This past Friday, December 29, punk-rock icon, singer-songwriter, poet, artist, and New York Times Bestselling author Patti Smith graced the stage at the Brooklyn Steel for two nights. Patti returned for her birthday show, this time commemorating turning 77. Fans from all generations came to see Patti’s incredible, lively performance at Brooklyn’s intimate, 1800-capacity venue.
Patti Smith, photographed by Sarah Hyun
Patti Smith, though raised in South Jersey, moved to NYC at the ripe age of 21 to study art and poetry. Her bestselling novel, Just Kids, which details her experience living in NYC, brought a new wave of people—especially younger ones—to Patti’s fanbase and show. Although Patti is not currently touring, she frequently returns to NYC to play with her band which consists of Lenny Kaye, Jay Dee Daugherty, Tony Shanahan, and Jackson Frederick Smith (her son!).
Patti Smith, photographed by Sarah Hyun
Patti opened the night with an extraordinary rendition of “So You Want to Be a Rock ‘n’ Roll Star.” Scaling around the stage with incredible ease and her nimble dance moves, Patti made the crowd go wild with her performance. Her silver braids almost seemed to glow under the stage lights, drawing all eyes to her throughout the whole concert. One fan screamed, “I love you Patti! I’m your number one fan!”
After playing “Free Money,” Patti stopped and began conversing with the crowd about how confusing TV remotes are. “It’s unbelievable right? You need one to put the TV on, the other for volume, and the other to get the Netflix or whatever you want on. It’s taken me hours just to get the TV on.” A fan screamed “Happy Birthday!” where Patti responded with, “Not yet! Don’t age me any faster than I am.”
Ending the night on a powerful note, Patti played “Because the Night” and “People Have the Power,” where she brought out her daughter Jesse Paris Smith and her high school friend Laura to sing. Patti Smith is truly legendary, and her show was nothing short of that.
On Thursday, Dec 28, Dogs In a Pile took center stage at Sony Hall, just a stone’s throw away from Madison Square Garden, where Phish kicked off their much anticipated four-night New Year’s Eve Run. Branded as “The Dog Pound” by the band themselves, fervent fans flocked to the venue, securing their spots before Phish even finished their encore. The eclectic crowd, covered in classic Phish donut wear, Aztec patterns, and tie-dye attire, brought an energy that permeated the air.
Having traversed the entire country on a busy fall tour, Dogs In A Pile had recently graced various New York venues, from Lafayette to Trumansburg, and Williamsburg. Smiles were seen all around as Keyboard player Jeremy Kaplan kicked off the night with a solo opening number, a classical-sounding ballad that set the tone for the night—soon joined by Jimmy Law (guitar and vocals), Joe Babick (drums and vocals), Sam Lucid (Bass), and Brian Murray (guitar and vocals).
Taking the stage shortly after midnight, fans were jumping, jiving throughout the venue from the rails to the back. Dogs In A Pile’s unique sound is a harmonious blend of the unfamiliar and the strangely familiar. Elements of funk, jazz, and classic psychedelic rock ring out, and their songs are carefully constructed, invoking a circus of sound and feeling. The show was complemented by vibrant lighting, captivating The Dog Pound until the wee hours of the morning, almost reaching 4 AM.
A special moment came when the band paid homage to the maestros themselves. The iconic notes of “Harry Hood” rang out, showcasing the band’s technical prowess and precision. With an encore of their popular song “Truck Rum”, the evening winded down and fans retreated home just before sunrise. The echoes of this night continued to reverberate. Dogs in A Pile kept the Phish party alive and elevated it to new heights- a testament to the band’s overall aura and momentum.
For fans in Saratoga Springs, Dogs In A Pile will be at Putnam Palace on 12/30 & 12/31 for what’s sure to be an incredible New Year’s Eve celebration!
Setlist: G Song, Tillie, Feel Like A Stranger, Look Johnny II, You Didn’t Hear It From Me, Let U Go, Go Set > Gumball, Spun > Drums > Harry Hood, Craig and Pat, Appleseed, Linus and Lucy
The four men of Phish returned to Madison Square Garden, their live music home base, to begin another four night run to close out another successful year. It was already their eighth visit in 2023 and their nice-round-number eightieth of their career. It all started with a show almost exactly 29 years prior, with their first traditional four-nighter 25 years ago.
Needless to say, the band felt right at home on the Midtown Manhattan stage. There’s really no need to warm up to the room that plays like their living room, and their comfort was evident from note one. The final shows of the year began with “No Men in No Men’s Land,” with the nod and wink appropriate lyric, “You’re happy that we’re here.” which received a huge roar from the anticipatory crowd. The band found room to let loose as a unit right away, with Mike Gordon’s bass driving the early action.
From there the set would take a sharp nostalgic turn, diving deep into the bands early catalog. Classic Phish fare from the irreverent barbershop-esque “Halley’s Comet,” to some of their earliest “hits” like “Sample in a Jar” and “Bouncing Around the Room” provided the crowd a trip down memory lane. Solid takes on other favorites “Runaway Jim,” “Axilla Part II,” and Son Seals’ “Funky Bitch” set the table for a strong finish.
Sticking to the early material, “Bathtub Gin” would provide the first real fireworks of this New Year’s celebration. Gordon once again pushed the agenda in the early going as the rest of the band remained within “Gin’s” lines. Page McConnell flinched first, moving to his clavinet while Trey Anastatio added sustained wails on guitar. McConell dug into some of his weirder tones and the whole thing got a bit dissonant. John Fishman pushed it forward with a marching beat and eventually locked into a dark groove with Gordon. The dark turned bright in a flash as Anastatio discovered a happy rocking theme that brought the whole thing back into the “Bathtub” to wrap it up neatly.
“Ghost” would top off the set with some more interesting improvisation, all four members combining to find an interesting theme. They quickly worked it to a peak which they sustained at for an incredible high energy workout. Gordon mixed in some “No Men’s” lyrics into the chaos but it all settled back into the “Ghost” groove as the first set of the run came to a close.
“The Howling” got things started in set two, as howling sounds bounced around the room, echoing in surround sound.
“A Wave of Hope” followed, and started innocently enough. The band coasted along for a little bit until you could almost hear the safety line being cut. The whole band dropped any semblance of a connection to the source material, diving into the deep end into a slow ooze. From there they entered mind meld territory, flipping from theme to theme without cue and without hesitation, like it was scripted. The pace quickened, slowed and sped up again. Dark, bright, rocking, cosmic, it was a journey and the map was being drawn in real time. The stage was surrounded by points of white light in a spastic swirl as Anastatio carried the final segment into bliss territory. They found their way to a slick transition into “Rift,” one of a few solid segues on the night.
A quasi-classic “Mike’s Song” > “Simple” segment gave the set more solid anchors to hang some cred on. Gordon played around with the rocking groove as the lights rode the deep end waves, undulating high above. As a counterpoint to the one-ness found throughout “A Wave of Hope,” in “Mike’s” the band fractured, fragmenting and deconstructing pieces of the jam. It got heavy and industrial, but never lost the underlying groove. It roared up to an unusual “Mike’s Song” peak that had hints of “Tweezer Reprise” hidden just beneath the surface.
The ensuing “Simple” again provided a contrast, staying spacey and ambient for most of it’s runtime. And as that time ran low, it transitioned excellently into a rocking “Blaze On” set closer, which featured solid in-the-pocket jamming from the whole unit.
Between new songs, old songs, and a full smattering of influences on display, Phish was setting the table nicely as they invited their fans into their home away from home to celebrate another year in the books. But with a long four-song encore that had multiple “ok now it’s over” moments, they were the hosts who couldn’t let their guests leave without a few proper good-byes. They welcome another party in the next three nights at the Garden. Shows 81 through 83 and year 2024 await. But who’s counting?
Phish – Madison Square Garden – Thursday, December 28, 2023
Set 1: No Men In No Man’s Land, Halley’s Comet, Sample in a Jar, Runaway Jim, Bouncing Around the Room, Axilla (Part II) > Funky Bitch, Bathtub Gin > Ghost
Set 2: The Howling > A Wave of Hope -> Rift > Mike’s Song > Simple > Blaze On
Encore: mercy, The Squirming Coil, Weekapaug Groove > Say It To Me S.A.N.T.O.S.
Trey teased San-Ho Zay in No Men In No Men’s Land. Mike quoted No Men In No Men’s Land during Ghost. Mike’s Song contained sound effects used earlier in the show during The Howling.
EDM artist DMVU and Toadface have teamed up to bring an innovative tour that had a special appearance at Buffalo Iron Works on December 16. The two producers performed all night at Buffalo Ironworks on the It’s Dangerous To Go Alone tour that included a surprise guest appearance for fans.
DMVU, Photo Credit: Maddie McCafferty
Local talent LURK3R and Thromb started off the night with their infused dubstep. They brought downtempo bass music to Ironworks while still supplying the audience with heavy mixes.
Toadface later took on the stage and immediately hit fans with his swampy bass lines. He performed various songs off of his EPs including “Seratonin Machinegun” and “Stone Monkey.” His growth over the past few years has allowed him to develop more into his sound.
Toadface, Photo Credit: Maddie McCafferty
Toadface messes with ambient mystical soundscapes that makes his production style unique. His fun toad visuals play into this as well giving a sense of funk into traditional dubstep. His ability to fuse in elements of trap music make these amphibious grooves have their own twist.
After, Denver based artist DMVU hit the stage and elevated even more on blending rap with dubstep. His love for hip-hop and rap shows through his innovative mixes. DMVU’s intro was full of lo-fi tunes and heavy sax, the vibes brought effortlessly to the crowd.
DMVU, Photo Credit: Maddie McCafferty
DMVU then began mixing his love of both old school and new school rap. There is something about hearing your favorite rappers over a chill bass beat that does something for the soul. He also mixed in some of his well-known songs into his set such as “Killa Sound.”
DMVU, Photo Credit: Maddie McCafferty
It’s Dangerous To Go Alone
The late night set is where these DJs really took it to the next level by performing together. In honor of their joint EP It’s Dangerous To Go Alone, both DMVU and Toadface joined on stage for an epic set. They played countless songs including, “Uncut Diamonds,” and “Jungle Dub.”
DMVU, Photo Credit: Maddie McCafferty
Their separate sounds are unique enough but when they come together it provides groovy dubs that are addicting to listen to. They somehow raised the bar even further when they brought out special guest Distinct Motive who had the crowd cheering with excitement when he played his hit “Shake Junt.” The rest of the night consisted of the DJs switching off and on from the decks.
Photo Credit: Maddie McCafferty
This night at Ironworks was one for the books. And more EDM nights are to come with Churma going to Luna Lounge December 29 and Rusko will be performing a NYE show at Town Ballroom. Get your tickets here.
On December 16, 2023, the Binghamton Philharmonic Orchestra performed its annual holiday concert, “Winter Wonderland,” to a packed house at the Broome County Forum Theatre.
A glittering celebration of the season, Winter Wonderland featured Christmas hits both old and new by Tchaikovsky, Johann Strauss, John Williams, and young American composer Quinn Mason; carol singalongs led by soloists from Tri-Cities Opera; and a screening of the British animated classic “The Snowman” with live orchestral accompaniment.
There was something for everyone in the lively concert. Mason showed a distinctly American voice in his lyrical, atmospheric “Christmas Eve Festivities,” which is becoming a new classic. Local newscaster Jim Ehmke was the narrator for Bill Holcombe’s charming “‘Twas the Night Before Christmas,” a musical setting of the beloved poem by Clement C. Moore. The guest conductor for Leroy Anderson’s “Sleigh Ride” was local businessman Jonny Norton, who had won the spot in a fundraising auction, and Norton clearly enjoyed himself heartily, along with the orchestra and audience. Young treble soloist Eva Dixon, a 13-year-old soprano from New York City, sang the haunting solo, “Walking in the Air,” in “The Snowman” with delicacy and aplomb.
The orchestra played with uplifting energy and precision, led by the confident conducting of Maestro Daniel Hege, who managed to infuse even the most familiar carols with a spirit of wintry revelry. Maestro Hege engaged the audience with his trademark lighthearted banter, and the audience responded with exuberant singing, hand-clapping, and a standing ovation at the end. For the enthusiastic and festively-dressed concertgoers, including many children, “Winter Wonderland” was a truly magical experience, and a not-to-be-missed event of the holiday season in New York’s Southern Tier.
To close out a tremendous year of touring, Billy Strings arrived in the Salt City of Syracuse on Saturday, December 16, for a performance at Upstate Medical Arena at The Oncenter War Memorial.
Having just returned from a European tour in November, Billy Strings embarked on a brief, 10 day tour worked its way up the East Coast from Greensboro, NC, stopping in Maryland and Pennsylvania before arriving in Syracuse.
photo by Allison Marie
A usual preshow crowd was found throughout bars and restaurants in downtown Syracuse, with a small lot scene taking shape on this temperate late fall night in Syracuse. Only a trio of shows in New Orleans over New Years Eve remain, following a year touring that was began and ended with shows in minor-league hockey arenas.
One of the best things about a Billy Strings show happens before the music even begins – the band gives you a heads up that the show will be starting soon, something more bands could and should do (especially if ticket time is all but ignored). Flashing on the three screens that frame the stage, the audience is forewarned with bright and brief flashes of “15 Minutes until Fuzzy Rainbows”, then 10 minutes, and 5 minutes, giving an extra level of anticipation for the patient, sold out crowd.
Over the course of two sets, Billy Strings would play nearly 30 songs, more than half of them covers, mainly from relatively obscure bluegrass and early country artists, plus a choice Led Zepplin cover.
The night began with original “Home,” followed by “West Dakota Rose” by Chris Henry. After “Down Yonder,” Billy greeted the crowd, noting it had been a long time since the band had last played there – but this was indeed the first show, while also having played Rochester a year prior.
An excellent psychedelic trance formed in “Fire Line” and shifted into the traditional “Raleigh and Spencer,” full of vim and vigor with each repetition of “There ain’t no liquor in this town. No there ain’t no liquor in this town,” with Billy swirling his hair around as he broke the song down. Air Mail Special on the Fly, by Leon Rusk, was among the highlights of the numerous covers, all made unique and brought into a new generation of bluegrass lovers.
“Be Your Man” gave a reference to the Big Apple with the line “When I got to New York City I was looking for another side of life”, followed by only the fifth version of the new “Escanaba,” named for a city in Billy Strings’ home state of Michigan. The set would close with “Away From the Mire,” a fan favorite, highlighted by bassist Royal Masat and a sparkly background, capped by Strings stepping out to the front of stage and playing to each side of the audience, closing the set on a highest of notes.
Set 2 would open with “Know it All,” followed by another traditional song – one made popular by The Dillards, Doc Watson, Bill Monroe, Jerry Garcia and David Grisman, “Shady Grove.” Spotting Santa Claus in the audience, Billy Strings dedicated “Just Because” by Nelstone’s Hawaiians, referencing Santa a few times in this nearly 100 year old song.
From there, “Blue Mule” again put Royal Masat’s bass prowess on display, giving a smooth jazz club vibe in appearance, presence and sound as the band broke down “Doin’ Things Right,” which included a jam on Led Zeppelin’s “Moby Dick,” then giving way to an outright cover of “Four Sticks” off Led Zeppelin IV, a jaw-dropping version.
Two mellower songs would follow – “Libby Phillips Rag,” and Ralph Stanley’s “A Robin Built a Nest on Daddy’s Grave.” The soft respite was no match for the finale of the set, a pairing of “Psycho” (Eddie Noack) and “Thunder,” which got very spacey and nearly found a backdoor into “St. Stephen” before calling it a night, huge applause cascading from the audience to the stage.
An appropriate encore of Bill Monroe’s “Christmas Time’s A-Coming” was a reminder of the season that awaited all in a week, and with Billy Strings getting ready to head back home to Nashville, Jimmy Martin’s “Tennessee” closed the night.
Billy Strings – Upstate Medical Arena at The Oncenter War Memorial, Syracuse – December 16, 2023
Set 1: Home, West Dakota Rose, Cabin Song > Down Yonder, Fire Line > Raleigh and Spencer, Ernest T. Grass > Air Mail Special on the Fly, Be Your Man, Escanaba, Away From the Mire Set 2: Know It All, Shady Grove, Along the Road, I’ll Be Gone a Long Time, Just Because, Long Forgotten Dream, Blue Mule, Doin’ Things Right, Four Sticks, Libby Phillips Rag, A Robin Built a Nest on Daddy’s Grave, Psycho > Thunder Encore: Christmas Time’s A-Coming, Tennessee
As the crescent moon descended over the Capitol Theatre in Port Chester, Bob Weir & Wolf Bros delivered a compelling evening of music, marking the third show of their extended December 2023 residency.
Emerging from the rear of center stage, Bob Weir opened the evening solo with his rendition of “Peggy O.” A solitary figure with his guitar, Weir exuded a contemplative aura. Every note plucked and every word sung captivated theaudience, drawing them into the profound depths of his soul.
The five-night series harmoniously coincided with the festive season, capturing the joyous spirit of the holidays. With a twinkle in Weir’s eye and his beard all aglow, this musical Kris Kringle bestowed a plethora of gifts upon all the good boys and girls attending the sold-out show.
Enhancing the magical ambiance was a cadre of Santa’s musical helpers, featuring Don Was, Jay Lane, and Jeff Chimenti, as well as The Wolfpack (Alex Kelly, Brian Switzer, Adam Theis, Mads Tolling, Sheldon Brown, Barry Sless), who graced the stage alongside Weir at different junctures throughout the evening, intensifying the magic.
The musical choices for the evening spanned a diverse range of origins, featuring both Weir’s original compositions and beloved Grateful Dead classics. Each song’s energy seamlessly flowed into the next, creating a dynamic musical journey.
Both sets featured compelling covers, including Kris Kristofferson’s “Me and Bobby McGee” and Marvin Gaye’s “What’s Going On,” broadening the musical scope of the evening. The band’s portrayal of Eddie Cooley’s “The Fever” transcended into a profound and soulful masterpiece. Bringing the night to a memorable conclusion, the band encored with the timeless classic, “Going Down the Road Feeling Bad.”
As the band bid farewell, the capacity crowd journeyed out into the darkness of the night. If anyone among them cast their gaze skyward, they might have captured the sound of a celestial symphony. Voices from above exalting ‘On Dead, on Ratdog, on Kingfish, on Company; Merry Christmas to all, and to all a Rock’n Night!’
Bob Weir and Wolf Bros., – Capitol Theatre, Port Chester – December 15, 2023
Set 1: Peggy-O, The Winners, Mississippi Half-Step Uptown Toodeloo, Tennessee Jed, Odessa, Ramble On Rose, I Need a Miracle, Fever, U.S. Blues
Set 2: Me and Bobby McGee, Man Smart; Woman Smarter, Bertha, Cassidy, The Wheel, Eyes of the World, What’s Going On, Stella Blue, Not Fade Away
On December 15th, the indie-pop luminary mxmtoon/Maia wrapped up her “plum blossom (revisited) tour” in style at the cozy Roulette venue in Brooklyn, her adopted home. Despite her Bay Area origins, the artist warmly acknowledged the show as a second hometown gig, solidifying the special bond she shares with the Brooklyn crowd. The night was a whirlwind of distinctive moments, from a fan capturing the event with a 3DS to the collective knuckle-cracking orchestrated by Maia, showcasing both the uniqueness of her fanbase and her penchant for the offbeat.
In a touching moment, the emotional crescendo transpired during the performance of “Stuck.” Overwhelmed by a fan project featuring signs proclaiming “you are more than enough for us,” Maia paused and restarted the song, getting overwhelmed with emotion and tearing up a bit over the profound connection her music forms with her dedicated followers.
The concert became an interactive experience when Maia encouraged the audience to join her in a spirited rendition of “Prom Dress,” a poignant moment of shared emotion. Adding layers of sentimentality, Mxmtoon revealed that “Hong Kong” held a special place in her heart, as it was her mom’s favorite among all her compositions. The setlist, a carefully curated blend of fan favorites and surprises, included an unreleased jewel titled “Sarah,” a clever and quippy exploration of the concept of hate-watching YouTube videos.
The night unfolded as more than just a concert; it was a narrative journey with Maia providing glimpses into the stories behind her songs. The anecdote about “I Feel Like Chet,” a song where her youthful enunciation led to amusing misinterpretations (like “I feel like shit”), showcased her ability to infuse humor into her reflections. The concert concluded with an encore, featuring a cover of Vance Joy’s “Riptide,” cementing the evening as a nuanced exchange between artist and audience, leaving an indelible mark on all those present.
Legendary guitarist Bobby Weir of the Grateful Dead has wrapped up holdng a 5-night run at The Capitol Theatre with the Wolf Bros, featuring The Wolfpack.
The Wolfpack is made up of the Wolf Bros Don Was and Jay Lane, and Jeff Chimenti, who joined Wolf Bros in 2020 around the time of the forming of The Wolfpack, who are a string and brass quintet consisting of Adam Theis, Alex Kelly, Sheldon Brown, Brian Switzer, and Mads Tolling as well as Barry Sless on pedal steel.
The second night of the run, Wednesday, December 13, saw the night start off with just Bobby on stage playing an acoustic “Easy to Slip,” and was then joined by Jay & Don, still on acoustic, for a cowboy favorite, “El Paso.” Bobby switched to electric to play “Queen Jane Approximately” before Chimenti came out for a full electric “Hell in a Bucket,” a crowd favorite. The room was getting hot and The Wolfpack came out to play “The Music Never Stopped”, but for Bob Weir, the music has truly never stopped. The rest of set was joined by Ron Carter on stand up bass and featured a dark and psychedelic “Dark Star” and a roaring “Scarlet Begonias.”
Not bad at all for a Wednesday night! Spirits were high and the second set certainly delivered, starting off strong with “Throwing Stones.” Bobby’s vocals really shined on “Viola Lee Blues” and “Corrina.” This was followed by “Come Together,” an unexpected Beatles cover. Following were delightful symphonic renditions of “China Cat Sunflower > I Know You Rider,” featuring top notch horn solos accompanied with Bob’s iconic rhythm guitar playing.
Following was a dark and somber “Wharf Rat” with the absolutely iconic Bobby song, “Sugar Magnolia” following. Weir absolutely wails at one point in that song, delivered beautifully but being careful not to blow his voice out before the next three nights at the legendary Capitol Theatre.
The encore was a rather rare “Liberty,” masterfully delivered. The band took a bow and received a small banner stating “Warning: Genius at Work.” A true spectacle of a night, seeing the legendary Grateful Dead guitarist produce a unique soundscape with familiar material, brining the music to new places and keeping it fresh.
Bob Weir and Wolf Bros., – Capitol Theatre, Port Chester – December 13, 2023
Set 1: Easy to Slip, El Paso, Queen Jane Approximately, Hell in a Bucket, The Music Never Stopped, Easy Answers, Dark Star, Scarlet Begonias
Set 2: Throwing Stones, Viola Lee Blues, Corrina, Come Together, China Cat Sunflower > I Know You Rider, Wharf Rat > Sugar Magnolia
Lifestyle and fashion brand Runaway New York celebrated their five year anniversary at Public Records on December 11 with Balu Brigada and Carlo Redl.
Runaway New York is a fashion and lifestyle brand owned by Jagger Walk, an American entrepreneur and designer. December 11 was a one of a kind celebration, marking the fifth anniversary and there was no better place to revel in the significant milestone. The evening was filled with remarkable live performances, drinks, and the opportunity to purchase exclusive merchandise. This exclusive night included music, style and a community that converged to create seamless enduring memories.
Opening artist Carlo Redl is a singer and songwriter based in Miami and Tokyo and regarded as the new “John Mayer” with a pop/R&B twist. Redl incorporates electric guitar and is influenced by 70s rock and classic jazz and heard within his riffs. As a songwriter, one of his many successes was the debut song “Gifted” which charted number one on Billboard Hot Trending.
Closing artist Balu Brigada is an alternative pop duo from New Zealand compromised of two brothers Henry and Pierre Beasley signed with Atlantic Records in 2022. They are now on their first homecoming tour which supports upcoming EP Find A Way with hit single “Designer” reaching over a million streams. Sibling duo began making music at an early age and officially formed Balu Brigada at the ripe age of 18. The multi-talented brothers have since gained huge recognition and honed their craft with inspired experimentation.
Carlo Redl and Balu Brigada interacted with the crowd to highlight the celebrated milestone for Jagger Walk and the Runaway New York fashion brand. Putting on quite the show for both fans of fashion, music, art and clearly a night to remember.
