Category: Reviews

Cannastock NY 2023 – It’s more than just Weed

The Spring Cannastock NY 2023 Festival was held at the MJN Convention Center in Poughkeepsie on Saturday May 13. This is year two for the festival which identifies itself as a cannabis consumption – friendly immersive experience for the industry, consumers and those who are canna-curious.

In New York State, recreational marijuana became legal in 2021 and available for sale in 2022. Last year’s inaugural festival was held at The Colony in Woodstock.  The event sold out, prompting the move to the MJN Center to handle the capacity demand.  A wise move by the promoters.  With VIP and pre-event tickets selling out again, the increase in available space enabled day of event ticket sales. VIP attendees were given early access and treated to a swag bag with all the necessities a consumer would need, including a bud of flower grown in New York.

Once inside, attendees could view products and gather information from 50+ exhibitors from the NY area. From farmers, to dispensaries, to paraphernalia, if it pertained to cannabis, it was here. Throughout the day stilt walkers strutted through the convention center, hula hoopers performed, and an air hockey tournament was held adding to the festivities.

You could not purchase cannabis at the event, but the opportunity to sample some of NY’s finest was available. Being “consumption friendly”, a lounge was set up outside the building to offer that opportunity. Stepping into the lounge area, you were greeted by a table with multiple bongs for people to try.  Farther in, sampling of flavored THC seltzers was offered. In the back, a covered space with chairs and tables encouraged you to roll one, smoke, and chill. The upstairs balcony had a Dab bar offering samples of the concentrated form of THC.  You could even take a chance on a prize wheel to win a freshly rolled joint.

On the face of this it sounds like a stoner’s heaven. It was certainly all that. But this year’s festival also had its eye on the future. With legalization, this is now an industry. Speakers from the business side of cannabis spoke throughout the day. Topics included launching a brand, compliance, marketing, and design.  Insights to the legal aspects of a regulated industry where shared. Jojo Simmon s (son of rapper Reverend Run of Run DMC) spoke about the community surrounding and supporting cannabis sales and consumption.  The Department of Labor even offered a session about creating a resume to work in the industry.

With two years in and no end in sight, Cannastock NY is setting it’s hopes high on an industry that has stepped out of the shadows and into the mainstream. So, pass the Dutchie.

May 16, 2023
In Focus: Lewis OfMan rocks Elsewhere

Lewis OfMan brought the crowd to their feet with a dynamic performance at Elsewhere on Friday, May 12. The French musician and producer curated a thoughtful setlist that left the audience begging for more, with a mesmerizing light show that added to the overall experience.

As the lights dimmed and the crowd grew excited, OfMan opened the show with his groovy track “Boom Boom,” accompanied by strobes and dynamic lighting. The audience was instantly hooked, dancing and singing along to the infectious beat.

OfMan showcased his musical prowess on the keys, blending live instrumentation with electronic beats to create a unique sound. His live band added an extra layer of energy to his already electrifying performance.

OfMan’s setlist included his most popular tracks, like “Such a Good Day,” “Dancy Boy,” and “Las Bañistas,” among others. The groovy dance music combined with the captivating light show created an immersive atmosphere, transporting the audience to another world.

The performance peaked with OfMan’s biggest hit, leaving the audience wanting more. The captivating light show and groovy dance music made for an unforgettable experience.

Overall, Lewis OfMan’s performance at Elsewhere was nothing short of amazing, showcasing his unique blend of electronic and acoustic sounds and his high-energy stage presence. The immersive atmosphere created by the light show had the audience hooked from start to finish. Fans of OfMan’s music will eagerly anticipate his next performance, while newcomers to his sound will surely be hooked after experiencing his live show.

OfMan’s performance demonstrated his ability to create a dynamic atmosphere, with his live band and the mesmerizing light show elevating the groovy dance music. It was an experience that left the crowd buzzing with energy and excitement, and one that won’t be forgotten anytime soon.

May 15, 2023
Lloyd Banks’ Natural Progression: The Course of The Inevitable 3, A Review

Much like the regional differences between rappers from differring coasts, New York MC’s are often the representation of a larger community’s ethos. For instance, Cam’ron‘s slick-talking, flamboyance embodied Harlem, Jay-Z‘s sharp, hustler mentality derived from Brooklyn, while Nas’ profound, thought-out and laissez-faire style is a Queens thing. In that regard Lloyd Banks is a lot like Nas. The veteran rapper has taken the long-winding road to artistic nirvana and his latest project, The Course of the Inevitable 3: Pieces of My Pain, sees the Queens native at his songwriting best, while capturing the essence of New York City’s underbelly.

Widely recognized as the punchline king, Banks’ cultural relevance within hip hop often relied on his hard-hitting punches. However, the platinum-selling rapper has re-emerged and reinvented himself through his COTI series, showcasing never before seen vulnerability and earnestness. Through a hue of sinister, 90’s inspired boom-bap production, Banks plays the role of philosopher and commentator. After all, the rap game has changed drastically since Banks released his platinum-selling debut, The Hunger for More.

Invariably talented, the knock on Lloyd Banks has been his indifference to the promotional aspects of a rap career. While that apathy played a part in Banks not releasing a studio album for over a decade, the boom bap sound’s re-emergence in niche form was the perfect opportunity to return to the scene and Banks struck while the iron was hot. “I was like, ‘Yo, it’s time for me to attack now.’ he reveals. “The boom bap wave was kind of reemerging. I was like, “Yo, it’s no better time than now.” “Let me get my feet wet.”

Album’s Best

With a New York-centric supporting cast, the 16-track, 54-minute project was curated to capture New York City’s hardened nature. Hence, Banks alternates between first person tales and analysis of the state of the culture. Furthermore, the PLK’s more descriptive form of songwriting led to a few vulnerable album cuts. Records like “Voices,” “Pieces Of My Pain,” “Daddy’s Little Girl” and “Deceitful Intentions” provide insight into Banks’ mental state. Meanwhile, songs like “Automatic Pilot,” “101 Razors,” “Money Machine” and “LSD” sees the veteran rapper provide commentary on the current state of street ethics, making numerous mention to the current trend of recording one’s death and disrespecting the dead that has been brought about by drill culture. Moreover, Banks’ improved beat selection and swift, hard-hitting rhymes make for a incredible coherent project with plenty of replay value.

My album’s flawless for your rap genius to scrutinize
They told me sharks was in that water, watch me scuba dive
– Lloyd Banks, “Money Machine”

Album’s Worst

If there can be a knock on this project, it would be the redundancy in Lloyd Banks’ voice. While the songs vary enough in beats, flows and rhyme patterns, Banks’ grizzled, monotone voice remains a constant. Established fans should have no issue with this, while first-time listeners may be thrown off by the lack of variance in Banks’ pitch. Correspondingly, Banks featured a host of New York rappers throughout the album, making it a very east-coast friendly project. Moreover, Vado and Dave East hold their own in supporting roles, while Method Man delivers one of the album’s best verses on “101 Razors.” However, it was lackluster features from former G-Unit cohort Tony Yayo and Rochester native, 38 Speech, that left more to be desired. The duo share the stage on the album’s 10th track, “Red Alert.” While 38 Spesh came with potent rhymes, the lack of chemistry between the two was apparent. Meanwhile, Tony Yayo’s verse began decently enough, but quickly tales off as his flow did not mesh with the beat.

May 15, 2023
In Focus: Sabrina Carpenter’s Birthday Show at Terminal 5

Sabrina Carpenter recently played her second New York show at Terminal 5 this past Thursday, May 11th. Fans sporting sparkly tops, cowboy hats and boots, and the color pink flocked to see Carpenter for her sold out emails i can’t send tour. Thursday’s show was especially memorable as it was her birthday show, and included many features like a “birthday button,” her first live performance of her pop-hit “Skin,” and two special guests of whom she brought on stage.

Sabrina Carpenter during her performance of “emails i can’t send”

The 24-year-old pop-artist first began her career at age 10 and rose to fame through her many roles in Disney shows. Carpenter has been releasing music since 2014 but recently gained widespread recognition because of recent album release, emails i can’t send. Featured songs like “Nonsense,” “Tornado Warnings,” and “because i liked a boy” touch on past relationships, dealing with heartbreak and hate, and growing as a result of it.

The Terminal 5 concert was Sabrinas’s 34th show of her tour, and she has five more scheduled in her North American leg. She is set to begin her European tour in June of 2023.

Sabrina’s show was truly magical. Featuring opener Blu DeTiger from New York City, she opened the set with incredible bass-playing skills and vocals. Whipping her rockstar-blonde hair across the stage and encouraging the crowd to jump along to beat, DeTiger created an almost-tangible energy in the audience of three-thousand.

Carpenter’s decorated stage featured a giant heart-shaped mirror and a tall pedestal in which she first entered singing “emails i can’t send.” During “skinny dipping,” she pushed the “birthday button” and the entire crowd joined in to sing her happy birthday. Fans turned on their phone lights during “how many things,” and towards the middle of it her band stopped and put on a quick “hype” performance to get the audience’s energy up before finishing the song.

Blu DeTiger opening the show

As in every one of her past shows, Sabrina picked a random audience member and gave them the microphone with the freedom to talk about any past relationship experience. The chosen fan detailed her struggle in working with long-distance, recounted the increasing tensions that studying abroad created, and described her eventual moving on from that relationship.

During her encore, Sabrina sang a beautiful renditions of “Nonsense” and “because i liked a boy.” During “Nonsense,” she brought out her two friends Whitney Peak and Paloma Sandoval, both of whom were dressed as the characters they played in Carpenter’s “Nonsense” music video. During the high note of this performance, pink confetti shot out of cannons and pink balloons dropped from the ceiling, inciting a huge roar of excitement from the crowd. She does not have any more New York dates, but the rest of her tour schedule can be found here.

Setlist: emails i can’t send, Read your Mind, Feather, Vicious, Already Over, Bad for Business, skinny dipping, things i wish you said, Tornado Warnings, opposite, bet u wanna, The Sweet Escape (Gwen Stefani cover), how many things, Fast Times, Paris, Honeymoon Fades, Sue Me, Skin, decode

Encore: Nonsense, because i liked a boy

May 15, 2023
For a Night, the Bug Jar Becomes Acid Mothers Temple

The Bug Jar, in Rochester, is “Your Bar on Earth” as the sign on the door proclaims. But what happens when five purveyors of deep psychedelia visit from Japan and launch it and everyone inside out into the cosmos? Such was the case on May 10, and for one evening, the Bug Jar became the Acid Mothers Temple.

Acid Mothers Temple & the Melting Paraiso U.F.O, opened their set in cacophony, a deep unsettling rumble that announced the journey was about to begin. They settled into a Morricone-esque sound, a languid slow-motion trek, samurais navigating a desolate landscape. By journey’s end, the band was engaging in some supremely intense rocking, and from there we were off.

No matter where the music started, guitarist Kawabata Makoto carved out space for some ridiculous shredding. Whether it was full-throttle metal, rhythmic rock, electric Miles Davis-style fusion, slow and spacey drone, or avant arhythmic weirdness, it all wound around to some showcase-level soloing from Makoto.

Synthesizer shaman Higashi Hiroshi meanwhile was twisting and turning knobs, eliciting otherworldly whistles and squonks from his equipment. He kindly turned back a shot offered from the audience to grease his wheels, but he did use WD-40 to liberally grease up his keyboard throughout the set.

Jyonson Tsu added vocals and rhythm guitar and bouzouki and Ron Anderson held down the low-end. Satoshima Nani sat behind it all, holding it together and driving it ever onward with masterful drumming and boundless energy.

Repetitive grooves broke down slowly into weird nether regions, or otherwise built up to gloriously locked-in hyper-funk. It was music to get lost in. Then Makoto would light a fuse and the eventual explosion jarred you back to consciousness. In a final flourish, Acid Mothers Temple engaged an unadulterated full-band chaos, with Nani and Makoto reaching for new levels of craziness. It culminated in Makoto hanging his guitar from the ceiling, the burning embers of his last solo still glowing as the Bug Jar landed back home, one again “Your Bar on Earth.”

My Education, a six-piece out of Austin Texas got things warmed up nicely. As the band tuned up on stage, it started to take shape into something more. Had the set started? The dissonance swelled and eventually congealed into a singular force. What followed was a set filled with rhythmic cinematic post-rock. Drummer Earl Bowers was the centerpiece, though as they locked into a rhythm, when they were all playing the role of drummer, was when the music shined brightest.

May 12, 2023
GoGo Penguin Mesmerizes Toronto’s Opera House

On May 9th, the Opera House in Toronto hosted an unforgettable performance by GoGo Penguin, the instrumental trio hailing from Manchester, England. Since 2013, Chris Illingworth (piano), Jon Scott (drums), and Nick Blacka (double bass) have been praised for their originality and inspiration in the music industry.

Jazz singer Melanie Charles opened the evening, captivating the audience with her soulful voice. Being a one person band for the evening , along with singing she played flute, piano and used backing tracks and a loop pedal. The near capacity crowd seemed to enjoy her performance.

Melanie Charles

As GoGo Penguin began their set, the room was filled with the jazz trio’s mesmerizing sound, beginning with “An Unbroken Thread of Awareness.” The group’s chemistry was undeniable, with Illingworth’s intricate piano playing complementing Blacka’s grooving bass lines and Scotts’s powerful drumming.

GoGo Penguin’s setlist was a masterful blend of their original compositions, including “Signal in the Noise,” “We May Not Stay,” “Glimmerings,” “Wave Decay,” “Lost In Thought”, “The Antidote Is in the Poison,” “Friday Film Special,” “Saturnine,” “Soon Comes Night,” “Everything Is Going to Be OK,” “Ascent,” “Murmuration,” “Transient State,” “Hopopono,” and “Protest.”

GoGo Penguin

Despite the minor setback of the pedal on the grand piano breaking, causing a delay of about 20 minutes, GoGo Penguin remained professional and improvisational. This unplanned interlude allowed the audience to witness the trio’s skills of repairing a piano quickly.

As the night progressed, GoGo Penguin’s performance reached new heights with each song. The highlight of the evening was undoubtedly their encore, consisting of “You’re Stronger Than You Think” and “Parasite.” The trio poured their hearts into these final songs, leaving the audience breathless and wanting more.

Jon Scott

GoGo Penguin’s performance was a testament to their talent and musicianship. Their music was complex, thought-provoking, and emotive, leaving the audience in awe. The trio’s ability to seamlessly blend their individual styles and create a sound that was uniquely their own was truly remarkable.

Nick Blacka

As the crowd left the Opera House, there was a sense of collective elation and satisfaction. GoGo Penguin had once again proven why they are one of the most exciting and original bands in the world of instrumental music. Their performance was a true masterpiece, and one that will be remembered for years to come. They last played the Western New York area in 2018 at the Rochester Jazz Festival.

Talking to a GoGo Penguin Fan

After the concert, we had the opportunity to speak with a GoGo Penguin fan named Shari who was completely blown away by the performance. “Emotionally, the band’s music splits my mind into millions of pieces,” she shared. “In the moments of listening, I do not want anything, being in meditation synchronization with all the moments of the past and the future at once. Incredible energy. I am grateful to them”

It was clear that this Shari was moved by the music and had a deep appreciation for the trio’s unique sound. She went on to explain that they had been following GoGo Penguin for several years and had never seen them perform live before. “It was everything I hoped it would be and more,” she exclaimed. “Their music takes you on a journey, and you never want it to end.”

When asked about their favorite moment of the concert, the fan had a hard time choosing just one. “It’s hard to pick just one moment because the whole concert was incredible,” she said. “But I think the encore was definitely a highlight. ‘You’re Stronger Than You Think’ and ‘Parasite’ were the perfect way to end the show. I felt like I was part of something really special.”

As our conversation came to a close, it was evident that this GoGo Penguin fan had been deeply impacted by the concert. “I’m already looking forward to the next time they come to town,” she said. “Their music has a way of bringing people together and creating an unforgettable experience. I feel lucky to have been a part of it.”

GoGo Penguin’s music is a unique blend of break-beats, minimalist piano melodies, powerful basslines, and drums inspired by electronica, combined with anthemic riffs. They compose and perform together as a unit, resulting in a cohesive sound that is both powerful and mesmerizing. Their music draws from a wide range of influences, including electronica, trip-hop, jazz, rock, and classical music.

Chris Illingworth

Music critics have praised GoGo Penguin’s sound, comparing it to other acclaimed artists such as EsbjÃ¶rn Svensson Trio, Aphex Twin, Squarepusher, and Massive Attack. Additionally, they have been likened to renowned composers such as Brian Eno, as well as modern classical composers like Shostakovich and Debussy, or contemporary minimal music composers such as Philip Glass. These comparisons attest to the diverse range of influences that GoGo Penguin draws upon to create their unique sound.

May 12, 2023
Pink Talking Fish Celebrate Iconic Album Anniversaries at The Wellmont Theater

On Saturday, May 6, Pink Talking Fish celebrated two iconic rock albums at The Wellmont Theater in New Jersey by performing them in their entirety. The albums being celebrated were Pink Floyd’s iconic Dark Side of the Moon & Talking Heads’ Stop Making Sense. One Eyed Jack joined the party to open up the night.

Pink Talking Fish played Dark Side of the Moon in its entirety for the first set. Highlights included “Money”, “Great Gig in the Sky” and the sheer funk of “Any Color You Like”.

The band took a break and proceeded to burn down the house with a faster paced, very funky Talking Heads album. Highlights included “Psycho Killer”, “Girlfiend is Better”, & of course a crowd favorite “Crosseyed & Painless”.

The band encored with a thumping “Carini” & groovy “2001” filling the void of Phish covers of the night. Uncle Ebenezer performed many tasteful Phish covers at the afterparty.

May 11, 2023
Lizzy McAlpine’s “The End of The Movie Tour” Sells Out Terminal 5

On Tuesday, May 2nd Lizzy McAlpine returned to New York City and sold out the west side’s beloved Terminal 5. Only a week prior, Lizzy sold out Brooklyn Steel. One night in the big city just wasn’t enough for McAlpine on her “The End of The Movie Tour.” Her debut in the past couple of years has been one to witness. She has accumulated superfans who worship her relatable lyrics and sweet sound-blend of it-girl pop with classic grunge. The success of this tour has been a testament to her talent.

Photograph by Caroline Zeeman

Opener, Olivia Barton, kicked off the night and made the warehouse stage her own. Emanating a similar sound to artists like Lizzy McAlpine, HAIM, Lucy Dacus, and so on – Barton culminated her own stage presence with her innocently raw lyrics. Her own sound. The crowd volleyed Olivia’s lyrics back to her from the pit and the balconies, and her excitement became a tangible energy. The set flew by, and when it came time for Barton to say her goodbyes, it was bittersweet.

In between Olivia Barton’s opening set and Lizzy’s second show-face in New York City, the crowd hummed in a unified frenzy. The speakers were blasting popular Y2K pop-hits and nostalgic Disney songs by artists like Hannah Montana and Demi Lovato. Friends, couples, fathers and daughters, and solo-fans were conviving to belt the universally appreciated lyrics. Later in Lizzy’s set, she praised Olivia: “She really gets it. Her writing is so human. She’s so special, and I’m so grateful to have her on tour. I listen to her backstage, and I’m in tears!”

Photograph by Caroline Zeeman

Fifteen past nine o’clock, the lights cut and the bass rose to a body-shaking intensity. The infrastructure of Terminal 5 holds sound so impressively, but the deafening screams echoed riotously. Blue and purple lights slowly expanded their coverage across the stage to reveal a bedroom set-up. Framed posters and window panes clung to the back of the stage. The setting felt familiar, like the space that held so much of one’s life. The love, the heartbreak, the friendships, the sleepovers, the daydreams.

After a lengthy instrumental introduction, followed behind her band, Lizzy skipped out onto the stage. Her outfits on tour have been widely complimented, and on Tuesday she did not disappoint. Adorned in a denim corset and casual blue jeans, she stood in pure happiness as she grinned out towards the crowd. “I’m gonna play some songs for you, and it’s going to be great! We’re gonna have a great time!”

As Lizzy progressed through her setlist, she took intentional time to explain the story behind each song. The crowd bent their ears to listen to every detail she shared. “This song is about slurpees!” A roaring applause. “This song is about ignoring red-flags.” Friends grabbed onto their neighbor’s shoulder to shake in emotional duress. The entire show was a story-telling narrative, full of personal details of precious moments of muse.

Photograph by Caroline Zeeman

Her lyrics were something to hold onto and sit with. Such a fast-paced show left the crowd wanting more time with her music. All of Lizzy’s songs held a cruel casualness to them. I have no choice in the matter // Why would I, it’s only the death of me. It was jarring, quite surreal, to hear such a youthful and kind crowd shouting such intense lyrics. And the funny thing is I would have married you if you had stuck around. Nearby in the crowd, a father watched as his thirteen year old daughter belted the lyrics, clutching her chest as if she’d been wounded.

There is an archetype on the rise in the realm of female artists. Singer/song-writers fanning out under the music industry umbrella of artists like Taylor Swift are leaning into the superpower that is vulnerability. Honesty is celebratory, and young women are writing about having their hearts ripped out, leaving their hometown, stepping into their strength, growing up, and existing as more than empathetic vessels but as a beacon of feminine independence. Barton and McAlpine have branded their names into this visionary artist-type. The influence the music produced by these experimental and brave artists has is unignorable and unifying.

Photograph by Caroline Zeeman

Half way through the set, the Terminal 5 stage setting changed from day to night, and the New York City sun casting through the windows on stage, turning to raindrops streaking down the panes. The familiar chords of Lizzy’s hit “Ceilings” strummed across the venue, and something shifted. The collective crowd voice overpowered Lizzy’s as she sang the notorious lyrics. Fans jumped and wept and sang with their hearts. Tears streamed into wide smiles, as the live performance of “Ceilings” seemed to change lives.

Terminal 5 was blessed with Lizzy’s generosity, for she played two unreleased songs for the Manhattan crowd. The first song was titled “Broken Glass,” which Lizzy explained was about only ever being able to see someone when they’re at the bar. The other song was “I Guess.” Lizzy informed the crowd, “this one is one of my favorites!” While the unreleased songs were showcased, it was the only moment the crowd was silent. The audience wanted to hear every lyric, every note-change, every melody.

The rest of the show rolled out with the same energy. The crowd savored every moment they shared with Lizzy, and when it came time to part, fans had a difficult time leaving. Hands waved goodbye from the packed balconies, and cheers overpowered Lizzy’s own departure. Manhattan seemed to have an impact on her as she left the stage. It was the end of the “The End of The Movie” show in New York City.

May 9, 2023
Conway The Machine Releases Won’t He Do It and Celebrates at Ludlow House

Conway The Machine just released his new full album Won’t He Do It? The album was released via Drumwork Music Group and EMPIRE.

Features on this project include Westside Gunn, Benny The Butcher, Juicy J, Fabolous, 7xvthegenius, Dave East, Sauce Walka and Jae Skeese. Production includes acclaimed hip-hop producers Daringer, Justice League, Juicy J, and Khyrysis. The production on Won’t He Do It is top-level, with standout tracks like “Super Bowl” and “The Chosen” featuring guest appearances from Sauce Walka and Jae Skeese respectively.

Throughout the album, Conway The Machine showcases his impeccable wordplay and storytelling ability. On “Brucifix” featuring Westside Gunn, Conway spits gritty bars over a hard-hitting beat, while Gunn delivers a standout verse that perfectly complements Conway’s style.

One of the standout tracks on the album is Brooklyn Chop House featuring Fabolous and fellow Griselda member Benny The Butcher. The two rappers trade bars over a haunting instrumental, with Conway showcasing his storytelling abilities as he weaves a tale of drug dealing and violence. Overall, Wont He Do It is a powerful, introspective project that showcases Conway the Machine’s talent as a rapper and storyteller.

To celebrate the album’s release, Conway held a record release party at Ludlow House in New York City. Guests in attendance included Westside Gunn, Armani Caesar, Nems, Statik Selektah, and 38 Spesh, among others. The event was a celebration of Conway’s success and a testament to the impact he’s had on the rap game.

There is also an upcoming tour to support the new album. There will be a show at Brooklyn Steel on June 24th. All of the other tour dates can be found here.

May 9, 2023
Goth Babe Sends New York City Into Summer as “The Lola Tour” Stops At Pier 17

On Friday, May 5, Goth Babe’s performance at Pier 17 catapulted New York City into summer. On the East River below the FiDi skyline, the Brooklyn Bridge-facing venue hosted Goth Babe’s “The Lola Tour” with Yoke Lore. The outdoor venue could not defend against the on and off rain showers, but the risk of weather was made worth it when sunset rolled around.

The sky turned into something of pink brilliance, and a rainbow casted over the river. The colorful streak of spring arched over the stage to turn the evening into the ultimate setting for Goth Babe’s sound – light, natural, and vibrant.

Photograph by Emma Dowd

The crowd spilled onto the Pier 17 rooftop hours before Goth Babe’s show to see the opener, Yoke Lore. A renowned artist in the alternative/indie realm, singer Adrian Galvin attracted fans of his own and collected some new ones as he gave a dynamic performance. He spun around on stage in between verses and communed with the audience kindly. Yoke Lore’s sound strikes a comforting chord in the musical soul. With only raw vocals, percussion, and a banjo to seal his sound, he successfully composes a unique warmth with his music.

Photograph by Emma Dowd

Photograph by Emma Dowd

The sun continued to set over the enthusiastic crowd, and an unbelievable flower moon took its spot in the sky. Its massivity attracted a volley of OOOs and AAAhhhs as everyone waited eagerly for the party to start. Eventually the twin screens on either side of the stage darkened, and blues and whites flashed in lengthy strobes over the crowd. The indie-electronic vocalist, Griffin Washburn, and his two touring bandmates on percussion, keys, and strings made their way onto stage. Washburn seemed to talk to himself in happy disbelief as a response to seeing Pier 17 crowd, “This is f*cking nuts! So cool! This is insane, it’s going to be awesome.”

Photograph by Emma Dowd

Griffin Washburn is a known nomad. He lives in and out of sailboats and tiny homes in the mountains of Washington, hence his new single “Alone in the Mountains.” His free-spirit is a light in the music industry, for he cares more about the connections and differences he can make with his music rather than his profits and status. The day of the show, he posted on his instagram story to invite fans to participate in a pre-show run club. Connecting with his fans who he sees as friends has been a tour priority. His kind and mellow persona shines through his music and could be felt throughout the show.

After getting the crowd warmed up with some songs, he asked for a volunteer to crowd surf. Once a member of the audience was elected, the stage crew brought out a watermelon slice pool-floatie. The fan was released to surf the hands of her fellow Goth Babe listeners. Griffin sent her off with a wave, “Be kind to her, and be safe with her!” She totally rocked the role, fist-bumping and belting song lyrics in a spell of pure joy.

Photograph by Emma Dowd

Goth Babe established a friendly community from the start. He encouraged the crowd to participate in dance-offs and sing-alongs, insisting “you’re all not too old for sing-alongs!” His stage presence consisted of audible yipping, head-banging, and epiphanic gratitude. It was impossible not to dance. The music seemed to lift the crowd into movement.

Photograph by Emma Dowd

Electronic music gets wrapped with the stigma of being synthetic and repetitive. Goth Babe’s sound strongly defies this tired narrative. The blend of guitar strings, light chimes, and seemingly element-inspired melodies composes a natural almost healing sound. Combined with relatable and celebratory human lyrics, Goth Babe has created something unique and informative of a lifestyle – unbound and transient.

Photograph by Emma Dowd

Towards the end of the show, Griffin spun around to take in the glory of New York City. The skyline lights shimmered on the water, and the traffic on the bridge strung red ribbons of light across the storm clouded sky. He encouraged everyone to introduce themselves to a stranger and tell them why they live in New York City, and why they love it so much. A minute from the show was sacrificed to organic conversation. The crowd seemed more tightly knit for the remainder of the show.

Photograph by Emma Dowd

Griffin and his fellow performers put on silly hats for the remainder of the show. He adorned a shark hat, the percussionist wore a disco helmet, and the keys player wore a cow-print cowboy hat. The last few songs rolled by too easily. Griffin conducted the gold-star concert move of commanding the crowd to get really low and jump up on the beat. He sang a crowd favorite, and what he deemed his favorite song, “Taking Over The Sun.” The crowd was electric.

“We try to make this more than a normal concert you’d come to for an hour. We want to make you a part of something and leave feeling better than you came!” That they did. When the show came to a close, the party did not. Fans poured out from Pier 17 and continued to dance and sing in the Manhattan streets. Goth Babe set the summer tone for New York City.

May 9, 2023