Seven Lions, known for his melodic and emotionally-driven music, curated a setlist that took the audience on an unforgettable sonic journey at Brooklyn Mirage on Friday, May 26. From his signature blend of dubstep and trance to his mesmerizing future bass compositions, each track was carefully selected to evoke a range of emotions.
The crowd was transported through euphoric highs and introspective lows, as the artist seamlessly weaved together his own productions, remixes, and crowd-favorite collaborations. Notably, tracks like “Strangers” and “Rush Over Me” resonated deeply with the audience, resulting in countless hands raised to the sky and voices singing along in unison.
The atmosphere at the Brooklyn Mirage was nothing short of magical as electronic dance music (EDM) enthusiasts gathered to witness the awe-inspiring performance of none other than Seven Lions. The open-air venue, with its towering walls and intricate lighting design, created an ethereal ambiance that perfectly complemented the artist’s unique sound. The warm spring night added an extra touch of enchantment to the evening, making it an ideal setting for a captivating musical journey.
The energy pulsating through the crowd was electric from the moment Seven Lions took the stage. The passionate fans, adorned with vibrant neon accessories, exuded an undeniable sense of excitement. As the music began to fill the air, an incredible unity swept through the sea of people. From start to finish, the audience was engaged and fervently moved to the rhythm, igniting a palpable energy that could be felt throughout the entire venue. It was truly a testament to the artist’s ability to connect with his fans on a profound level.
The Brooklyn Mirage proved to be the perfect backdrop for Seven Lions’ captivating performance. The sprawling outdoor venue, with its industrial charm and impressive architecture, provided an immersive experience like no other. The stage, positioned at the center of the venue, allowed for optimal sightlines and enhanced the connection between the artist and the crowd. As the night progressed, the lighting design transformed the space into a captivating kaleidoscope of colors, further enhancing the visual spectacle. The venue’s ample space and strategic layout ensured that everyone had an unobstructed view, allowing fans to fully immerse themselves in the artist’s sonic world.
Seven Lions’ concert at Brooklyn Mirage was an enchanting EDM experience that left an indelible mark on everyone fortunate enough to be in attendance. The ethereal atmosphere, fueled by the venue’s unique design and lighting, set the stage for a night filled with soaring melodies and immersive beats. The crowd’s infectious energy and unwavering passion further amplified the magic of the evening. Seven Lions’ thoughtfully curated setlist captivated the audience, taking them on a sonic journey that touched the depths of their souls. The Brooklyn Mirage proved to be the perfect canvas for this unforgettable performance, adding an extra layer of wonder to an already extraordinary event.
On the heels of releasing her eighth solo studio album on April 14, Keep Your Courage (Nonesuch Records), Natalie Merchant played the Alice Tully Hall at Lincoln Center for two consecutive sold-out shows this on the evenings of Friday, June 2 and Saturday, June 3.
A huge fan of hers since the heyday of the 10,000 Maniacs in the late-1980s and early-1990s, I was “blessed and lucky” enough to be in attendance for the night two performance on June 3.
At the midway point of a 45 date tour that shares the same name as her new album, the Jamestown, NY native brought her trademark, unmistakable alto chops to the Adrienne Arsht Stage, within the warm, wood veneer confines of the Starr Theater. In celebration of her first new material since 2017, Merchant has been performing several shows on the tour while backed by an orchestra. And Friday and Saturday’s concerts were no different as The Knights, a symphonic orchestral collective based in New York City and led by Associate Conductor Michael P. Atkinson, accompanied Natalie Merchant onstage for lush arrangements of career-spanning tunes.
On an atypically chilly evening for late-spring on the Upper West Side of Manhattan, patrons began to congregate in Alice Tully Hall’s foyer one hour before showtime to relax with a drink from the bar and to check out the ‘merch’ table, which included signed vinyl copies of Keep Your Courage selling for $50. At 7:30 pm, doors to the 1,086-capacity theater renovated in 2006 and known for its exceptional acoustics officially opened. Walking into the theater alongside other attendees to take our respective seat in the orchestra section or balcony, we were immediately taken aback by the theater’s grandeur, particularly the venue’s centerpiece, a cathedral-sized, 19-ton, Swiss-made pipe organ built in 1974.
Running slightly behind schedule, the house lights suddenly dimmed at 8:10 pm and the moment we all had been waiting for was finally upon us! Entering stage right in the first of two elegant, long skirt and blouse ensembles Merchant would be rocking tonight, the epic 23-song show comprised of two sets (separated by a 20-minute intermission) and an encore was officially underway with “Lulu,” from her self-titled studio album released in 2014. At the song’s conclusion, Merchant explained that she wrote the song about Louise Brooks, the American film actress and Jazz Age icon of the 1920s and 1930s who of all things, popularized the bob hairstyle.
With a setlist mimicking Friday night’s selections and order (despite Merchant and The Knights reportedly sound checking “Seven Years” and “My Skin” at rehearsals earlier in the day), Merchant’s voice was in top form, like a fine wine, as she gracefully danced, twirled and flowed from one end of the stage to the other, frequently interacting with her beaming audience.
Speaking of superb vocals, Merchant was joined onstage by two back-up vocalists for several songs, including “Lady Bird,” “Break Your Heart,” “Big Girls,” “Come On, Aphrodite,” “Kind & Generous” and “Tower of Babel.” One of the vocalists who teamed with Merchant during both Lincoln Center performances was Abena Koomson-Davis, a renowned performer and the musical director of the Resistance Revival Chorus, who also sings two duets on 2023’s Keep Your Courage.
As The Knights continued to compliment Merchant’s repertoire of current and past array of heartfelt melodies Saturday night, her innocent charm was palpable. Having matured into a beautifully refined artist over the course of nearly four decades, her songs have the ability to touch the inner soul of her listeners. Tonight, during “Beloved Wife” (Tigerlily, 1995) and “Sister Tilly” (an homage to powerful women from Keep Your Courage), she pulled on her own heartstrings as she was brought to tears during each of these emotional song deliveries. Poking fun at herself as she continued to wipe away the tears, the 2 hour, 30 minute display of live solo material was unfortunately nearing its climax.
The second set consummated with the entire house rising to their collective feet for a rousing rendition of “Kind & Generous” (Ophelia, 1998), followed by thunderous applause which lasted for minutes until Merchant appeased her adoring fans for a three song encore consisting of “Tower of Babel” (Keep Your Courage), fan-favorite “Carnival” (Tigerlily) and “These are Days” (Our Time in Eden, 1992), the lone 10,000 Maniacs number of the night. Before commencing the encore, Merchant quipped, “You are [all] gluttons! A three hour show, that’s what you all get, like Bruce Springsteen!”
Well past 11:00 pm, Natalie Anne Merchant fans of all ages, including a generous sampling of teenagers with their Gen X parents, gleefully filed out of the concert hall and into the Gotham night. Despite all of us going our separate way, we unanimously agreed on one thing – that it’s true, we are all “blessed and lucky” to have witnessed firsthand an emotionally-captivating performance by an artist that oozed both life and passion.
The North American leg of Merchant’s Keep Your Courage Tour will resume in St. Louis, Missouri on June 22. And in case you missed either of her Lincoln Center shows in the Big Apple, or you just need another dose of ‘90s nostalgia, Merchant will be back in the tri-state area to perform with a full orchestra again at New Jersey Performing Arts Center (NJPAC) in Newark, New Jersey on June 25. The thirty-sixth and final show in the lower 48 will occur on September 30 in Los Angeles, California.
Following a much-needed respite during October, Merchant will then continue her tour abroad with nine more shows, including five across the pond in the United Kingdom, as well as stopovers in Dublin and Amsterdam, with the tour finale scheduled for November 14 in Brussels, Belgium.
Setlist
Set 1: Lulu > Maggie and Milly and Molly and May > The Feast of St. Valentine > The Worst Thing > Frozen Charlotte > Ladybird > Giving Up Everything > The Letter > Narcissus > Break Your Heart > Big Girls
Set 2: River > Ophelia > Guardian Angel > Beloved Wife > Sister Tilly > Wonder > Come On, Aphrodite > Life Is Sweet > Kind & Generous
Encore: Tower of Babel > Carnival > These Are Days (10,000 Maniacs song)
A picturesque late spring afternoon yielded way to a beautiful evening of music at Beak and Skiff, in Lafayette on Saturday, as Noah Kahan brought his Stick Season tour to the apple orchard. With the tour lauded as one of the summer’s hottest tickets, the event sold-out well in advance of the show.
Kahan, a native of Strafford, Vermont, is known for his blending of folk-rock and pop music. His first full length studio album, Busyhead, was released in 2019. But it was during the Covid pandemic when Kahan’s popularity began to really soar. He first released the Cape Elizabeth EP in April of 2020. Following its release, and during the height of the pandemic, Kahan would retreat home to Vermont and write his most successful album to date, Northern Attitude (2022). The album, which leans heavily on themes of mental illness, struggling with substance abuse, feeling homesick, and childhood nostalgia, has earned Kahan much critical acclaim and a devoted fan base all across the age spectrum.
The evening kicked off with a set by Richy Mitch & The Coal Miners. The folk-rock band from Montana was joining Kahan for a special, one-off concert. The four-piece band delighted early arriving concert goers with a forty five minute set of folk-rock jams.
During the stage change-over between sets, excitement in the concert field was at a high. Fans packed the area in front of the stage, and shouted the singer’s name. Each crew member received a small roar from the crowd as they made their way across the stage, placing set-lists and water bottles. Finally the house lights dimmed, and the band took to the stage. After a brief instrumental piece, Noah Kahan took to the stage with a mandolin and launched into the crowd favorite “All My Love”. The audience exploded with excitement, and sang along to every word. Impressively, the singing did not stop after the first song. The majority of the crowd sang along, every word, to every song. Kahan kept the energy running for the first portion of the set, playing tracks “Everywhere, Everything,” and “She Calls Me Back”.
As the setlist moved on, Kahan would touch on heavier subject matters. Kahan, a staunch advocate of mental health awareness, would sing openly about his own struggles with mental illness on many songs. He sang in loving memory for a friend who passed too soon, on “Carlo’s Song”. During this song the concert field would glow in a sea of green (for mental health awareness) as fans held lights up from their cellphones. Noah Kahan would sing of substance abuse and finding sobriety on the track “Orange Juice.” Perhaps the most power full moment of the night would be when Kahan returned for an encore. He would open the three song encore with “The View Between Villages”, a reflective and nostalgic track written about an emotional return to Kahan’s childhood home town many years later. The song would build with emotion until its epic climax, and the audience did not miss a beat, singing along to every word. Kahan would finish the night with crowd favorites “Stick Season” and “Mess”.
If you missed out on this performance, you are in luck. Kahan has already scheduled a return visit to Syracuse, at the Lakeview Amphitheater on September 1.
Ice-T rocked the stage at The 12th annual Bushwick Collective Block Party held on June 3rd in Brooklyn. The party proved to be an electrifying celebration of art, music, and community. Ice-T, the legendary rapper, actor, and cultural icon, headlined the concert and delivered a memorable performance that left the audience in awe.
Ice-T, who has been a prominent figure in the hip-hop scene for over three decades, has consistently pushed boundaries with his thought-provoking lyrics. As he stepped onto the stage, the cheers and applause erupted, setting the stage for an unforgettable experience. Ice-T wasted no time in taking the audience on a musical journey through his extensive catalog. He seamlessly transitioned from classic hits like “Colors” and “6 in the Mornin’” to newer tracks that showcased his continued relevance in the ever-evolving rap landscape. He also brought a few special guests out including Kool Keith and Treach from Naughty by Nature.
The 12th annual Bushwick Collective Block Party was not only about Ice-T, though. Dres from Black Sheep had a set as well, as did Tony Touch and Statik Selektah who also both brought guests. Coney Island native Nems made a quick appearance during Tony Touch’s set. Statik brought out some younger acts like Kota the Friend and Recoechi as well as Termanology. Shade 45 talent D-Stroy hosted the event and DJ Evil Dee helped keep the crowd amped with a mix of classic hip hop hits. The collective talent on display was a testament to the hip-hop spirited community that continues to thrive in Brooklyn.
The event’s organizer, Joe Ficalora, created this open air gallery know as The Bushwick Collective over ten years ago. There are many murals of fallen hip-hop artists that pay tribute all around the area. Some include Guru, Nipsey Hussle, Biggie and Dave from De La Soul. The collective has transformed Bushwick into a hub of artistic expression. The annual block party serves as a culmination of their efforts, bringing together artists, musicians, and residents to celebrate the neighborhood’s vibrant spirit.
This is an important year for hip-hop. It marks the 50th Anniversary, a significant milestone that pays tribute to the genre’s enduring influence and cultural significance. From its birth in the streets of the Bronx to its domination of the global music scene, hip-hop has continuously challenged norms, and given voice to marginalized communities.
On Friday, June 2, renowned rock band Styx graced the stage at Artpark in Lewiston, NY, delivering an unforgettable evening of music and nostalgia. The venue was packed to the brim, with an excited crowd eagerly awaiting the start of the show. Despite a brief ten-minute sprinkle of rain, the weather gods smiled upon us as the downpour held off, setting the stage for an extraordinary concert experience.
Jet Black Roses
The night began with an opening act called Jet Black Roses. They set the tone with their high-energy performance. Their melodic tunes and captivating stage presence effectively warmed up the audience, preparing them for the main event.
As the lights dimmed, a palpable sense of anticipation filled the air, and Styx burst onto the stage with a powerful rendition of “To Those”. Immediately capturing the hearts of the crowd. Styx wasted no time in launching into their arsenal of classic hits, delivering a charged and electric performance that showcased their exceptional musicianship and undeniable showmanship.
The setlist for the evening was a carefully curated mix of beloved favorites and hidden gems, each song met with roaring applause and enthusiastic sing-alongs from the captivated audience. Timeless classics like “Blue Collar Man (Long Nights)” and “The Grand Illusion” transported fans back to an era filled with memories, while still resonating with a fresh and contemporary edge. It was a testament to Styx’s enduring legacy and their ability to connect with fans of all ages.
Frontman Lawrence Gowan effortlessly commanded the stage throughout the night, his vocals soaring with power and emotion. Whether belting out the iconic chorus of “Come Sail Away” or delivering a soul-stirring rendition of “Lady,” Gowan’s performance was nothing short of mesmerizing. He even took a moment to showcase his own repertoire with a solo performance of “A Criminal Mind,” leaving the audience in awe and showering him with well-deserved praise.
The band’s energy remained unwavering during the two-and-a-half-hour spectacle. Guitarist Tommy Shaw unleashed blistering solos and infectious riffs that ignited the crowd, while the rock-solid rhythm section of bassist Ricky Phillips and drummer Todd Sucherman provided a sturdy foundation for Styx’s dynamic sound. The band’s impeccable harmonies and instrumental prowess were on full display during epic tracks like “Crystal Ball” and “Fooling Yourself (The Angry Young Man).”
As the concert reached its crescendo, a thunderous roar of applause filled the air as Styx delved into their final songs. The encore, comprising the iconic “Mr. Roboto” and the timeless anthem “Renegade,” left the audience exhilarated and yearning for more.
In conclusion, Styx’s concert at Artpark was an extraordinary experience. The band’s timeless music, coupled with their exceptional stage presence, created an electric atmosphere that had the crowd on their feet throughout the entire performance. Despite a packed venue and a brief encounter with rain, the night proceeded flawlessly, leaving concertgoers with indelible memories. Styx once again demonstrated why they are revered as one of the greatest rock bands of all time, and their performance in Lewiston, NY, will undoubtedly be remembered as a pinnacle moment in their illustrious career.
New York-based jazz drummer Ilya Dynov released his debut album Bridges on April 16th, 2023. The album features Alex Norris on trumpet, Jihee Heo on piano, Lonnie Plaxico on bass, and Ilya Dynov on drums. Ilya Dynov reveals himself as an outstanding contender on the jazz scene. The album blends different jazz styles, balancing tradition and virtuosity with creative freedom. Thus, it showcases a mature harmony and expressive creativity.
Bridges consists of Dynov’s all original compositions and features an array of world class talent out of New York. Alongside Dynov on drums are the legendary bassist Lonnie Plaxico, extraordinary trumpeter Alex Norris, and exceptional pianist Jihee Heo. Bridges comprises 9 tracks: four in a piano trio setting, three as a quartet with trumpet, and two flavorful drum solos as “Intro” and “Finale” statements.
In terms of composition and exposition, the album exceeds typical expectations of a drummer-led band. It combines harmonically challenging pieces with convincing melodies brought to life with integrity, and a respect for American jazz tradition. Dynov’s excellent drumming technique is paired with a deep connection with the harmonic and melodic contributuons of his band mates. Through this, the result i s a exploration of a contemporary palate that, at the same time, respects the music of the forefathers.
The record consists of a wide range of compelling pieces. The “Intro” statement is immediately captivating to listeners and serves as a reflection of Dynov’s expertise. A suspenseful drum solo drifts in and out of intense crescendos and decrescendos, keeping the listener on the edge of their seat in anticipation. The short, somehow mysterious intro track, holds promise of a unique record to follow. The raw sound of the drum and interesting composition encourages the audience to listen to the next track.
The first ‘official’ song of the album, “Constellation,” opens with a compelling, raw base, which then leads to an exciting, smooth jazz melody. A riveting trumpet leads the bass, drums, and piano ensemble. “Constellation” largely embodies what jazz is truly about – listening to the song was akin to listening to an exciting conversation that one can’t help but be entirely invested in. Each instrument has its own voice and unique role within the song, and yet they all work together to create one coherent melody. The song ebbs and flows, taking the listener through fast and slow sections. Through rhythm, tone, and style changes, “Constellation” was extremely engaging, and embodied the instrumental conversation that is jazz.
“Drum and Berries,” the second track on the record, presented a smoother, slower melody than the previous tracks. Rather than an intense argument between instruments, “Drum and Berries” exemplified a flowing, cohesive conversation. The track opens with a gentle piano, accompanied by bass and drum. Throughout the slow jazz tune, the piano expertly navigated through the constraints posed by an ensemble, playing off the base while also embodying a classic jazz sound. Halfway through the song, the bass takes over, playing the tune set up by the piano in the first half. An exciting, raw drum solo follows, serving as a reminder of the intro track.
Something worth noting about the album is that each song is entirely unique, with its own personality. Following the first three tracks, “For Those We Love” plays off a more classic jazz sound than the other songs. A trumpet solo immediately engages listeners within the first few beats of the song, soon leading into a classical jazz melody. The tone of the trumpet, accompanied by a well-blended pairing of piano and drums, creates a somber, almost romantic energy. Unlike previous tracks, the trumpet takes the spotlight overpowering notes and rhythms. Rather, the simple notes and melody are compelling in their sim[licity and rawness.
“For Those We Love” seems to tell a story through the trumpet – the mood shifted throughout the song, sometimes embodying a somber narrative, other times presenting itself as bright and optimistic. Like previous tracks, instruments within the ensemble each took over the musical conversation in a contemporary jazz fashion.
A theme that was present throughout the album was the compelling and dramatic drum solo. The fifth track, “Blue” continued the suspenseful drum solos from the intro and “Drum and Berries.” A wonderfully unsettling, compelling, and raw drum solo emerged following a highly suspenseful, gradual crescendo. Through dramatic crescendos and decrescendos, the drums presented a contemporary mix of all sorts of sounds working together. The song itself seemed to ebb and flow, emerge and remerge, and changed throughout the track. The drums grew increasingly more spunky, ultimately resulting in an edgy tune with an upbeat melody, led by piano. “Blue” transitioned into a fast, compelling, and bright piano melody, the second half of the song completely different than the introduction.
Another highlight within the album is “68th Street,” a song largely reminiscent of classical jazz. The song emulates a beautiful ballad through its well-rounded, blooming melody. The piano seemed to convey a story about love. The bass and piano both act as soloists throughout the song, and effectively convey a calm, gorgeous melody that one can’t help but fall in love with.
Overall, “Bridges” is a highly versatile album that embodies all that is wonderful about jazz. Each song is compelling in its own right, and the album in its entirety serves as a valuable addition to the world of jazz.
Hudson Valley-based indie rock group Setting Sun released their first album in ten years, The Feelings Cure, looking back on who they were, what they are now, and the journey they have gone through as a band.
Led by frontman and primary songwriter Gary Levitt, the sixth studio album by Setting Sun, The Feelings Cure, was recorded carefully, as Levitt says “I wasn’t sure if I’d be able to get in the creative zone with set times of having to turn creativity on and off like a switch. I used to write and record in creative blasts when I felt it come on like a wave or virus. Having kids forced me to write, record, and mix within the gaps of being a father. The maturity shows on this record.” Over ten tracks, the group comments on changing yourself as time goes on, all while utilizing upbeat instrumentals, and melancholic lyrics.
Feelings Cure is slow and free-flowing as it starts with the opening track “Cool,” fading into the more upbeat track yet still slow “Sometimes,” featuring prominent guitar solos and the good ol’ indie rock feel. Things get increasingly experimental on “Can’t Send It Back” with 80s-inspired synths, with Levitt repeating the chorus multiple times, singing “Now it’s gone by the way/Don’t expect me to stay/Somebody tried to keep their eye on mine.” One of the most enjoyable tracks “Good Die Young” blends Levitt’s personal endeavors as a comedian into the witty lyrics, citing it is the “closest [he’s] ever gotten” to blending the two areas. The song is short and simple yet makes the listener feel happy and carefree.
The album becomes slower beyond this point, featuring a country vibe on “Up and Away,” showcasing Levitt’s talents with experimenting with different genres. “Same Face” has a female singer prominently singing background vocals, adding a lighter tone to the song, as well as a return of those 80s synths. Overall, the record brings you into Levitt’s personal journey as a father and band member and the difficulty he faced balancing both. It is a classic slow indie rock record with a twist, featuring intricate genre blends, melancholic lyricism, and driving rhythms.
Key Tracks: Can’t Send It Back, Good Die Young, Feelings Cure.
Setting Sun’s new record Feelings Cure is available on every streaming platform. They are performing at the Harmonies on the Hudson Concert Series in Germantown on June 15 and at Opus 40 in Saugerties on July 16. Tickets are available here.
Popular folk artist Noah Kahan began his Stick Season tour for a sold out crowd at Artpark on May 26. This tour is celebrating Noah’s third studio album Stick Season which was released at the end of 2022.
Photo Credit: Maddie McCafferty
Opener Joy Oladokun kicked off the night with her mix of R&B, folk, and rock tunes. Her influences as a queer woman of color has given her powerful lyrics and connective albums a new meaning. Joy converted new fans that night as she spent her set connecting and singing with people about mental health.
Photo Credit: Maddie McCafferty
Noah later took the stage with his whimsical visuals and groovy band members. The group first played the popular hit “All My Love” which immediately had fans hyped up. Despite this being the Stick Season tour he brought back his roots when playing classics off his old EP Cape Elizabeth. These included “Glue Myself Shut,” and “Maine.”
Photo Credit: Maddie McCafferty
Addressing Mental Health
Noah is no stranger to mental health issues. In fact he not only writes about it in his songs but even discusses it on stage with countless people listening. That night at Artpark he talked with everyone how important therapy is and being okay with asking for help. Noah helps break the stigmatization around metal health issues and alcohol abuse. After his heavy hitting speech he sang “Growing Sideways” which examines the distraught feeling of being stuck.
Photo Credit: Maddie McCafferty
The artist took a moment on stage to play some acoustic songs which brought an ease over the crowd. Fans really became excited though when Noah played several tracks off his unreleased deluxe edition of Stick Season including “No Complaints” and “Dial Drunk.”
This night was special for Noah Kahan considering it was the first time he was playing certain songs live and the start of a tour that is about to sweep the nation. His music discography has already left a mark on the internet space but his live show is what will make people coming back for more.
Photo Credit: Maddie McCafferty
Artpark’s Summer concert series is a must see for both the music and the environment. Make sure to check out upcoming shows here. Young The Giant is coming June 13 and Michael Franti & Spearhead perform June 21.
Setlist: All My Love, Everywhere Everything, She Calls Me Back, False Confidence, New Perspective, No Complaints, Glue Myself Shut, Growing Sideways, Maine, Northern Attitude, Dial Drunk, Carlo’s Song, You’re Gonna Go Far, Orange Juice, Homesick, The View Between Villages, Stick Season, Mess
Smoke DZA serves the rap game as a mainstay & staple type New York artist. Certain lyricists put forth so much groundwork that they are cemented throughout underground for generations. Roc Marciano and Curren$y come to mind when conceiving the kingship achieved by lowkey legends. There is something special about artists like Your Old Droog that just continue to sharpen and fine tune their penmanship. Furthermore, we set out to place real hip-hop lyricists on your radar for as far our reach yields.
In Mid-May, Smoke DZA dropped WorldwideSmokeSessionsVolume 2 presented by The Smoker’s Club an NYC based lifestyle brand founded by Jonny Shipes, Smoke DZA and Shiest Bubz.
It’s just something about second versions of mixtapes that allow the artist to carefully construct and improve upon the first edition. Hear me out – on this tape – there’s a track reminiscent of Mos Def “Travellin’ Man.” Is it a stretch to consider those two within the same breath? Even if that rings true, real audioheads may hear the resemblances.
Pinpointing
Consequently, a real journalist carries the audacity to auspiciously sense when songs might utilize similar types of flows/cadences. Thus, it just so happens that DZA cleverly pieced together a very smooth collection of songs. The first WorldwideSmokeSessions dropped in 2019. Since, DZA’s vision continues to clairvoyantly depict relatable scenes and scenarios. Entering into this listening experience in an open-minded manner served the ultimate purpose for v2.
More times than not – if a mixtape passes the “car test” it proves authentic. Sound engineers like Mike Dean recommend playing the mastered product in the car to formulate final decisions. Eventually, the car test combined with a stereo sound bar and a speaker boombox hit for the trifecta when it comes to immersing within an album. Regardless, this DZA tape creates such a genuine vibe that we were taken aback by its phenomenal nature.
Growing Roots
Some projects take longer than others to develop wings and truly begin to move someone. For instance, “Nacksaw Jim Duggan” – a Griselda Records Estee Nack Debut – took several listens to grow roots. It’s clear to understand that greatness comes over time by trying your hand over and over again, or in this case, training your ear to absorb the album within different environments.
Smoke DZA laid the foundation very precisely throughout his endeavors as a New York artist. Without a doubt, his name holds weight within musical circles associated with meditative properties. Hence, listening to WorldwideSmokeSessionsVolume 2 by Smoke DZA creates a multilayered onset effect for the listener. This mixtape comes complete with boatloads of relaxation, variety and tunes good for cruising along.
Beginning in the afternoon on Friday, May 26 through the late evening on Sunday, May 28, the 12th installment of the beloved Boston Calling music festival returned to its home at Harvard University in Boston (Allston), Massachusetts this past Memorial Day weekend.
For three straight days, more than 40,000 fans of all ages passed through the gates into the Harvard Athletic Complex where they were welcomed daily to engaging activities such as a ride on a 100-foot Ferris wheel, delicious food served up by 29 local vendors, and of course, great music performed by 51 artists (17 each day) across four outdoor stages dubbed the Green Stage, the Happy Valley Red Stage, the Blue Stage and the Tivoli Audio Orange Stage, which championed acts with local ties to New England.
Paramore | Photo Credit: Michael Dinger
Inaugurated in 2013, the acclaimed Boston Calling festival is produced by Boston Calling Events, owned in part by Boston-based Crash Line Productions, whose hallmark of bringing new sounds each and every year was on full display again. In step with the festival’s commitment to securing an iconic mix of musical performances, headlining the festival on Day 1 (Friday) wereRock & Roll Hall of Famers Foo Fighters. Having played in New Hampshire two days prior, this would only betheir second official concert following drummer Taylor Hawkins’ tragic death in March 2022. The Lumineers, soulful alternative-folk rockers from Denver, Colorado, headlined Day 2 (Saturday) of the festival. Day 3 (Sunday) of the festival was headlined by indie rock darlings Paramore, formed in Franklin, Tennessee in 2004. Paramore, having already performed at the festival back in 2018, made their triumphant return on the heels of releasing their sixth studio album, This is Why.
Foo Fighters | Photo Credit: Michael Dinger
Boston Calling also featured renowned co-headliners on each day, including The National and Boston natives Dropkick Murphys on Day 1, the latter who quickly stepped in for the art-punk trio YeahYeahYeahs due to an undisclosed illness announced the day prior. The Celtic punk band’s frontman, Ken Casey, would announce to the crowd during their blistering set, “The Yeah Yeah Yeahs said ‘no no no,’ but we never say no!” Day 2 saw seven-time Grammy Award-winning singer/songwriter Alanis Morissette take the Red Stage, playing her first show in Boston since 2012. Queens of the Stone Age, alternative metal rockers from Seattle, Washington, brought their hard-pounding musicianship toDay 3 of the festival. Having recently announced their long-awaited eighth studio album, In Times New Roman, they thrilled their die-hard fans with two new tracks from this forthcoming release (June 16), including “Emotion Sickness” and “Negative Space.”
Dropkick Murphys | Photo Credit: Michael DingerQueens of the Stone Age | Photo Credit: Michael Dinger
Joining these headlining and co-headlining acts were well-established artists such as Noah Kahan, Bleachers, The Flaming Lips (who celebrated the release of Yoshimi Battles The Pink Robots by performing the 2002 album in its entirety), King Gizzard and the Lizard Wizard (the psychedelic rock band from Australia who were forced to bow out of last year’s festival due to COVID-19), Mt. Joy, Maren Morrisand many more.
Bleachers | Photo Credit: Michael DingerMt. Joy | Photo Credit: Michael DingerThe Flaming Lips | Photo Credit: Michael Dinger
The holiday weekend also offered its patrons plenty of performances from up-and-coming talent, including Razor Braids, The Beaches, The Aces and The Linda Lindas (an all-girl quartet ranging in age from 13 to 19 who easily won over the crowd after a personal introduction to their set by the Mayor of Boston, Michelle Wu), to name just a few.
The Beaches | Photo Credit: Michael DingerThe Linda Lindas | Photo Credit: Michael Dinger
Although the temperature each day of the festival was not as hot as it could have been for this time of the year, the sun did take its toll on some of the audience members who were not adequately hydrated. I witnessed firsthand at least five people who appeared to faint due to heat stroke, all of whom required to be quickly pulled out of the crowd by security and whisked away for treatment by EMT personnel.
The only critique that I have for this year’s festival is also the same as 2022’s festival, the merchandise tent line was long, exceedingly long. As I talked to fans who were proudly wearing their new t-shirt or hat, I learned that time spent in line (and away from the stages) was a minimum of two hours! Often, the sought after merch had already been sold-out. However, fans were at least able to complete an order form for the requested item to be shipped at a later date.
Fans soaking in the action at the Red Stage (Day 2) | Photo Credit: Michael Dinger
No festival experience is considered complete without first meeting and interacting with fellow fans. My own personal encounters included talking to Paul from Toronto, Canada in front of the Green Stage for most of Friday afternoon. I learned that he and his 16-year old son drove for eight hours Thursday night and into the wee morning hours to see the Foo Fighters for the first time. Paul emotionally shared with me that his son “will always remember this, so it was well worth it.” On Friday, I also met Kirby from Danbury, Connecticut, an avid fan of all music genres, as well as a talented drummer and guitarist. He revealed to me that he was dealing with painful plantar fasciitis in both feet, so when I saw him again on both Saturday and Sunday along the rail of the Red Stage, I was glad he was able to still see the artists he loves up close and personal. Being a graduate of the University of Connecticut (UCONN), it was also a pleasure to spend time speaking with Seth for a few hours, a UCONN professor for nearly 20 years and an amateur live music photographer.
Shane Hawkins Joins Foo Fighters Onstage | Video Credit: Michael Dinger
During a festival filled with three days and nights of highlights, it’s easy for me to pick out my favorite one. Throughout the Foo Fighters’ two hour set, Dave Grohl’s devastation by the loss of his friend and bandmate was palpable – on his face and in his speeches to the audience. So, when Grohl welcomed to the stage “one of [his] favorite drummers in the world,” 17-year old Shane Hawkins, it was truly a goosebumps moment. With Shane taking a couple of minutes at the drum kit to adjust the stool height left for him by the Foo Fighters newest member, Josh Freese, Grohl stalled for time. “Hello Boston, how’s it going over there? Earlier, I was in my dressing room and I heard the audience going absolutely fucking bonkers for someone. And I was like, who the fuck is playing that someone is going [this crazy]? It was Niall Horan [of One Direction fame], is that his name? How’s it going there Shane? Oh my God, there is a curfew Shane. This is an old song from our first record and when we play it . . .” Abruptly, in came Shane with a thunderous drum roll to launch “I’ll Stick Around.”
