Popular Southern Tier music venue Tags Summer Stage of Big Flats, NY kicked off their exciting 30th season of music with a sold out show featuring Lee Brice and Cole Swindell.
Lee Brice got the night going as the first of two headlining shows for the highly anticipated event. The success of the first show was evident with a sold out venue.
Brice was touring in support of his latest album “ Hey World” his fifth album to date from Curb Records. Playing with Brice is his band of many years Travis Bettis on guitar. Micheal Gray on drums, Paul Rippee on bass, and Reginald Bradley Smith on Keyboard. The current tour will take Brice as far west as California and north into Canada. Brice will return to the Empire State on this tour Oct. 19th & 20th in Westbury NY at the NYCB Theatre.
For Tags the excitement for their 30th season continues on July 2nd with Rodney Atkins & Sammy Kershaw, and recently announced, Dustin Lynch & Dylan Scott on Aug. 11th. For more info on all the events for Tags 30th anniversary season go to www.tagstickets.com
For more info on Lee Brice fans can to his website www.leebrice.com loaded with ticket and tour info.
Indie rock legends The Front Bottoms celebrated their 10 year anniversary of their renowned album Talon of the Hawk. The band played this timeless album in full at Beak and Skiff in Lafayette for a sold out crowd on May 25.
Photo credit: Maddie McCafferty
In 2013 The Front Bottoms released Talon of the Hawk which set them on the map in the alternative scene. Through angular melodies and wiry guitar riffs it began to make its mark. Dedicated fans celebrated this album through the years and even with the growing success of later pieces of work, people kept coming back to it.
Photo credit: Maddie McCafferty
If The Front Bottoms fanbase could be described in one word it would be loyal. They have followed the New Jersey duo of Brian Sella (vocalist/guitarist) and drummer Mathew Uychich for years. As a celebration the group brought their roots back to the fans by playing their beloved album in full for special shows.
Photo credit: Maddie McCafferty
AJJ opened up the night at Beak and Skiff Apple Orchards. This American folk punk band has been an inspiration to The Front Bottoms over the years so it was only fitting they join them on this tour.
10 Years of Talon of the Hawk
The Front Bottoms kicked off the night with the first two tracks off the album, “Au Revoir (Adios)” and “Skeleton.” Instantly you could feel the energy shift as Brian stepped onto the stage. Birthday hats, decorative posters, and costumes encompassed the field. The night may have started celebrating Talon of the Hawk but it later encompassed the endless other accomplishments the fanbase has endured. From birthdays to gradations to just making it to the next day the community was full of a sense of awe.
Photo credit: Maddie McCafferty
Despite the rawness and hard hitting lyrics the artist sings the fans waste no time dancing freely to the music. Especially once the band played “Beers” in their encore. Instantly the mosh pits began again and countless people were crowd surfing. There is something about this community that The Front Bottoms have built. It just goes to show that being honest and real about the hardships of life can actually bring people together. After all, who says we can’t dance together through our pain?
Photo credit: Maddie McCafferty
As summer approaches, Beak and Skiff Apple Orchards proves to be a top venue location for good tunes with the perfect scenic view. Upcoming shows include Noah Kahan on June 3 and Fleet Foxes on July 12. Get tickets here.
Setlist: Au Revoir (Adios), Skeleton, Swear to God the Devil Made Me Do It, Twin Size Mattress, Peach, Santa Monica, The Feud, Funny You Should Ask, Tattooed Tears, Lone Star, Backflip, Everything I Own, Flashlight, West Virginia, Maps, Be Nice to Me, Wolfman, bus beat, Outlook, Hello World
For some fans, The Allman Brothers 1971 live double-disc, At Fillmore East, was the pinnacle of the band’s career and artistry. It was the culmination of years of relentless touring, a door-to-door musical missionary work that sold fans on bandleader Duane Allman’s unique fusion of blues, rock, big band styled melodic harmony and extended jazzy improvisation into a form that, more than any other, gave birth to the still-thriving jam band idiom. While At Fillmore East remains one of rock’s most revered live albums, it was another crafted after Duane’s death, 1973’s Brothers and Sisters, which was their commercial highpoint.
With over seven million copies sold, Brothers and Sisters was their best-selling album. It was also the one that generated a level of fame that would find them swaying a Presidential election, headlining the world’s largest rock festival, ushering in the commercial juggernaut of Southern Rock and, yes, even becoming the subject of a steady stream of Hollywood tabloid fodder.
In 2015, Paul penned the definitive title on the band, the New York Times best-selling oral history, One Way Out: The Inside History of The Allman Brothers Band. He is also co-author of another comprehensive biography of an American blues master, Texas Flood: The Inside Story of Stevie Ray Vaughan.
To set the scene for this latter chapter of the band, Paul begins with a compact, pre-fame history of each of the original Allman Brothers players. There is Duane and Gregg’s early days as the Allman Joys and the underrated Hourglass, Duane’s time as a session musician and in Derek and the Dominoes and guitarist Dickey Betts’s experience pioneering dual lead and melody in the Second Coming alongside Larry “Rhino” Reinhardt. His description of Betts as “Zen Charles Bronson” is worth the cover price of the book alone. The preamble takes us up to their breakthrough days after At Fillmore East, when all should have been well but really wasn’t. The entire band, minus drummer Butch Trucks, were addicted to heroin. Duane would die in a motorcycle crash a couple of months after its release; bassist Berry Oakley would be dead by the same cause a year later.
Paul’s book captures the Allmans at a time of uncertainty — of rebuilding a band and a shifting in their creative power balance. The addition of young Chuck Leavell on keys and Lamar Williams on bass would help usher in a new style, in studio and on the stage. Williams would bring more of a solid groove to the rhythm section, one propelled with a pick made from a Clorox bottle by the seasoned bassist (my favorite bit of weird trivia in the book). Twenty-one-year-old Leavell would add a depth of harmony, honky tonk swing and a new, virtuoso lead voice to complement the Allman’s new, one guitar lineup.
That one guitarist, Dickey Betts, would emerge from Duane’s shadow to be the leader of the band during Brothers and Sisters. He would pen four of the six originals on the disc, including “Ramblin’ Man,” the Allman Brothers’ first and only Top Ten hit. The tune would feature one of late bassist Berry Oakley’s final contributions and harmony guitar by Les Dudek. The author also shares how Betts, unhappy with the tempo, asked for the song to be speedup, then changed his mind. In a mix up, the speed up version was released, with Betts’s voice in a higher than wanted range, infuriating the mercurial guitarist. This tune ushered in an old school country feel to the Allmans’ sound and even spurred a mighty accolade from Bob Dylan who called it “one of the best songs ever written.” Guitarist Dudek would also be featured on another Betts’ standout from the album, “Jessica,” a tune the author adds was written as an exercise inspired by the work of two-fingered jazz great Django Reinhardt.
One reason Betts assumed leadership was Gregg Allman’s dividing his time between recording Brothers and Sisters and his first solo disc, Laid Back. Here, Paul delves into Gregg’s love of Laurel County folksingers, his own desire to be viewed a part of the creative community of his onetime roommate in L.A., Jackson Browne.
Paul’s book provides a balanced perspective on Phil Walden, the man who served as both manager and record company for the band through his Capricorn Records. Walden would have an up then way down history with the band and would, via their success, build an empire largely around Southern rockers like The Marshall Tucker Band, Charlie Daniels and others. There are some colorful descriptions of Walden’s annual Capricorn Picnic and Summer Games, which drew strange bedfellows like Andy Warhol and boxing promoter Don King to rub shoulder with the rowdy Southern rockers.
Author Alan Paul – photo by George Lange
One of the more interesting chapters is how the Allman Brothers help revive the Presidential campaign of Jimmy Carter, something covered in great detail in the wonderful 2020 documentary “Jimmy Carter: Rock and Roll President.” Paul also spends a great deal of time exploring the history of The Allman Brothers’ on-going touring partnership with the Grateful Dead, something culminating with Summer Jam at Watkins Glen, the 1973 festival which attracted a world record 650,000 attendees. For the gossip minded, there’s a detailed look at the star-crossed union of Gregg and Cher, a relationship which, like the band itself, was severely compromised by Allman’s addictions. Another factor compromising the band was guitarist Betts’ dependence of cocaine and alcohol, something which made his stage performances, and the bands, more unpredictable as time passed. By 2000, Betts would be out of the band for good and The Allman Brothers would never play “Ramblin’ Man” again.
Like his earlier book on the Allmans, Paul’s latest is an honest and very in-depth assessment of the most commercially vital era of the band. In creating it, Paul had access to hundreds of hours of never-before-heard interviews with the band and its confidants, including Dickey Betts and Gregg Allman, from ABB archivist Kirk West.
Paul will be supporting the launch of the book with a variety of events around the country featuring a reading, Q&A and performance by his band, Friend of the Brothers. Paul ensemble will feature former members of Dickey Betts’ Great Southern, Jaimoe’s Jassz Band and the Phil Lesh Band and special guests including Duane Betts. The lineup includes a July 30 events at New York’s City Winery and August 4 and 5 at Daryl’s House in Pawling, New York.
On Tuesday, May 9th, Beartooth and Trivium brought their co-headlining tour Buffalo Riverworks, with support from Malevolence and Archetypes Collide.
Malevolence
If you’ve never been to Riverworks, its located right on the edge of the Buffalo River and its host to more than just shows but also provides entertainment and fun for the younger crowd, with rides like the Kids Train, Fun Slide, Happy Viking, Jumping Jack and we even have a kids ropes course, with mini a zip-line. Inside, you’ll find the stage but also, arcade games and a skating rink off to the side.
Trivium
First to kick off the night was Archetypes Collide, who had a lot of energy to share throughout their set. Followed by them was Malevolence, a english heavy metal band from South Yorkshire and formed in 2010. Up after them, was the infamous Trivium, who’s been around since the 90âs and have 10 full length albums, not to mention the many awards they’ve received from, Grammys, Kerrang!, Metal Hammer, and more.
Trivium is known for having some interesting sets for their shows and time was no exception, as two dragon statues were revealed as the stage was getting ready, also guitar cabs were decorated to fit the theme. Once they began their set, it was all high energy from there, with Matt Heafy leaving his microphone to get closer to the crowd while shredding his guitar.
To follow up their great performance, is Beartooth, who not too long ago, brought another to The Main Street Armory. As to be expected, they put on a killer show, opening up with Devastation from their latest album Below, also playing their newest single Sunshine!. The tour still has many dates left, so don’t miss out!
On Sunday, May 28th Declan McKenna stopped at Empire Live in Albany for the second show of his 50+ date The Big Return tour. Eager fans lined up hours in advance at the intimate 1000-capacity venue to scream along to songs like “Brazil” and “Rapture” as McKenna scaled along the stage with his Mick-Jagger-like dance moves. The audience, consisting mostly of teenage girls and fathers, was seen jumping, dancing, twirling, and overall living in the moment during his set.
Declan McKenna photographed by Sarah Hyun
24-year-old McKenna was born in London and has been making music ever since he was a teenager. His most popular song “Brazil” was released when he was only fifteen, and has since gained massive popularity through its widespread use on social media platforms like TikTok and Instagram. He has four more New York dates scheduled in May and July, which can be found here.
Declan McKenna photographed by Sarah Hyun
The Oracle Sisters opened the night with a chill and vibey set. The French trio, blending elements of surf rock, jazz, and indie pop similar to groups like The Walters and Summer Salt successfully raised the energy in the eager crowd. Audience members were seen bobbing their heads along to the beat as the three band members—Lewis Lazar, Christopher Willat, and Julia Johansen—jammed out. Their timeless sound matched their vintage style, allowing for a truly ear- and eye-catching performance. After they ended their set, the audience applauded enthusiastically, clearly satisfied by McKenna’s chosen openers.
The Oracle Sisters photographed by Sarah Hyun
Audience members sang along to songs in the pre-show playlist like “Toxic” before McKenna entered the stage. A flashing light from the right of the stage got the attention of everyone, triggering a roaring scream of excitement as he came on to sing his first song, “You Better Believe!!!” Wearing a black and yellow coat with bell-bottomed pants, McKenna brought an almost-tangible energy to the venue. This high-energy could be felt through his powerful vocals, his intricate movements, and the body-rumbling basslines of each and every song. The retro synths in many of the tracks on his most recent album Zeros, coupled with his scream-like vocals set the vibe of the show.
Declan McKenna is truly a rockstar, with passion being the only word to describe his performance and persona. Swinging his guitar on the stage, jumping off into the photo pit, and putting his all into every song was something he did not fail to do throughout the entirety of the concert. His facial expressions carried a power in them that could not be emulated by anyone else. Throughout the set, he constantly hit his looping and distortion pedals to craft the instrumentals of the songs in real time, whilst simultaneously singing along. He had to take a break after each song to wipe the sweat from his face and even removed his jacket early into the show because of how much he was moving.
Before singing “Rapture,” McKenna yelled, “Are you ready for some rock ‘n roll?,” and encouraged the crowd to clap along. Declan has a very strong British accent when he sings, and during his performance of hit-song “Brazil” the audience emulated his British dialect while singing along to lyrics like “I heard he lives down a river somewhere // With six cars and a grizzly bear.” McKenna explores a variety of themes in his music, from the topic of anti-war, corruption in sports and politics (as in “Brazil”), and struggles with mental health. The lyrics behind each of his songs made his performances even more meaningful.
Declan McKenna photographed by Sarah Hyun
Declan McKenna ended his show with a two-song encore. Performing an incredible rendition of George Harrison’s “All Things Must Pass” as well as his own song, “British Bombs,” McKenna ended the night on a powerful note. Fans screamed in awe as he soloed on his knees during the George Harrison cover, turning a generally easy-paced song into something of his own. Fans exited the venue elated, talking amongst one another about his incredible performance. McKenna’s next four New York shows are scheduled to be at Westcott Theater, Town Ballroom, Brooklyn Steel, and Webster Hall.
Setlist: You Better Believe!!!, Paracetamol, Why Do You Feel So Down, Listen to Your Friends, (Untitled Song), My House, Rapture, Beautiful Faces, Be an Astronaut, Make Me Your Queen, Humongous, The Kids Don’t Wanna Come Home; Eventually, Darling; The Key to Life on Earth, Brazil, Isombard
Encore: All Things Must Pass (George Harrison cover), British Bombs
The Dare, a solo project by singer-songwriter Harrison Patrick Smith, released its first Extended Play (EP), The Sex EP on May 19. The EP features four songs, with a generally vulgar and sexual theme. Many of the pieces incorporate elements of electronic, rock, and punk.
The Dare’s singer, songwriter, and producer Harrison Patrick Smith. Credit: Ben Taylor
Emerging from New York City, The Dare released the EP with Republic Records. The four songs increase in length as the EP goes, ranging from about two minutes to about four minutes. Following the release of The Sex EP, Smith will make his headline debuts, with four of the shows already sold out.
I just wanted to write something funny and true about my relationship to sex. It’s also the most time honored and classic theme of rock and roll, so I had to do it. The other, less horny songs are coming later.
The Dare
The first song, “Girls,” is an upbeat opening, introducing several elements that are continued throughout the EP. A chorus makes its appearance, sometimes echoing, a signature style in the EP. The electric instrumentals give it an almost dubstep feel, though that varies from piece to piece.
“Sex,” which follows “Girls” is heavier on the echoing chorus, and is notable in the change in Smith’s vocals. While in the previous piece Smith was more upbeat, in “Sex” he has more of a murmur. A loud buzzing sound is introduced with a bit less than a minute remaining. This helps carry “Sex” into the next song, “Good Time,” which uses a similar sound.
In “Good Time,” the chorus is not as prominent, opposite of the change to come in “Bloodwork.” The vocals switch between the more upbeat tone of “Girls” and the murmur of “Sex,” setting this one up as a conclusion to that section of the EP.
“Bloodwork” is the final song, and it is very different from the previous three. It has a long opening, about a minute in length, that slowly builds tension in a way that feels straight out of a horror movie. The main vocals take a backseat, only featuring an echoing chorus that says either “blood” or “work.”
Andrew McMahon in the Wilderness wrapped up a two-week east coast tour with a sold out performance at Town Ballroom in Buffalo on Wednesday, May 24. The tour, which also featured stops in Syracuse and Albany, was in support of the band’s latest release Tilt at the Wind No More.
Few in the music industry today tout the resume that Andrew McMahon has. His original rise to fame came as the lead singer of the early 2000’s emo rock band Something Corporate. In 2004 McMahon formed Jack’s Mannequin, and later in 2014 would begin Andrew McMahon in the Wilderness, a project that continues today. All along the way, McMahon has crafted stellar piano-rock tracks and has amassed a large and devoted following of fans who flock to his live concerts. His current band features Bob Anderson (guitar), Zac Clark (keyboards), Jay McMillian (drums) and Mikey Wagner (bass guitar).
Early arriving fans on Wednesday night were treated to an opening performance by Griffin William Sherry. Known for his work with independent-folk rock band The Ghost of Paul Revere, Sherry delighted the audience with a set of acoustic folk tracks. At times, Sherry’s strong vocals channeled singer/song writers such as Nathaniel Rateliff and Chris Stapleton.
Up next were The Unlikely Candidates, from Fort Worth, Texas. To describe their set as high energy would be an understatement. From the cryptic opening guitar rift of “Sunshine” to the final notes of set closer “Novocaine”, singer Kyle Morris took captive hold of the audience. Morris strutted the stage, leapt in the air, twirled his microphone, at times throwing it high in the air before catching it. Morris would lean in close over the audience, locking eyes with those in the front row, never missing a lyrical beat. A mid-set cover of the A-ha classic “Take on Me” had the showroom bursting with energy. The band was sure to gain many new fans following their set.
Finally, it was time for Andrew McMahon in the Wilderness. The standing room only club was packed elbow to elbow with little room to maneuver, with the crowd in eager anticipation of the band’s arrival. Once the houselights dimmed, a lone spotlight shone into the crowd. The light illuminated McMahon, who was standing in the back of the club, and began performing the slow moving, reflective “Nobody Tells You When You’re Young”. McMahon made his way slowly to the stage, providing brief and intimate performances for those whose path he encountered. Once arriving to the stage, McMahon was joined by his bandmates who immediately launched into “The Mixed Tape,” a familiar fan favorite from McMahon’s Jack’s Mannequin days.
While the music was at the forefront, the spectacle of an Andrew McMahon performance was not missing on this night. McMahon donned a colorful, light up cape during “Stars”. He crowd surfed while riding an inflatable llama, making it all the way to the top tier of the club. During “Synesthesia”, McMahon brought a multi-colored parachute into the crowd, singing the song’s chorus from underneath. In all, McMahon and his band would roll through a 23 song set, spanning over twenty years worth of music. It was a memorable evening for those in attendance, one that would be sure to have fans clamoring for a return performance in the near future.
Popular Podcaster Rory Farrell has joined the ranks of the creatives with the release of his debut project, I Thought It’d Be Different. Known for his stint as one of the dynamic trio that helped propelThe Joe Budden Podcast and as one half of Rory & Mal, this latest venture allows fans a glimpse into Rory’s full potential. Likewise, throughout his stint as a podcast personality Rory has been hailed for his music taste and offers intimate knowledge of the business side having worked at SONY.
Aptly titled, I Thought It’d Be Different, the album tittle reflects the last few years in the newly-minted producers life and career. Nevertheless, this curation demonstrates the potential that Rory’s music taste has teased for years. However, the list of accomplished artists and the quality of songs made for a pleasant surprise. Notably, Rory was able to land features from Jay Electronica, James Fauntleroy, GoldLinK, DRAM, Ari Lennox and Conway the Machine, producing an impressively cohesive album. Labeled as an R&B album, Rory does an effective job of inserting emphatic rap verses, adding a bit of oomph to the soul leaning project.
Consequently, Rory Farrell’s Magnum Opus sees him enter a new chapter in the public eye. For so long the former music exec has seen his public association tied to his once-friend, Joe Budden. However, this 13-track, impassioned project alters his perception and allows him to publicly stand on his own two-feet. After all, fans have watched the mostly calm and collected podcaster go through emotional ebb-and-flows throughout the years. From the deteriorating friendship with Joe Budden, to broken nuptials, and the announcement of a firstborn child during the album rollout, Rory’s oft-mythicized album offers a chance to experience Rory’s rollercoaster last few years through a musical hue.
Taylor Swift took over East Rutherford, NJ this Memorial Day Weekend, continuing her record-breaking sold out Eras Tour for three nights at Metlife Stadium. Following the release of her latest full-length record, Midnights, fans fought unprecedented demand and technical hiccups to get their tickets, with all 52 nights and over 2.4 million tickets selling out in a matter of minutes. Taylor’s three night run at Metlife Stadium featured support from Phoebe Bridgers, Gayle, Gracie Abrams, and Owenn. Taylor brought out special guests Jack Antonoff and Ice Spice on the first night.
With her sold-out Eras tour in full swing, Taylor continues to stay number one on Billboard’s Artist 100 Chart for a record-breaking 66 weeks so far. Due to the Coronavirus pandemic, Taylor was forced to cancel her last tour in support of the 2019 album “Lover.” Despite the difficult conditions of pandemic life, Taylor used her time to write another two albums as an outlet for her creativity. She told the crowd that if she couldn’t tour, she would just keep writing and recording music. Given the continuing success and growth of Taylor’s career, and the chart topping status of her latest records (especially the Taylor’s Versions re-releases), a tour seemed inevitable for 2023. “I didn’t know if we would ever be able to have stadium tours again,” Taylor told the crowd on the first night at Metlife Stadium.
Taylor Swift at Metlife Stadium, photograph by David Reichmann
An estimated 200,000 Taylor Swift fans descended upon the stadium over three nights on the holiday weekend. After viral videos showed thousands of fans enjoying the Eras Tour from highways, parking lots, and bridges, New Jersey State Police posted multiple warnings against “Taylor-gating” on social media and with signs along highways. As a precaution, fans were required to show their tickets before being allowed into the parking lots. State police and local news kept an eye on traffic conditions throughout the weekend, attempting to keep holiday and concert related traffic slowdowns to a minimum. The governor released a video on social media welcoming Taylor to New Jersey and naming a local food dish after her.
Taylor Swift at Metlife Stadium, photograph by David Reichmann
Metlife Stadium parking lots opened at 12:30PM on Friday, May 26th for early arriving ticket-holders to set up beach chairs, coolers, and loudspeakers with their friends and families. Stadium doors opened at 4:30 to a flood of fans clad in vibrant outfits representing the fashion of Swift’s various eras. The show started at around 6:30, with Gayle delivering a quick but powerful performance. The opening act for the second and third nights were Gracie Abrams and Owenn, respectively.
Gayle opening for Taylor Swift at Metlife Stadium, photograph by David Reichmann
Phoebe Bridgers played the second act all three nights, delighting new and old fans alike. Despite Taylor Swift’s undeniable star power, many fans had undoubtedly bought tickets for Phoebe too, and they sang along with every song. When the time came to scream in unison during the climax of the final song, “I Know the End,” the crowd obliged with enthusiasm, delighting longtime fans and shocking some new ones. One fan was overheard saying, “I had no idea that was coming. It was kind of terrifying.” Phoebe thanked Taylor and the audience before walking offstage to a wave of applause. Later in the show, Taylor Swift brought Phoebe on stage to sing the re-released version “Nothing New.” Phoebe beamed as she sang alongside Taylor, and they dazzled the crowd with the soft and sorrowful ballad.
Phoebe Bridgers opening for Taylor Swift at Metlife Stadium, photograph by David Reichmann
As the sun began to set and the air began to cool, the crowd’s energy ramped up in anticipation of the headlining act. Eventually, a two minute countdown timer appeared on the stadium screens, and fans began to cheer. When the timer reached its end, the house lighting dimmed and cheers became screams. Dancers clad in massive jellyfish-like fans walked onstage in a sea of pastel colors, then created a dome in the center of the stage from which Taylor burst forth to sing “Miss Americana & the Heartbreak Prince.” From the very first moment of her performance, it became clear that this would be no ordinary concert.
Taylor Swift at Metlife Stadium, photograph by David Reichmann
True to its name, Taylor Swift’s Eras Tour featured distinct stage design, lighting, and outfits for each of her eras. Even her dozen or so dancers changed wardrobes several times. The show frequently used props, lighting cues, pyrotechnics, and even a few stage design magic tricks to keep spectators on their toes. At one point, Taylor performed a quick change on stage under the cover of her backup dancers, changing outfits in nearly the blink of an eye. Later in the set, she dove into a hole on stage, as the projection-mapped runway displayed an illusion of her swimming under the stage. Guest singers and dancers frequently disappeared and reappeared through openings in the stage to great effect, and others would be lifted up on platforms just as often. The massive stadium screen behind the stage lit up with dreamy backdrops for each of the different scenes throughout the show.
Taylor Swift at Metlife Stadium, photograph by David Reichmann
During the “Surprise Songs” segment near the end of the first evening, Taylor premiered the music video for “Karma (featuring Ice Spice)“. She sat down on stage to huddle with her dancers, whom she thanked for performing in the video, and watched the music video premiere on the massive stage screen alongside the crowd. She then invited frequent collaborator and New Jersey native Jack Antonoff to help her sing “Getaway Car,” a first time debut for this tour. After she thanked Jack and he exited the stage to continuing cheers, a piano emerged at the front of the stage runway. She played an intimate live debut of “Maroon” to close the penultimate act of the first show.
Taylor Swift flexes at Metlife Stadium, photograph by David Reichmann
Taylor Swift’s most diehard fans knew that one segment of the first show remained, her “Midnights” era. Prior to the first day at Metlife Stadium, Taylor had surprised her fans with yet another deluxe edition of her latest album, Midnights, which was released at midnight the night before the show. The new edition of the record included an extended Lana Del Ray feature, and the now viral Ice Spice version of “Karma.” For the final song of the night, Ice Spice joined Taylor to perform “Karma,” the crowd going wild as they performed together. Fireworks burst into the night as they took their final bows. Taylor and Ice Spice exited the stage holding hands amid a shower of confetti and applause. Taylor thanked the audience one last time, and said goodbye.
Each night of Taylor Swift’s Eras tour at Metlife Stadium featured a nearly three hour long setlist, consisting of 45 songs. Fans had waited years for their chance, and then fought hard for their tickets. Despite a mixture of holiday and concert related traffic, all three nights went off without a hitch. It appears the wait was worth it. Listen to Taylor Swift’s massive chart-topping music catalog here, and be sure to check out the music of supporting acts Phoebe Bridgers, Gayle, Gracie Abrams, and Owenn. Our full image gallery by David Reichmann is below.
For those unaware of the Machine – Conway defied the odds. Merely a man, he proves his machine-like mechanisms on every track with grimey lyrics, references and punchlines. After overcoming gunshot wounds to his head and neck that left the right side of his face paralyzed – he became arguably the most prolific illustrator of our generation. This is Griselda Records.
Griselda Records x Fashion Rebels (GxFR) really started to catapult the competition when they turned adversity into prosperity. Once Westside Gunn put out his first tape, Flyest in Charge – he proved that he meant business. The beautiful part about it is Westside Gunn only started rapping to propel his blood brother Conway the Machine – who was incapacitated at the time.
Conway the Machine and Westside Gunn derive their names from their fallen Buffalo soldier – Machine Gunn Black. The rate at which this collective puts out projects is a direct indicator as to why they are successful. Conway’s latest release, Won’t He Do It symbolizes a turning of the guild. This is his first release under his independent label – Drumwork Music Group. Now does this mean there is a riff between Griselda members? Absolutely not. Westside Gunn conducts business so masterfully that the original trio – WSG, Conway and Benny the Butcher now own and operate their own record labels.
Best New York Rap Reigns from Buffalo
Won’t He Do It contains a great balance of songs for old and new fans. Altogether, there are contemplative, hyphy, reflective and bouncy types of songs. Also, it has been rumored that this collection of songs is only Side A.
Upon making this album, Conway the Machine flew to Denver and recorded from 12 to 12 every day. Within the throws of his creative process, he compiled six albums worth of material. Recording music is like photography in the sense that you create hundreds of pieces of content only to choose the very best few to present to the public.
Furthermore, it feels like there is purposely less depth within the subject matter of this album. For Griselda artists – this is warranted because they consistently tap deep within the psyche of their audience with mind-altering compositions. It is nice to have a balance of pump-up tunes, classic tracks and songs dedicated to legends like Jay-Z and Kanye.
“Everything about his delivery makes me wanna keep paying attention.”
The particular line above resonated with me because it emphasizes the importance of fine-tuning all moving parts to sustain a profitable and well-oiled machine. Creating something is only 20% of the battle.
Man v. Machine
Nonetheless, hip-hop connoisseurs often refer to a track that shares the same title as the album as a, “Title Track.” The title track on this tape* truly bares all. It sets the tone for the types of blended wavelengths found throughout this entire album. Therefore, this track symbolizes the album as a whole because it displays vulnerability.
Lastly, this album cements a groundbreaking first step in the solidification of Drumwork Music Group. Not only that, but it is the first time Conway has felt comfortable enough to display his face on the album cover. Couple that with wonderful production, top tier rollout/promotion and an absolute banger of a verse from Sauce Walka and you got yourself a downright enjoyable listening experience.
