Snarky Puppy took to the stage at Buffalo’s Town Ballroom on Thursday, April 6th to a sold out crowd. They gave an electrifying performance that left no doubt as to why they are one of the most exciting and innovative bands in the music industry today. Led by bassist and composer Michael League, the 12-piece ensemble showcased their exceptional musicianship. With each member contributing to the vibrant and complex sound that has made them a fan favorite.
From the moment they hit the stage, Snarky Puppy had the crowd on their feet with their unique blend of jazz, funk, and world music. The opening number, “Trinity” set the tone for the evening, with its infectious groove and intricate melodic lines. The band’s energy and enthusiasm were infectious, and their seamless and intuitive interaction created a rich and dynamic performance.
The rhythm section was tight, with drummer Robert Searight and percussionist Marcelo Woloski providing the perfect foundation for the band’s melodic and harmonic explorations. Michael League’s bass playing was exceptional, laying down deep grooves and leading the band with his melodic and harmonic sensibility.
The setlist featured a mix of old favorites and new material, all delivered with the band’s trademark energy and flair. “Thing of Gold,” another standout track, was a tour-de-force of jazz-funk fusion, with its driving beat and virtuosic solos. “What About Me?” was another highlight, with its funky bassline and catchy melody.
Throughout the evening, each member of the ensemble was given the opportunity to shine with captivating solos. The band’s ability to seamlessly blend different genres of music was a testament to their exceptional musicianship and creativity. Michael League’s leadership was particularly noteworthy, guiding the ensemble with precision and passion.
Snarky Puppy’s live show was an unforgettable experience that showcased their exceptional musicianship and creativity. Their unique fusion of jazz, funk, and world music is a breath of fresh air in the music industry. Their live performance left no doubt as to why they are one of the most exciting and innovative bands around. If you have the chance to see Snarky Puppy live, do not hesitate – it’s an experience that you won’t soon forget.
Snarky Puppy has five more tour stops in New York this year.
Snarky Puppy Tour Dates 2023
April 13 – Beacon Theatre – New York, N.Y.
April 14 – Union Transfer – Philadelphia, Pa.
April 16 – Cornell University Concert Series at Bailey Hall – Ithaca, N.Y.
April 19 – Warner Theatre – Washington, D.C.
April 20 – Stage AE – Pittsburgh, Pa.
April 21 – Newport Music Hall – Columbus, Ohio
April 22 – PromoWest Pavillion at Ovation – Newport, Ky.
April 24 – Ritter Amphitheater – Huntington, W.Va.
Fans of all ages wearing fancy attire attentively listened to Laufey’s captivating vocals as she sang multiple songs from her latest jazz album, Everything I Know About Love. People traveled from Puerto Rico, Florida, and New York City for this one time show.
Laufey
Laura Elliot opened the show with an incredible set, singing multiple songs off of her first album People Pleaser to celebrate one year since its release. Born and raised in the Hudson Valley she gained recognition after collaborating with Lizzy McAlpine on “weird,” and joining artists like The Walters on tour before having her own People Pleaser tour in 2022.
Laura Elliot
After a twenty minute intermission, Laufey took the stage at 9:05, causing a stream of excited screams to erupt from her eager crowd. The 23-year-old jazz-pop artist got her start in 2020 when her singing videos gained huge recognition on TikTok. Growing up in Iceland and now living in LA, Laufey attended Berklee College of Music and grew up around classically-trained musicians. Since she was young, she listened to jazz artists like Ella Fitzgerald and Billie Holiday, who largely inspired the type of music she writes today. Laufey is currently off tour, but previously played at the Bowery Ballroom in 2022 during her Everything I Know About Love tour across North America and Europe.
Laufey writes a majority of her songs about heartbreak, which is evident in both her raw and meaningful lyrics and in the short spoken monologues she gave to introduce each song. Her performances of tracks like “James,” “Let You Break My Heart Again,” and “Dear Soulmate” touched on her difficult experiences with past partners, breakups, and feeling lost in the realm of love. Lit by the starlike backdrop of the beautiful Mahaiwe theater, Laufey ran onto the stage with her shiny red guitar and played an incredible show with just her voice and her instruments. Her awed fans—consisting of elders, middle-aged adults, teenagers, and children wearing suits, ties, long flowy skirts, dresses, heels, and intricate updos—stayed completely silent during each performance. No phones were present, as people went to truly enjoy the show. Nearing the end of her set, Laufey announced the workings of a second album, and even performed two unreleased songs for the first time that would feature on it.
After playing her last song, “Falling Behind,” Laufey made a quick exit before re-entering to play an encore. She performed a beautiful rendition of “Two Sleepy People” on the stage’s grand piano, and called it a “lullaby” for her audience of one thousand.
Setlist: Fragile, Street by Street, Best Friend, I Wish You Love, Dear Soulmate, Valentine, Let You Break My Heart Again, Like the Movies, Promise (unreleased), From the Start (unreleased), Beautiful Stranger, James, Magnolia, Falling Behind Encore: Two Sleepy People (Hoagy Carmichael and Frank Loesser cover)
Troy-based singer-songwriter and actor Jacob Shipley is set to release his second EP, Last Respects, on May 26. The five-track record details Shipley’s experience in the experience of a messy breakup, and his memories from that relationship. Shipley’s second EP will be available via Apple Music, Spotify, and Bandcamp.
Shipley, born and raised in Troy, is a man of many talents, so much so that he was able to have Broadway as a “backup plan.” As a theatre actor, Shipley had a featured role in the first actor/musician production of Godspell and a lead role in the first national tour of the Broadway musical Amazing Grace. In music, he began playing guitar on a nylon string when he was nine, and at 12, purchased a guitar of his own, a Breedlove, a concert-style guitar with a perfectly light and warm sound. While studying at Ithaca College of Musical Theatre, Shipley released Where Did You Come From, his first EP. The musician has performed for audiences at The Historic Troy Savings Bank Music Hall, The Bitter End, Rockwood Music Hall, and more, and his voice has been compared to Jeff Buckley, his wry cynicism to Phoebe Bridgers, and his poetic storytelling to Hozier.
Last Respects opens with “Waiting” and what an opening track it is. The song describes the ways relationships can go “back and forth” and the conflicting emotions of “I don’t want to go, I don’t want to stay.” “Waiting” is certainly the highlight of the EP, but the rest of the tracks certainly match its level of quality. There couldn’t have been a better track to end the EP on than “Spain” in which Shipley takes audiences to what he likely considers his “happy place” whether it be figuratively or literally, reflecting on the positive memories of his relationship, before ultimately realizing he can’t cling to the happy memories forever. Last Respects is an EP you won’t want to miss and is sure to secure Shipley a long and successful music career.
The second EP by Jacob Shipley, Last Respects starts streaming on May 26. Until then, check out Shipley’s music here.
Bill Orcutt, one of the most distinctive voices in experimental and alternative guitardom, brought his latest disc, Music for Four Guitars, to life before a sell-out crowd at downtown Brooklyn’s home to all things sonically avant-garde, Roulette, on March 27.
Orcutt is the former guitarist and founder of the notorious ‘90s group Harry Pussy. His sound is a stuttered reimagining of blues guitar, one weaving looping melodic lines and angular attack into a dense, fissured landscape of American primitivism, outsider jazz, and a stripped-down re-envisioning of the possibilities of the guitar.
Bill Orcutt’s Music for Four Guitars is comprised of 14 brief pieces built upon tiny minimalist phrases which evolve into dense tapestries of sound, texture and mood. On the disc, Orcutt plays all the parts. For the performance at Roulette, he was abetted by three of the most noteworthy players who are bending and mutating the borders of guitaring – Wendy Eisenberg, Ava Mendoza and Shane Parish.
The 12-tune set began with “A different view,” the album opener. This is a knotty Gamelan guitaring affair, one that brings to mind some of the work of ‘80s era King Crimson with the dirty guitar tones reminiscent of Trout Mask Replica Captain Beefheart. For this and many of the compositions, the players stayed close to the tight arrangements on the record.
On “Or from being,” Mendoza was a standout riding the higher melody guitar parts and taking a lengthy solo spot followed by Parish. For many of the compositions, Orcutt and Parish held down the bottom while Mendoza and Eisenberg took to the melodic rafters. Eisenberg takes the prize for the most melodically out soloing, for an extended run across the pulse-y tune, “Only at dusk.”
In the dense jungle of weaving guitars and harmonies, a listener gets many musical cross-currents – a bit of fractal boogie, Irish reels, the dense orchestral guitar minimalism of Glenn Branca and, as mentioned earlier, elements of Beefheart, Crimson and Fripp’s League of Crafty Guitarists and Gamelan.
About six songs in Orcutt spoke to audience in an entertaining and self-effacing manner. No naming of the tunes played, just an introduction of his collaborators then a jump into one of the most pleasant chapters of the evening – a traditionally melodic, very spacious unaccompanied solo reminiscent of his “Odds Against Tomorrow” from his 2019 disc of the same name. All the players would get their solo moments and demonstrate differences in approach – unique melodic and textural languages that are adding a fresh face to this very been-around-the-block instrument.
A guy who does with words what Orcutt does with the guitar, the edge-pushing alt.poet and writer William A. Lessard, accompanied me to the show. A lover of pretty much every boundary pushing genre of music, he had his own observations:
“The surprise for me was the moments when the music would drift into Stained Class-era Judas Priest, then give way to microtonal playing by Wendy Eisenberg. Eisenberg, for me, was the big surprise of the night, bringing that Pete Cosey groove into a new context. Anyone who has the chance should see this band; watching them weave together all these influences is a delight.”
The set will soon be available for a limited time at Roulette’s Live Stream Channel on YouTube.
Setlist: A different view, Seen from above, At a distance, In the rain, Out of the corner of the eye, Or from behind, Only at dusk, On the horizon, Barely driving, In profile, From below, Or head On
On Thursday March 30th, The Yumi Kurosawa Trio showcased their new new album “Metamorphosis” in the intimate setting of East Village’s historic Joe’s Pub. The small public theater had a limited guest list, for Yumi’s sound pulled in a high demand of listeners. The contemporary Japanese composer commanded the dimly lit setting as she and her instrumentalists told phonetic stories to the audience.
Photograph by Emma Dowd
A multitude of instruments were perched on display before the trio and a couple of musical guests began to woo the crowd with their sound. A violin, a drumset, a variety of percussion instruments, a microphone, and Yumi’s infamous twenty-string koto. She grew up playing the koto, Japan’s national instrument, and eventually her talents transcended her into national stardom. On her koto, she composed her discography, and with the addition of strings, percussions, and horns her album “Metamorphosis” was fortified. Naho Parrini on the violin and Eric Phinney covering percussion completed the trio.
After performing some soothing introductory songs, Yumi took to the microphone. With gratitude overtaking her stage presence she beamed, “I have waited for today for a long time.” She proceeded to introduce the members of the trio, which elicited a warranted applause from the audience. Thanks were made to ZOHO Records, the Chamber Music Award, the Howard Gilman Foundation, and lastly those who chose to be there that evening.
Photograph by Emma Dowd
With each song came a story. While one song embodied the anxieties and thrills of traveling through South America on her previous tour, the other was meant to infuse life into the emotional stages she goes through when she composes. Her range as a composer was admirable. Traditional Japanese musical roots, Middle Eastern sounds, and contemporary instrumentals were living influences in “Metamorphosis.” She spoke on her ideas, calling them her most “beautiful and unusual” ideas, and referred to the term mandala – sequenced art.
The Yumi Kurosawa Trio surrendered to their music as the instruments seemed to be in control of their bodies. Yumi’s arms flailed into the air and swarmed across the koto strings. Her hands looked so natural. How new spring branches dance from the body of a tree. One couldn’t help but pay attention to their physical show, it almost seemed inhuman, the way they moved. Or perhaps it was the most human thing a person can do, devote their bodies to their instruments and their sound. Their expertise was magnetic, no one could pull their eyes away.
Two guests joined the trio on stage; Carlos Maldonado on the Latin percussion, and Zac Zinger on the shakuhachi and the alto saxophone. Their sound layered ethereally with the trio’s. All of their instruments blended to produce music of the elements. The very raw echo of the hand drums, the fine notes of the violin, the pluck of the koto, and the hollow whistle of the shakuhachi transported the audience out of New York City, to the forests of Japan. If a sound could float, “Metamorphosis” hovered above our heads as a soft rain cloud.
Carlos and Zac left the stage, taking their bows and waving their goodbyes. The trio thanked them and carried out the rest of their show. Once they arrived at their final song, Yumi spoke about her hometown Morioka-city, Japan. She told the audience about their annual event “Obon,” a tradition of welcoming back their ancestors and bidding them farewell again. She related the celebration to the closing of her show by performing their song “Departure.” Each instrumentalist on stage took turns soloing in the middle of the song to “display their roots.”
When Yumi signaled their outro, the audience erupted into lengthy applause. Yumi, Naho, and Eric took to their bows and expressed their grace. The trio reminded everyone to pick up their CD copy of their album, and to tell their neighbor about their sound. Yumi took the microphone and with a proud smile she bid farewell. “We hope to see you again somewhere.”
Photograph by Emma DowdPhotograph by Emma DowdPhotograph by Emma DowdPhotograph by Emma DowdPhotograph by Emma DowdPhotograph by Emma DowdPhotograph by Emma Dowd
On Tuesday, the world-renowned reggae group, Morgan Heritage, performed their upcoming album, The Homeland, for a group of fans and friends at the illustrious Platinum Sound Studios. The event was an electrifying preview of the highly anticipated album, which is set to be released on April 21.
The Homeland is a masterpiece that blends Afrobeats, Amapiano, and Reggae, creating a project that aims to be a bridge from Jamaica to Africa. As the title suggests, the album references Africa as the ancestral home of reggae music. The project is meant to bring together different cultures and sounds in a way that promotes unity and inclusivity.
The Homeland features collaborations with some of the most prominent West African artists, such as Shatta Wale, and Jamaica’s own Popcaan. This collaboration of different sounds and cultures is a testament to Morgan Heritage’s creativity and their commitment to expanding the reach of reggae music beyond its traditional roots.
Sonically, the group is in rare form on this project, as they seamlessly blend East African instrumentation with beautiful horns and flutes. This creates a unique sound that is both fresh and appealing to younger audiences while still honoring the roots of reggae music. The group’s ability to blend different musical styles in such a cohesive manner is a testament to their versatility as musicians.
Morgan Heritage’s performance at Platinum Sound Studios was a remarkable display of their musical prowess. The group delivered an energetic and captivating performance, leaving the audience in awe of their talent.
The Homeland is a project that is sure to be a hit among reggae fans worldwide. The album’s release on April 21 is highly anticipated, and fans are eagerly waiting to hear the full album. Morgan Heritage’s ability to bridge different cultures and sounds in a way that promotes unity and inclusivity is a message that is sorely needed in today’s world.
The Homeland is a beautiful fusion of different musical styles and cultures, making it a testament to Morgan Heritage’s dedication to pushing the boundaries of reggae music. The album is a must-listen for anyone who loves music and wants to experience the power of unity through music. The release of The Homeland on April 21 is a date that should be marked on every music lover’s calendar.
Kicking off the spring with a tour in support of their twelfth studio album (Cruel Country, dBpm Records) released in May 2022, recorded live at their studio known as The Loft, Wilco played three consecutive sold-out performances this past weekend at The Capitol Theatre located in the center of downtown Port Chester. As one of 1,800 lucky participants to attend the Chicagoans residency finale on Saturday night (April Fool’s Day) and witness their multi-genre talents, all were treated to an eclectic blend of experimental rock, indie art rock and alternative country.
Dubbed the “American Radiohead” due to their stylistically diverse catalog, Wilco’s career-spanning trio of shows at the iconic concert hall constructed nearly a century ago boasted no repeat songs. Their setlists from Thursday, Friday and Saturday night included a whopping total of sixty-nine different offerings, making for the perfect recipe of deep cuts and crowd favorites that were presented to their adoring fans.
Promptly at 7:30 pm, fellow Chicago natives Horsegirl unassumingly strolled onto the stage. Formed a little more than three years ago when they bonded over their shared love for acts like Sonic Youth, Stereolab and Pavement, the punk-infused trio of indie-rockers comprised of Nora Cheng (guitar, vocals), Penelope Lowenstein (guitar, vocals) and Gigi Reece (drums) have been providing support each night of Wilco’s residency at The Cap, including Wilco’s three night residency a couple of weeks back at the Riviera Theatre in Chicago.
Speaking of Pavement, I first witnessed the immense talent of these young women back in October 2022 when they also opened for said band at Kings Theatre in Brooklyn. Although it was merely six months ago, their growth as a live act has blossomed since then, and they are surely on the right path to a bright future in the music business.
With a palpable, undeniable chemistry, Horsegirl performed a 28-minute set filled with guitar feedback and hypnotic melodies during a collection of songs taken from their debut album (Versions of Modern Performance, Matador Records) released in June 2022, including Homage to “Birdnoculars,” “World of Pots and Pans,” “Option 8” and “Anti-glory.”
As I stood in the photo pit talking with fans along the steel barricade, all of whom were waiting with eager anticipation for the roadies to finish preparing the stage and Wilco’s instruments, I reminisced about the very first time I witnessed the greatness of Wilco. It was here at The Cap, way back on October 30, 2014, when Wilco were celebrating their 20 year anniversary as a rock ‘n’ roll outfit. The night I was in attendance, like tonight, was also the third consecutive sold-out evening of a residency stint that has hosted legendary artists the likes of Janis Joplin, Traffic, Pink Floyd and the Grateful Dead.
At 8:30 pm sharp, when the house lights suddenly went dark, I raised my trusted Nikon “Kamera” to my eye as the sextet of frontman and guitarist Jeff Tweedy, guitarist Nels Cline, bassist John Stirratt, drummer Glenn Kotche, multi-instrumentalist Pat Sansone and keyboardist Mikael Jorgensen took the stage to thunderous applause. Tonight’s two-hour, 23-song set that would bridge nine studio albums altogether – only offerings from 1995’s debut album (A.M.), 2015’s Star Wars and 2016’s Schmilco would be absent – commenced with two tunes from their fifth studio album (A Ghost Is Born, 2004), including “At Least That’s What You Said,” followed by “Spiders (Kidsmoke).”
As I remained in the photo pit for the third song of the night (“The Universe”), taken from the newest addition to their discography Cruel Country, I reminded myself to unglue my eyes from the band in front of me and occasionally glance at the thousands of fan faces behind me. The expressions I witnessed included sheer joy and complete awe, and even one guy headbanging incessantly as he clutched the rail in front of him with both hands. Then, with the song nearing its end, Cline’s guitar tech quickly emerged from the dark shadows at stage right and began working on what appeared to be the pedal board.
While the technical snafu lasted for several minutes until it was successfully resolved by either a repair or a complete change-out of the rig, it resulted in an impromptu setlist change as “Jesus, Etc.” (Yankee Hotel Foxtrot, 2001) moved up to the fourth song slot – it was originally slated to be the last song before the encore. Tweedy, taking advantage of the rare down time, also executed a “Tight Five Comedy Set” where he explained the rules behind winning the “Best Behaved” trophy awarded to only one lucky audience member each night. He also enlightened us that even Horsegirl claimed the top prize back at one of Wilco’s recent Chicago gigs.
The bulk of the main set, which included one musical treasure after another, had Wilco fans dancing with each other, as well as in the aisles. Whereas queues of fans had inundated the venue’s bars and merch tables earlier in the night, they were non-existent now that Wilco was playing. With too many incredible tracks to dive into for this concert review, a few highlights (to name but a few) included the title track from 2011’s The Whole Love, two more songs from Cruel Country (“Mystery Binds” and “Tired of Taking It Out on You”), “Impossible Germany” from 2007’s Sky Blue Sky (there were six total tracks performed tonight from this formative LP) and “Laminated Cat,” a cover song dating back to 2003 by the indie rock supergroup of Tweedy and Kotche, along with multi-instrumentalist Jim O’Rourke of Sonic Youth.
After nearly 100 minutes on a non-stop musical journey, Tweedy and his bandmates, in prime form all night long, collected their breath backstage. After a short recess, our heroes reappeared onstage with Tweedy exclaiming, “I hope you all had as much fun as we have,” before launching into “The Late Greats” (A Ghost Is Born). The gifts kept on coming in the four song encore with “Heavy Metal Drummer” (Yankee Hotel Foxtrot), “A Shot in the Arm” (from 1999’s third studio album Summerteeth) and the final number, “On and On and On” (Sky Blue Sky).
From the box office to the security personnel to the bartenders to the ushers and of course, to the fans, it’s always a memorable time at The Cap, and Saturday night’s closing show was certainly no exception. One of America’s most critically acclaimed acts, Wilco’s rich history of music for nearly the past three decades has made them a beloved band on a generational scale. My NYS Music colleague Chris McShane, a diehard fan since 2007 who attended all three residency shows at The Cap and has seen them perform live more than forty times, proclaimed “What’s amazing is that Wilco is still getting better and better over time, and their three-night run at The Cap had all of their incredible skills on full display. If and when they return to the venue, you’ll want to grab a ticket, whether you’ve never seen them before or are a seasoned veteran of a Wilco show.”
Next up for Wilco is a trip to Reykjavik, Iceland for another three night, sold-out residency on April 6-8. The spring tour continues back in the United States with a stopover at the High Water Festival in North Charleston, South Carolina (April 16), followed by eleven more dates culminating in Athens, Ohio on April 30. Additionally, Tweedy will be performing solo at the Vic Theatre in Chicago, Illinois for a pair of dates on May 19 and 20.
Wilco are also set to release an alternate version to their seminal album Yankee Hotel Foxtrot for Record Store Day on April 22, dubbed Crosseyed Strangers: An Alternate Yankee Hotel Foxtrot. Only 4,500 copies of the vinyl will be available to purchase through participating record stores, so you’ll have to act fast!
Wilco Setlist: At Least That’s What You Said > Spiders (Kidsmoke) > The Universe > Jesus, Etc. > You Are My Face > Whole Love > Mystery Binds > I’ll Fight > Side With the Seeds > One and a Half Stars > Tired of Taking It Out on You > Everyone Hides > Impossible Germany > Sunken Treasure > Laminated Cat (Loose Fur cover) > Reservations > Either Way > Hate It Here > Dawned on Me > Encore: The Late Greats > Heavy Metal Drummer > A Shot in the Arm > On and On and On
Singer-songwriter Sid Seth has a new single “Hopeless War,” out now, and announced that more new music is coming. The new single, released via Earmilk, was accompanied by a music video in support. If “Hopeless War,” is any indication, Seth will have a long and successful career ahead of him.
Singer-songwriter Sid Seth. Credit: Dara Ó Cairbre
Sid Seth is originally from India and moved to New York City to pursue a career in music in 2018, studying at the Manhattan School of Music. His music is a combination of soul and pop, drawing inspiration from The Beatles, Simon & Garfunkel, Boney M, and Abba, while his father introduced him to the rhythm and melodies of Bollywood, Hindustani Folk Music, and Indian Classical music. Seth’s enriching sound can be honorably compared to the likes of Michael Jackson, Stevie Wonder, and Ella Fitzgerald.
Since moving to New York City, Seth has performed at several music venues, including the Rockwood Music Hall, Parkside Lounge, the Bowery Electric, Breaking Sound, Feinstein’s 54 Below, and the Green Room, on top of multiple cities in India. Seth has received acclaim from the likes of Rolling Stone India, Earmilk, Celeb Mix, Variance, and Atwood Magazine, and, with thousands of streams across his repertoire, we are likely to see much more of him in the future.
The strength of “Hopeless War,” comes from its versatility. Almost everyone can relate to that feeling, whether it be in a romantic relationship, friendship, or even familial relationship, when something is just not working anymore, and you have to let each other go. Enough is enough. With Seth’s powerful lyrics, hopefully, anyone struggling with whatever situation they’re in can find the courage to do whatever they need to do. Because of this, it’s safe to assume future music by Seth, which has already been confirmed by the singer, will similarly resonate with audiences.
Of his newest track, Sid wrote: “‘Hopeless War’ comes from a classic situation: a battle of ‘you did this, I did that.’ Both parties go crazy, and after a certain point in the argument, it doesn’t even make sense anymore. Someone takes the lead and is like, ‘Okay, let’s just end this, it’s pointless.’ It’s that scene. And after all that, it leaves you with silence and the question lingering ‘where do we go now?’
The latest single by Sid Seth, “Hopeless War,” is now streaming. Stay tuned for more music coming soon.
On Friday March 31st, lo-fi pop rocker JAWNY took over Manhattan’s infamous Bowery Ballroom. JAWNY and his opener Wallice had performed their first night in New York City at Brooklyn’s Baby’s Alright just a couple nights before, but they expressed their bottled excitement they withheld for the ballroom. Just over half way through their North American tour, the JAWNY and his crew still had lots of energy to rock with.
Photograph by Sophie Gurwitz
The opening act, Wallice, put on a full indie-rock concert of her own. The crowd was immediately responsive to her sound, as they sang all her lyrics right back to her. Her stage presence was inviting, and commanded a sort of confidence most artists aim to possess. The Bowery Ballroom show was Wallice’s last with JAWNY, because as he revealed later in his set, she will be supporting The 1975 on their Australian leg of tour set to start on April 8th. She kicked off JAWNY’s North American Tour at the start of March, and concluded her contribution with an electric bang.
When Wallice bid her farewells, the floor of the ballroom volumized tight with fans. Conversation was buzzing under the fluorescent blue lights, and the clock ticked down meticulously to JAWNY’s set. Finally, the lights dimmed and the universal music-listener’s hype song “Mr. Brightside” by The Killers took over the speakers. The conversational buzz erupted into an animated sing along. When the first chorus fell into silence, the crowd jumped and called out for JAWNY.
Photograph by Sophie Gurwitz
The instrumental intro mimicked the “Twin Peaks Theme” song. The eerie guitar riff turned hype as it successfully revved up the crowd. On the stage was a tall mannequin with a long-haired platinum wig adorned in a suit to mimic JAWNY’s presentation, a green electric guitar, a bass, and a drumset. Out came JAWNY’s supporting band members, Gambee on the bass and Curtis Kelley on the drums, and they took to their instruments. They played their own welcoming intro for JAWNY before he ran onto the stage, pumping his arms to elicit screams from the crowd. He wanted noise, and unsurpassable volume is what he got.
It seemed as though the crowd’s volume exceeded Bowery’s usual noise capacity. As the strobe lights cascaded onto the crowd and the percussion pounded against the venue’s foundation, the building’s body began to shake. Before singing his first song, JAWNY affirmed into the mic, “It feels good to be home in New York City baby.”
Photograph by Sophie Gurwitz
He dove into his setlist with one of his most popular songs “strawberry chainsaw.” The song’s lyrics preached the paradoxical sweet violence of young love, as did many of the songs on his setlist. JAWNY’s lyrics paid ode to the blissful oblivion of being young and the tumultuous and continuous transition into the awareness that’s only awarded to a person by time. His rocker presence invoked a surge of movement in the audience. As he jumped and kicked around on stage while shredding his guitar, members of the crowd bounced on and off of each other.
In between songs, he paused to tell a story he “hasn’t told on tour yet.” He reminisced on a Whitney concert he saw at the Music Hall of Williamsburg, another renowned New York City venue, in 2016. He told his girlfriend at the time that he was going to sell out a venue like this. She and his friends laughed at him, because he had never put out a song. The crowd also collectively laughed in response, but he interjected and declared his dreams fruition, “But you all made that dream come true. I just sold out two nights in New York City!”
Photograph by Sophie Gurwitz
His music held such an individual sound, but shared the affectivity of artists like Twenty-One Pilots, COIN, Still Woozy, and Peach Pit. This promised a night of dancing and scream-singing various fan-favorite lyrics. JAWNY revealed that the Bowery Ballroom show was going to have “the longest set on tour.” He went on to play new and old songs, like his aged song “4Tounce,” that weren’t usually on his setlist.
Photograph by Sophie Gurwitz
As the night flowed on, JAWNY expressed his gratitude for New York City. “Y’all are f*ckin’ fun,” he praised. Sadly, the neon lights had to fade and the high energy had boiled down to a steaming simmer. When JAWNY made his final departure and the ballroom lights turned on signaling the crowd’s exit, there was a brief moment of the surreal. Music was still playing in everyone’s ears and the lights danced behind their eyes. Everyone stood still.
Wow, what can be said about IDK’s F65 Listening Party? From beginning to end, IDK made it an intimate, beautiful, and thought-provoking experience. Studio 368 in Tribeca was the setting for this intimate gathering, where guests were served drinks and food in a kitchen-like setting before being led through a private screening of his comprehensive and movie-like project.
The name F65 has a specific meaning. 65 represents the year of Malcolm X’s death, and F represents Formula One (also known as F1), the highest class of international single-seat car racing in the world. IDK, whose name stands for “Ignorantly Delivering Knowledge,” drew inspiration from both these elements to create a unique and powerful project.
IDK’s decision to make jazz the foundation of his new project while also infusing it with the fast-paced energy of F1 racing resulted in a unique and powerful listening experience. The thought-provoking and emotional tracks that address the difficulties faced by black people when interacting with the police, such as “Mr. Police,” are a poignant reminder of the ongoing struggle for justice and equality. The inclusion of club-rocking hits adds an element of fun and excitement, ensuring that the album appeals to a wide range of listeners. This perfect blend of social commentary, musical skill, and entertainment value sets IDK apart as an artist who is unafraid to tackle important issues while still delivering a memorable and enjoyable experience.
The project as a whole was truly incredible and is proving to be a defining album in IDK’s discography. He is planning strategic brand partnerships with F1 and recently released his first single on MSNBC as part of his rollout. IDK proved to be a force in music before, and after this listening party, it is very clear he is about to shock the masses once again.
