal 5, captivating the crowd with his soulful melodies and undeniable talent. This highly anticipated show marked a milestone in Ruel’s career as he embarked on the East Coast leg of the tour. From the moment the lights dimmed and the first notes filled the air, it was clear that this night would be one for the books. The energy in the venue was palpable as fans eagerly awaited Ruel’s remarkable performance, ready to be swept away by his mesmerizing voice and magnetic stage presence.
Sam MacPherson, the incredibly talented singer-songwriter, mesmerized the crowd with his captivating opening performance at Terminal 5 in Manhattan. As he stood in the center of the stage belting out soulful vocals and heartfelt lyrics, he effortlessly commanded the stage, leaving a lasting impression on the audience. MacPherson’s infectious energy and authentic musicality created an intimate and introspective atmosphere, solidifying the connection between performer and listener. Blending elements of folk, pop, and soul, he showcased his versatility as an artist, setting the perfect tone for the night ahead and leaving the crowd hungry for more incredible music. It was a true testament to his talent and a memorable start to an unforgettable evening of live music.
Ruel, the prodigious 20-year-old singer-songwriter hailing from Australia, has taken the music industry by storm with his undeniable talent and soulful artistry. At a remarkably young age, Ruel’s journey embarked on a meteoric rise when he captured the world’s attention with his debut single “Golden Years” in 2017. This captivating release not only showcased his remarkable vocal prowess but also showcased his ability to connect with listeners on a profound level.
As he continued to ascend, Ruel’s magnetic presence and introspective songwriting captivated audiences around the globe. With each subsequent release, including his EP Ready in 2018, Ruel solidified his position as a musical prodigy, effortlessly blending genres and delivering poignant lyrics that resonate deeply with fans.
Drawing inspiration from his own experiences, Ruel fearlessly explores themes of love, growth, and self-discovery, forging a deeply personal and relatable connection with his audience. With a maturity beyond his years and an unwavering commitment to his craft, Ruel stands poised to leave an indelible mark on the music world, captivating hearts, and minds with his extraordinary talent and unwavering authenticity.
Ruel’s “4th Wall Tour” reached its pinnacle at Terminal 5 in New York City, delivering an awe-inspiring performance that left the audience in a state of pure musical euphoria. As the anticipation built, the crowd erupted with excitement, ready to embark on a sonic journey led by the prodigious Australian singer-songwriter.
From the moment Ruel took the stage, the energy was palpable. Opening with the powerful anthem “GROWING UP IS ____,” he immediately captured everyone’s attention with his soulful vocals and magnetic stage presence. The audience was fully immersed in his world as he flawlessly transitioned into the introspective “YOU AGAINST YOURSELF,” where his heartfelt lyrics resonated deeply with fans.
Throughout the night, Ruel showcased his versatility and artistry, effortlessly weaving between his own captivating tracks and surprising covers. The crowd erupted with joy as he delved into unexpected renditions of the Black Eyed Peas’ “I Gotta Feeling” and One Direction’s “Night Changes,” infusing them with his own unique style and charm.
As the show progressed, Ruel’s connection with his fans became undeniable. The venue transformed into a collective sea of voices singing along to every word, creating a powerful sense of unity and shared experience. The atmosphere reached its peak during the poignant performance of “Younger,” a heartfelt song that resonates with audiences of all ages.
The highlight of the evening came with the spine-tingling rendition of “Painkiller,” where Ruel’s soulful voice soared effortlessly, eliciting a wave of emotions from the crowd. The synergy between Ruel and his band was evident, as they flawlessly executed each song, transporting the audience into a world of musical bliss.
As the final notes reverberated through the venue, Ruel took a moment to acknowledge the incredible team behind the “4th Wall Tour.” With a list of credits displayed on the screens, from the tour crew to the guitar and PR companies involved, it was a testament to the collaborative effort and dedication that made the tour possible.
Ruel’s show at Terminal 5 was a tour de force, a testament to his undeniable talent, and a testament to the unwavering support of his fans. It was an unforgettable night filled with electrifying performances, heartfelt moments, and an undeniable connection between the artist and the audience. As the lights dimmed and the crowd dispersed, the echoes of Ruel’s unforgettable performance lingered in the hearts and minds of everyone fortunate enough to be part of this musical journey.
Ruel Setlist: GROWING UP IS ____, YOU AGAINST YOURSELF, SOMEONE ELSE’S PROBLEM, IF AND/OR WHEN, MUST BE NICE, I Gotta Feeling (Black Eyed Peas cover), Night Changes (One Direction cover), WISH I HAD YOU, golden hour – Ruel Remix (JVKE cover), Flames (SG Lewis cover), SET YOURSELF ON FIRE, SITTING IN TRAFFIC, Dazed & Confused, Younger, Painkiller, I DON’T WANNA BE LIKE YOU
In terms of upcoming shows, “The 4th Wall World Tour” will be finishing up the North America portion in Los Angeles on July 7th, but the rest of the tour picks back up in August down in Santiago, Chile.
Updates for any future Ruel shows can be found on socials and his website. The same goes for Sam MacPherson, and you can find his socials and website linked here.
With their second big show of the year in three days, CMAC dodged a huge storm by Mother Nature to let Darius Rucker bring his “Starting Fires” tour into the Finger Lakes region. Darius making a return stop at CMAC after playing here in 2021 made it a night worth remembering. This was the third date of his 20 city “Starting Fires” tour.
Up and coming act Drew Holcomb & the Neighbors brought their contemporary style of Nashville country to the stage as the opening act as Darius got things going around 9:15.
Darius Rucker opened the night with “Have a Good Time” followed by a crowd favorite “Beers & Sunshine” and then “Drinking & Dialing.”
Paying tribute to John Mellencamp, Rucker then did his version of “Pink Houses” that was very well received. For Hootie & the Blowfish fans, Darius also sang some of his old classics, “Hold my Hand”, and “Let Her Cry.”
Since leaving the Grammy Award-winning Hootie and the Blowfish, whose debut album “Cracked Rear View remains in the top 10 albums sold of all time, Darius has become one the top country stars today. Since releasing his first country LP in 2008 Darius has four # 1 albums on the Billboard Country charts, plus 10 #1 singles.
For those at CMAC waiting to hear his biggest country hit “ Wagon Wheel” they had to wait till the end of the night as it was the third of three encore songs which came after “Valerie“ and “ Hands on me.”
The “Starting Fires” tour continues with shows July 13th & 14 with shows at Q Casinos Backwater Stage in Dubuque, Iowa and Windy City smokeout respectively. For more info on Darius turn to his website at www.dariusrucker.com
The definitive band of the gothic rock genre – The Cure – swept through Midtown Manhattan this past week for a three-date residency at Madison Square Garden (MSG).
Selling out arena after arena on the North American leg of their Songs of a Lost World Tour, a 34-date affair that the band embarked on in New Orleans, Louisiana back on May 10, The Cure have long since secured their legacy due to being one of the first alternative bands to break into the mainstream well over four decades ago. And as luck would have it, I found myself fortunate to provide coverage of The Cure’s second show in The Big Apple this past Wednesday evening, June 21.
Robert Smith of The Cure | Photo: Michael Dinger
The only constant member throughout the band’s storied history that began in West Sussex, England in 1978, frontman Robert Smith has been teasing since March of last year that new material, the first since their 13th studio album (4:13 Dream) was released nearly fifteen years ago, is on its way. Although fans of The Cure are still waiting for a 14th release from their beloved post-punkers, they are certainly satisfied with the progress Smith has been forging on a different front. Outspoken against Ticketmaster and their dynamic pricing model that has ticket prices fluctuating based on demand, and often to exorbitant levels, Smith fought back and guaranteed that for The Cure’s tour, tickets were only allowed to be resold at face value. And in an unprecedented response to the good fight that Smith fought for his fans, Ticketmaster issued partial refunds in mid-March to ticket holders for shows by The Cure to lessen the burden of add-on fees. Even The Cure’s tour merch was affordable, with t-shirts selling for only $25!
Madison Square Garden | Photo: Michael Dinger
Accompanying The Cure on all their US and Canadian dates are The Twilight Sad, a post-punk/indie rock quintet formed just outside of Glasgow, Scotland by vocalist James Graham and guitarist Andy MacFarlane as high school friends in 2003. The Twilight Sad and The Cure are no strangers to one another, as Smith handpicked the Scottish outfit to support The Cure back in 2016, which also included three shows at Madison Square Garden. The Twilight Sad are rounded out by Johnny Docherty (bass), Grant Hutchison (drums) and Brendan Smith (keyboards).
James Graham of The Twilight Sad | Photo: Michael Dinger
The 40-minute set kicked-off sharply at 8:00 pm with intensely thumping bass, before giving way to driving guitar, and eventually Hutchison’s pounding drums that introduced “Kill It in the Morning,” taken from their third studio album (No One Can Ever Know, 2012). At the song’s conclusion, Graham genuinely thanked the audience for being there and explained how it was such an honor for a “small band from a small town in Scotland” to be playing The Garden in New York City.
With flashing strobes offering short glimpses of each band member in otherwise green, red and blue lighting, I was immediately taken aback by the intensity of their performance, particularly that of Graham. As the band delivered “Let’s Get Lost” and “VTr,” two tracks from their most recent studio album It Won’t Be Like This All the Time released in 2019, and fifth overall, I was transfixed by his stage persona. Particularly fascinated by Graham’s sharp gesticulating and bizarre mannerisms, as if he were possessed at times, I knew then what it must have been like to have witnessed Ian Curtis (Joy Division) perform live in the late-1970s.
Andy MacFarlane of The Twilight Sad | Photo: Michael Dinger
The Twilight Sad’s emblematic depth and darkness, incorporating goth despair and 90s industrial with catchy synth and grinding guitar, was prevalent for the duration of their 8-song set. Although I was unfamiliar with The Twilight Sad before tonight, it was not very difficult to get swept up by the emotional highs and melancholic lows that songs like “That Summer, at Home I Had Become the Invisible Boy” – the band’s very first single from 2007 and a nod to the film Stand by Me – and 2014’s “There’s a Girl in the Corner” could transport a listener to. As their newest fan, I cannot wait to see what these Scottish lads have in store for us during the remainder of 2023, and beyond.
While only a recent fan of The Twilight Sad, I have been listening to The Cure since I was 14-year old boy growing up in coastal Connecticut. I do not remember exactly who introduced me to this band at the forefront of the new wave movement in 1986, but I still have a copy of one of the first compact discs that I ever bought, Staring at the Sea, a greatest hits compilation of singles that marked a decade since the band was founded, and a magnificent sampling of ‘The Cure sound’ that I continue to love 37 years later.
Robert Smith of The Cure | Photo: Michael Dinger
At approximately 9:15 pm, with the sound of rain and thunder playing over the house PA suddenly ceasing, the moment had arrived! One by one, the members of The Cure entered from stage left. The first was Jason Cooper who took to his stool behind the kit on an elevated riser at center stage. He was quickly followed by Reeves Gabrels (guitar), Roger O’Donnell (keyboards) and Perry Bamonte (guitar, keyboards) who assumed their respective positions as fans were going wild with excitement. Simon Gallup, a member of the band for all but three years of their history, strapped on his custom Schecter Ultra Spitfire bass as the entire arena held its collective breath until finally, Smith appeared from the dark shadows at the side of the stage.
Simon Gallup of The Cure | Photo: Michael DingerReeves Gabrels of The Cure | Photo: Michael Dinger
Clad in all black and donning a t-shirt depicting the famous Marilyn Monroe scene from the 1955 Billy Wilder film The Seven Year Itch, Smith wore his signature smeared red lipstick and black eyeliner as he internalized the grand spectacle that lie in front of him. For several moments, as his bandmates commenced the instrumental introduction to “Alone,” a new song that will be included on their yet to be released Songs Of The Lost World, Smith slowly walked from one end of the stage to the other, and back again. With clasped hands, he frequently paused at the edge of the stage apron as he gazed longingly into the upper levels of The Garden, a grateful expression across his face for the outpouring of support raining down on him.
Jason Cooper of The Cure | Photo: Michael DingerRoger O’Donnell of The Cure | Photo: Michael DingerPerry Bamonte of The Cure | Photo: Michael Dinger
With everyone in the house standing, classic tune after classic tune would be the overriding theme of the evening. 1989’s Disintegration made a particularly strong showing with prodigious renderings of “Pictures of You,” “Lovesong” and “Fascination Street.” The live staple “Burn,” a contribution by The Cure to The Crow’s 1994 motion picture soundtrack, featured Smith playing the penny whistle during the song’s intro. The main set was bookended with another newly recorded song from Songs Of The Lost World titled “Endsong.”
Beginning at 10:45 pm, the first of two glorious encores comprised of five songs ensued. Masters of the melodic and atmospheric, especially during their extended, trademark instrumental intros, “A Forest” closed the first encore, procured from their second studio album Seventeen Seconds released in 1980. Renowned for a catalog of introspective alternative hits that always make it into The Cure’s live agenda, the whopping nine song second encore did not disappoint, to say the least! As midnight approached on the first day of summer in Gotham, the 29-song marathon gig came to an end with a triple threat of the choicest songs – “In Between Days” (The Head on the Door, 1985), “Just Like Heaven” (Kiss Me, Kiss Me, Kiss Me, 1987) and “Boys Don’t Cry,” the title track from their first compilation released in 1980.
Madison Square Garden | Photo: Michael Dinger
Over the course of the following week, the 2019 Rock & Roll Hall Of Fame inductees’ trek across North America will continue through Pennsylvania, Maryland, Georgia and Florida, with the tour finale slated for July 1 at the Kaseya Center in Miami, Florida. After a much needed respite for the duration of the summer, the English rockers will be back on the road beginning this fall, with a headlining appearance at Riot Fest in Chicago, Illinois (September 17), followed by another headlining gig at Festival Corona Capital in Mexico City (November 19). Their calendar remains full with six additional shows slated for late-November and early-December that will take The Cure to Peru, Argentina, Uruguay, Chile, Brazil, Paraguay and Columbia. And hopefully, not before too long, fans of The Cure will be treated to their first new music since 2008 with the arrival of Songs Of The Lost World in the coming months.
The Twilight Sad Setlist: Kill It in the Morning > Let/s Get Lost > VTr > That Summer, at Home I Had Become the Invisible Boy > There’s a Girl in the Corner > I/m Not Here [missing face] > The Wrong Car > [10 Good Reasons for Modern Drugs]
The Cure Setlist: Alone > Pictures of You > A Fragile Thing > A Night Like This > Lovesong > And Nothing Is Forever > Like Cockatoos > Burn > If Only Tonight We Could Sleep > Charlotte Sometimes > Push > 39 > Fascination Street > From the Edge of the Deep Green Sea > Endsong > Encore 1: I Can Never Say Goodbye > Want > Shake Dog Shake > One Hundred Years > A Forest > Encore 2: Lullaby > The Walk > Friday I’m in Love > Doing the Unstuck > Close to Me > Why Can’t I Be You? > In Between Days > Just Like Heaven > Boys Don’t Cry
