Iconic rappers JPEGMAFIA and Danny Brown have left zero crumbs on their stops through the east coast on their SCARING THE HOES tour. Their show in Buffalo Aug. 1 was no exception to this as they performed for a sold out crowd at the Town Ballroom.
Photo Credit: Maddie McCafferty
Opener DJ_Dave brought her experimental production to Buffalo by performing her music using code. She combines her electronic pop music and love for tech to create a newfound fluidity to the industry. Her visuals go beyond just cool tech symbols because she is live coding on stage, refereed to as algorave which is both impressive and entertaining to watch.
DJ_Dave, Photo Credit: Maddie McCafferty
Later on JPEGMAFIA and Danny Brown took over the stage. Their presence can not be taken lightly because they had fans going crazy from start to finish. They began the night introducing themselves and immediately going into their track “Lean Beef Patty.” With just 30 seconds in the energy was insane. The rappers were spraying water into the crowd, climbing on top of the barricade, and interacting with fans nonstop.
JPEG, Photo Credit: Maddie McCafferty
This tour is in honor of the two rappers’ joint album SCARING THE HOES which released earlier this year. After much anticipation it was especially satisfying for fans to get to see the collaborative talent of these two in action. Even with many songs of theirs being together they still took the time to perform a section of the show by themselves.
JPEG, Photo Credit: Maddie McCafferty
JPEGMAFIA performed fun covers of songs by Carly Rae Jepsen and Denzel Curry. Fans especially got pumped up when he rapped his hit “1539 N. Calvert.” Danny Brown then came back on stage with JPEG, then gave the audience a solo show. The crowd got even more excited for this and couldn’t stop chanting his name.
Danny Brown, Photo Credit: Maddie McCafferty
Danny performed his popular song “Really Doe” that features Kendrick Lamar. This track had people immediately riling up and opening up the pit for mosh pits. It’s so impressive to watch both Danny and JPEG rap in person because there is no gimmicks. Neither of the artists use a backing track. This means every word you hear them rap live is them actually rapping live, and if they mess up it becomes 10x more obvious to the audience watching.
JPEG, Photo Credit: Maddie McCafferty
The two finished off the night with “SCARING THE HOES” and “Fentanyl Tester.” The packed in crowd was lit with rage and sweat from the non-stop party. Something about Danny Brown finally being back in Buffalo after all these years and visuals that paid homage to old-school video games gave a nostalgic feel.
Danny Brown, Photo Credit: Maddie McCafferty
If you missed this dynamic duo in Buffalo, fear not because more NY dates are on the horizon. The SCARING THE HOES tour will be making stops in NYC at both Pier 17 on Aug. 9 and Terminal 5 on Aug. 11. Upcoming shows at the Town Ballroom can be found here.
Danny Brown, Photo Credit: Maddie McCafferty
Setlist:
JPEGMAFIA & Danny Brown: Lean Beef Patty, Burfict!, Steppa Pig, Garbage Pale Kids
JPEGMAFIA: Jesus Forgive Me I Am a Thot, 1539 N. Calvert, BALD!, Baby I’m Bleeding, Call Me Maybe (cover), VENGEANCE | VENGEANCE (cover)
JPEGMAFIA & Danny Brown: Run the Jewels, God Loves You, Shut Yo Bitch Ass Up / Muddy Waters, Hermanos
Danny Brown: Really Doe, When It Rain, Dip, Monopoly, Tantor, Ain’t It Funny
JPEGMAFIA & Danny Brown: Guess What Bitch, We Back Hoe!, SCARING THE HOES, Fentanyl Tester
Rising Central New York star Sydney Irving took to the stage at Spiedie Fest in Binghamton on Sunday Aug. 6, providing direct support to headliner Gavin DeGraw. It was the last day of the annual three-day festival, which showcased great food (including spiedies, of course), hot air balloons, arts & crafts, as well as musical performances from acts such as John Waite, Tommy DeCarlo, Scotty McCreery, and Cooper Greer.
At just twenty years old, Sydney Irving has already proven that no stage is too big. The 2022 Syracuse Area Music Award winner for best new artist has already performed on the main stage at Spiedie Fest on two other occasions; in 2019, opening for Starship feat. Mickie Thomas and again in 2021, opening for Martina McBride. On Sunday she was joined by her band, The Mojo, feauring Luke Hart (guitar), Evan Tennant (drums), Randy Tennant (bass guitar), and Carl Stokking (guitars, vocals). They have quickly become a mainstay on Syracuse’s Locals Only radio, with the recent release of their single “I Don’t Wanna Fight You.”
Concert goers on Sunday could not have been greeted with more perfect summer weather, as warm temperatures and sunshine greeted fans as they arrived. Fans filled the concert area long before the advertised start time and a quick scan of the audience along the stage barrier showed a mixture of Gavin DeGraw and Sydney Irving t-shirts.
Just after 4:30 pm Irving and her bandmates took to the stage and immediately launched into their track “Seasons Change.” The catchy and upbeat pop-rock track released by the band in 2021 set the stage for what was to come on this afternoon. Irving quickly grabbed a captive hold of the audience, a feat often difficult to achieve by most performers at larger festivals. She worked the stage with the charisma and stage presence like she was a 20-year veteran, engaging the crowd in sing a longs, dances, and synchronized claps. The band took the party atmosphere to another level by kicking oversized beach balls into the crowd.
Through out the band’s sixty minute set, they intertwined cover songs with their own original music, with the band paying homage to the musicians they attribute to their own songwriting style. They got the crowd up and dancing on Taylor Swift’s “You Belong To Me,” and Irving and her bandmates put their own spin on the Dolly Parton classic, “Jolene.” Guitarist Luke Hart also put his talents on display with a blistering guitar solo during Tom Petty’s “Running Down a Dream.” However it was the band’s original tracks that were the true highlights on this afternoon. Songs like “Don’t Want to Fight You” and “You Can’t Forget About Me” showcased Irving’s talents as a songwriter and fit in the setlist flawlessly, alongside the cover tracks.
As the set wound to a close, Irving and her band mates performed the Ramones classic “Blitzkrieg Bop.” The high energy track had the crowd singing and clapping along, and left those in attendance highly energized as they awaited the evening’s headliner.
If you missed Sydney Irving & the Mojo’s set at Spiedie Fest, don’t fret. The band have a slew of performances scheduled, including on Aug. 19 at the Dreamland Theater Music & Arts Festival in Utica. See the band’s full sleight of shows here.
On Aug. 4, 2023, metal giants Metallica descended upon Metlife Stadium in East Rutherford, New Jersey, to kick off the North American leg of their highly anticipated M72 Seasons Tour. With a stellar lineup that featured opening acts Pantera and Mammoth WVH, the night promised to be an unforgettable metal extravaganza. Drawing a staggering crowd of 80,000 enthusiastic fans, the stadium was electrified with the raw energy that only true heavy metal can deliver.
Metlife Stadium, known for its impressive capacity and state-of-the-art facilities, was the perfect venue for this massive event. To make the experience even more immersive, the stage was set up “in the round,” which means it was located at the center of the stadium, allowing fans from all sides to have a clear view of the action.
Before Metallica took the stage, fans were treated to two opening acts that set the stage on fire. First up was Mammoth WVH, the creation of the multitalented Wolfgang Van Halen, son of legendary guitarist Eddie Van Halen. Mammoth WVH brought their A-game, delivering a powerful performance that showcased their explosive musicianship and remarkable stage presence. Hits like “I’m Alright,” “You’re to Blame,” and “Don’t Back Down” had the crowd headbanging and singing along.
Following Mammoth WVH, the atmosphere became even more intense as the audience eagerly awaited Pantera. The band took the stage with the incomparable Zakk Wylde on guitar and Anthrax drummer Charlie Benante joining the lineup. Despite the tragic losses of two original members, Dimebag Darrell and Vinnie Paul, their legacy lives on. Surviving members Phil Anselmo and Rex Brown, along with Wylde and Benante, teamed up to deliver a ferocious set. Fan favorites like “Strength Beyond Strength,” “I’m Broken,” “Walk,” and “Cowboys From Hell” sent waves of nostalgia through the crowd.
Metallica kicked off their two-hour set with “Creeping Death.” They immediately unleashed their signature sound, sending shockwaves through the stadium. The M72 Seasons Tour featured a unique concept, with the band playing two nights in each city, but ensuring that both shows had completely different setlists. The first night at Metlife Stadium featured powerful renditions of songs like “72 Seasons,” “Fade to Black,” “Nothing Else Matters,” and “Battery,” each one resonating with the crowd’s insatiable appetite for metal.
The pinnacle of Metallica’s performance was marked by the arrival of the iconic track “Master of Puppets.” In response, the atmosphere within the stadium ignited into a frenzy, with mosh pits erupting spontaneously. As Kirk Hammett, Rob Trujillo, Lars Ulrich, and James Hetfield poured their energy into the performance, the crowd’s reaction was nothing short of electrifying. The combination of powerful guitar riffs and thunderous drums seemed to unleash a tidal wave of raw excitement.
Setlist: Creeping Death, Harvester of Sorrow, Holier Than Thou, King Nothing, 72 Seasons, If Darkness Had A Son, Fade to Black, Shadows Follow, Orion, Nothing Else Matters, Sad But True, The Day That Never Comes, Battery, Fuel, Seek & Destroy, Master of Puppets.
It was a reunion of sorts on Thursday at the Lakeview Amphitheater in Syracuse, as hard rockers Godsmack and Staind joined forces for an impressive twin bill. The pair of Massachusetts-based bands have toured extensively together since 1998.
The tour was designed in part to celebrate the 25th anniversary of Godsmack. The band, who released Lighting Up the Sky (2023) earlier this year, has announced that this will be their last studio release, however, lead singer Sully Erna has gone on record to state the band will continue touring. Boasting an impressive resume of eight studio albums with over twenty million albums sold, the band has maintained the same four members throughout the twenty-five years of existence. Frontman Sully Erna (vocals, guitar, percussion) is joined by Tony Rombola (guitar), Robbie Merrill (bass guitar), and Shannon Larkin (drums).
The evening’s festivities kicked off with a thirty-minute set by Mix Master Mike. Known for his years as the turntablist with the Beastie Boys, Mix Master Mike was able to fill the amphitheater with early energy and excitement, as he played a mixture of Beastie Boys tracks along with other hit tracks primarily from the 1990s.
After a brief set changeover, the back side of the stage was illuminated to show various screens and projection monitors. As Staind took to the stage the screens would display cinematic-style scenes and images tying in to the songs being played. Staind launched into their new single “Lowest In Me” from their forthcoming release Confessions of the Fallen. Aaron Lewis (vocals, guitar) quickly put his signature vocals on display, showcasing one of the more familiar voices in rock music. His bandmates proved to be no slouches either, as Mike Mushok (guitars) jumped, thrashed, and head-banged throughout the set.
The band would perform for 75 minutes with a set that included several hit tracks from the early 2000s, such as “Outside,” “It’s Been Awhile,” “Fade,” and “Epiphany.” As the set neared a close, the amphitheater filled with the familiar bass guitar rumble of the song “Mudshovel,” the band’s breakthrough track in 1999. This brought the crowd to their feet, singing and screaming along with Lewis, as he strutted about the stage.
After the set a white sheet would drape over the stage, hiding the set up behind. As it came time for Godsmack to take the stage, Mike Master Mike was projected across the screen. Several arena rock anthem tracks were played to further build excitement. Eventually, the sheet would drop to reveal a black sheet with the familiar Godsmack sun logo. A few seconds later, and with a burst of fireworks, the headliners would take to the stage. Godsmack immediately launched into the high-energy title track of their 2018 release When Legends Rise.
The band would keep the energy going as they moved on to 1000hp, playing in front of a slew of flames and other pyrotechnics. During the band’s hit track “Voodoo” the flames would again make a return, as fireballs would rise from the stage, almost as if they were dancing with the song’s cryptic rift. As the set moved on, Larkin’s drum riser would to the front of the stage, and be joined by a second drum set. Erna would then take a seat behind the kit and the pair would then put on an impressive percussion battle on “Batalla de los Tambores.”
After a brief encore break, Erna would return to the stage and take a seat behind a piano. He talked about the importance of community and discussed the band’s charity, the Scars Foundation, a nonprofit organization designed to provide mental health services to local communities. Erna would then perform the beautiful track “Under Your Scars.” The song not only showcased Erna’s talent as a songwriter but also his diverse musical ability and his strength as a person. His bandmates would then return to the stage for the evening’s final two tracks, “Bulletproof” and “I Stand Alone.”
Playing to a packed house at Darien Lake Amphitheater, Country rapper Jelly Roll brought his Backroad Baptism to Western NY on Aug. 3. Fans in attendance were in for one hell of a show by Jelly Roll and opening acts Struggle Jennings and Caitlynne Curtis.
While I did not make it in time for the opening acts, I did manage to catch the end of Struggle Jennings set. Not knowing much about him, I did talk to a few fans, and he seems to have a good following, as everyone I spoke with said that he is a regular on their streaming services. What I did get from his set was that, like Jelly Roll, Struggle Jennings (William Curtis Harness Jr) has a troubled past with prison time included. Lucky for him and for us, he has found the right path and is making the most of every opportunity. He has a voice that one cannot just describe, yet it matches his style and muse perfectly.
Wake up tomorrow and make it the best fucking day of your life
Struggle Jennings
Like his successor on stage, Jennings is a humble dude. He spoke about how everything happens for a reason, and you need to take advantage of every opportunity that is thrown your way, and he used his own daughter as an example. With him being incarcerated, and the mother of his child passing away, his daughter was in and out of foster care and dealt with her own demons along the way, but kept her head up and graduated with high honors and is heading off to college.
After dabbling in the rap and hip-hop markets for about ten years, the Tennessee native entered the country market and immediately made a name for himself. His unique vocals, inspirational messages, and powerful range have led him to be one of the most recognizable names in music today. With his current tour barely underway, Jelly Roll is riding high on music charts as well, with his latest album Whitsitt Chapel sitting at number two in iTunes’s top 100 country albums and is up there on Billboard rock/alternative chart as well.
Getting back to the show at Darien Lake, Jelly Roll hit the stage around 9 p.m., with his drummer welcoming him with a solid little beat. He starts the night off in absolute style, with “The Lost,” “Hate Goes On,” and “Halfway to Heaven,” with the latter heating up with pyrotechnics joining the party. It is clear at this point the next 90 minutes are going to be loud, fun, and hot. Talking about his roots and how he came to country music, Jelly Roll spoke about the power of 90s country and unleashes a mash-up of covers starting with the very vocal Toby Keith.
Naturally, the crowd sang along as he rolled through four or five songs. At this point, I think the only fans left sitting were way back on the lawn. The crowd was pumped up and made Jelly smile from ear to ear. He talked about Buffalo and the area and of course the well-known Bills Mafia. He played Darien Lake on Tuesday, after a Buffalo Bills Monday night game and he said the crowd was something he had yet to see, with the Mafia out in full force. He added that it really made an impression on him about the passion that Bills fans have.
Onward with the music, he does a couple more covers, starting with a mix of The Animal’s “The House of The Rising Sun.” Very much making it his own, he nailed the melancholy rhythm and with some effects of the fire towers on stage, this arrangement instantly becomes a talking piece. His next cover was that of Lynyrd Skynyrd’s “Simple Man,” which holds a special place in Jelly’s heart. With an acoustic vibe, this piece was done perfectly and with the crowd chiming in for the final verse, the mix became complete.
As Jelly Roll finished his set, one can look around and see what a diverse group he gathers. Out on the lawn, there are grown men, chugging Bud Light and rocking t-shirts. You see the younger crowd, discretely vaping and dancing to every beat. There are groups of older folks who you might have thought took a wrong turn on the way to bingo, yet they are having a time listening to this 38-year-old rapper turned country star. Jelly Roll is the star that doesn’t just attract country music fans of a certain demographic. He manages to lure in everyone with his humbleness, simple messages, and simple charm. While he has been in the music business for several years, Jelly Roll is now just making his mark and defining who he is in the field of music.
our windshield is bigger than the rearview mirror for a reason. Cuz what’s in front of you is much more important that what’s behind you…”
Jelly Roll
Set list: The Lost, Hate Goes On, Halfway to Hell, Creature, Dead Man Walking, Son of a Sinner, Country Medley/mix, She, Dancing With The Devil, Teaks Could Talk, Dirty South, Bottle And Mary Jane, Need a Favor, House of Rising Sun medley, Wheels Fall Off/Kill a Man, Fall in the Fall, Simple Man (Lynyrd Skynyrd), Smoking Section, Save Me
Last night marked the grand finale of the CFCU Main Street Music Series in Cortland, NY, as music enthusiasts gathered for the third consecutive weekend of unforgettable performances. The stage was set for an extraordinary night featuring local talent, multi-instrumentalist singer/songwriter, Bradford Allen, as well as the dynamic Fall Creek Brass Band. The anticipation was palpable, knowing that the night would culminate with the headlining blues sensation, Vanessa Collier, a recent 2022 BMA winner and 2023 nominee.
Cortland CFCU Main Street Music Series at Courthouse Park
Kicking off the evening was Upstate New York native, Bradford Allen, whose musical prowess and versatile artistry set the perfect tone for the night. Armed with multiple instruments and an enchanting voice, Allen effortlessly captivated the audience with his soulful melodies and heartfelt lyrics, it was no surprise that his set was an expertly crafted blend of musical brilliance that left the crowd wanting more.
Sunset over Courthouse Park – Main Street Music Series
Following Allen’s memorable performance, the Fall Creek Brass Band took to the stage. Fall Creek Brass Band’s roots run deep, having formed over a decade ago at Dryden High School. From those early days to the present, they have remained an integral part of the local music scene, gracing stages at various festivals and shows. Their opening set was an explosion of energy, as the Fall Creek Brass Band’s infectious rhythms and soulful melodies got the audience grooving from the first note. Their performance was a testament to the power of homegrown talent, leaving no doubt that they are destined for even greater heights in the future.
Fall Creek Brass Band
Finally, the moment everyone had been waiting for arrived. Blues sensation Vanessa Collier is up next. A true force to be reckoned with, Collier took the stage by storm, exuding charisma and musical finesse from the very first note. Her award-winning talent and undeniable stage presence immediately earned the adoration of the crowd. As a recent 2022 BMA winner and 2023 nominee, her extraordinary musicianship was on full display. With her saxophone in hand and a voice that could move mountains. Collier delivered a spellbinding performance that transcended genre boundaries.
Vanessa Collier
As the night drew to a close, and the echoes of Vanessa Collier’s final notes lingered in the air, the crowd erupted in applause and cheers, showing their deep appreciation for the unforgettable performances of the CFCU Main Street Music Series. The three-weekend extravaganza had been a resounding success. Showcasing not only local talent but also bringing the community together and leaving everyone looking forward to next year.
Jam band supergroup LaMP performed their late night Phish afterparty at The Cutting Room on Wednesday, August 2nd. LaMP consists of Scott Metzger joined by Russ Lawton & Ray Paczkowski of Trey Anastasio Band.
The room was packed and attendees were ready to boogie following Phish. The band played a very tight, rocking, funky set. The whole show was rather funky and Scott’s guitar playing as the only axe man in the band reminded me more of Trey Anastasio’s playing more than Scott’s guitar parts in Joe Russo’s Almost Dead. There were incredible peaks and moments of dissonance, but mostly very tight and danceable funkiness.
Truly a supergroup with three incredible musicians. With these three in the room, you’re bound to dance!
Darien Lake Amphitheater witnessed an electrifying spectacle Friday night as Fall Out Boy took the stage and delivered a concert experience that left the sold-out audience in awe. Joined by the dynamic rockers Bring Me The Horizon, as well as the talented acts Royal & The Serpent and Games We Play, this event was nothing short of an adrenaline-fueled rollercoaster of emotions and musical excellence.
As the sun began setting on the picturesque outdoor venue, Games We Play kicked off the night with an impressive set, warming up the crowd and setting the tone for what was to come. Their energy and catchy tunes got concert-goers moving and set the stage for an evening of non-stop entertainment. While only having a few songs to perform, Games We Play did a crowd-engaging cover of “Mr. Brightside” which got the spark going.
Next up, Royal & The Serpent took the stage and proved why they are a band to watch. With an eclectic mix of indie-pop and alternative sounds, the group the audience with their raw, emotional performance. Lead vocalist Ryan Santiago’s vocals soared through the amphitheater, leaving a lasting impression on the fans.
Bring Me The Horizon, the British rock sensation, took the Darien Lake Amphitheater by storm, cementing its status as one of the most captivating and innovative acts in the contemporary rock scene. From the moment they stepped on stage, it was evident that they were on a mission to leave an indelible mark on their audience. Led by the enigmatic frontman Oliver Sykes, Bring Me The Horizon’s performance was a masterclass in showmanship and musical prowess. Sykes’ raw and emotionally charged vocals pierced through the air, commanding the attention of every person in the amphitheater. His dynamic stage presence drew the audience into an intense and immersive experience, transforming the concert into an intimate connection between the band and their fans.
The band’s ability to seamlessly blend different genres was on full display, as they effortlessly transitioned between heavy metalcore anthems and more melodic, atmospheric moments. Tracks like “Shadow Moses” and “Can You Feel My Heart” showcased their heavier side, igniting mosh pits and fervent headbanging, while songs like “Drown” and “LosT” showcased their ability to craft emotionally resonant and introspective pieces.
Perhaps one of the most remarkable aspects of Bring Me The Horizon’s set was their unwavering authenticity and vulnerability on stage. As they performed intensely, it was clear that the band was baring their souls to their fans. This authenticity fostered a sense of unity between the audience and the musicians, making the concert feel like a cathartic and shared journey.
In addition to their emotive performances, Bring Me The Horizon also used their platform to address important social and environmental issues. Between songs, Sykes took a moment to speak passionately about mental health awareness, urging the audience to support each other and seek help when needed. The band’s commitment to using their music and influence for positive change resonated deeply with the audience, further solidifying their place as more than just a rock band.
As Bring Me The Horizon concluded their set, the anticipation for Fall Out Boy reached a fever pitch. The pop-punk veterans did not disappoint, rotating through a diverse selection of songs with each set. Fans were elated to hear the rarely played “The Takes Over the Breaks Over,” a classic from their 2008 record Infinity On High. But the surprises didn’t end there. During the medley, lead vocalist Patrick Stump treated the audience to an acoustic, shortened version of “Get Busy Living or Get Busy Dying (Do Your Part to Save the Scene and Stop Going to Shows)” from their iconic 2006 album From Under The Cork Tree. The crowd went wild, relishing in the nostalgic moment.
Fall Out Boy’s impeccable musicianship and stage presence were on full display, proving why they have remained a staple in the alternative rock scene for years. Patrick Stump’s soulful vocals, Pete Wentz’s electrifying basslines, Joe Trohman’s killer guitar riffs, and Andy Hurley’s powerhouse drumming came together in perfect harmony, elevating the concert to a whole new level.
Fall Out Boy’s signature “Magic 8 Ball” portion of the evening had become a fan-favorite since the tour began, with the band usually performing one obscure song from their repertoire. This night, they went above and beyond, playing two hidden gems. The first was the live debut of “You’re Crashing but You’re No Wave,” a long-awaited treat for die-hard fans. The second was “27,” a beloved fan-favorite from their 2013 post-hiatus record Folie à Deux.
The camaraderie between the band members was palpable, with moments of lighthearted banter and genuine appreciation for their devoted fans. It was evident that Fall Out Boy was not just performing; they were sharing an experience with their audience, creating an emotional connection that extended beyond the music.
This show at Darien Lake Amphitheater was an unforgettable night of musical marvels. With their energetic performances and raw emotion, both Fall Out Boy and Bring Me The Horizon demonstrated why they are two of the most celebrated acts in the rock scene. The show’s sold-out status was a testament to the unwavering passion of their fans, who were treated to a night of timeless classics and unforgettable rarities. This concert will undoubtedly be remembered by all who attended as one epic night.
Fall Out Boy Setlist: Love From the Other Side, The Phoenix, Sugar, We’re Goin Down, Uma Thurman, A Little Less Sixteen Candles, a Little More “Touch Me,” Chicago Is So Two Years Ago, Grand Theft Autumn/Where Is Your Boy, Calm Before the Storm, This Ain’t a Scene, It’s an Arms Race, Disloyal Order of Water Buffaloes,Heaven, Iowa, The Take Over, the Breaks Over, Headfirst Slide Into Cooperstown on a Bad Bet, Fake Out, Get Busy Living or Get Busy Dying (Do Your Part to Save the Scene and Stop Going to Shows), Golden (Partial; Piano Medley), Don’t Stop Believin'(Journey cover) (Piano Medley), Save Rock and Roll, Baby Annihilation, Enter Sandman(Metallica cover) (Partial), Dance, Dance, Hold Me Like a Grudge, You’re Crashing, but You’re No Wave, 27, My Songs Know What You Did in the Dark (Light Em Up), Thnks fr th Mmrs, Centuries, Saturday
Bring Me The Horizon Setlist: AmEN!, Teardrops, Happy Song, DiE4u, MANTRA, Shadow Moses, sTraNgeRs, Drown, LosT, Can You Feel My Heart, Throne
It was the best of times. The early 1990s was a great time to come of age. The Reagan era creaked to an un-auspicious end with the Iran Contra scandal leaving a permanent tinge of scandal to the end of the 1980s. Reagan’s Treasury Department left a gigantic economic mess for George H. Bush due to his de-regulation of the Savings and Loan Institutions which caused major speculation by these S&L which eventually led to numerous banks failing due to bad and often corrupt investments. This S&L scandal was a major contributor to the recession of 1990 that Bush Sr. had fall right into his lap. His “READ MY LIPS” speech and then his subsequent tax hike doomed him politically and would eventually devastate his chances at a second term. Lollapalooza
Lollapalooza 1992 ticket stub
Flash to the summer of 1992, the election of Bill Clinton as the 42nd President of the United States was still not a foregone conclusion. Generation X was mad as hell and motivated to make changes in the political and social landscape of the country that had been repressive for the previous decade. The old guard needed to be retired and exchanged for something new and exciting and generation X was ready for it.
Luckily for all of us we had Perry Farrell to be the ringmaster of that circus. After his first successful run at bringing the Lollapalooza music festival to the country the previous year, the Jane’s Addiction front man doubled down and created what would wind up being a lineup for the ages for the second tour in 1992. I was a 24-year old college graduate that was working two jobs as a waiter in order to make ends meet at that time. My friends and I had enough scratch to afford cheap lawn seat for the fifth stop of the Lollapalooza festival that was hosted at the Saratoga Performance Arts Center on August 4th 1992. It would be an experience that would impact my life forever.
Lollapalooza 1992 program
The festival included the main stage for the big headliners and a side stage dubbed “Stage 2000” which home to the now famous Jim Rose sideshow circus. The Alt carnival extravaganza featured artists like The Amazing Mr. Lifto, whose claim to fame was lifting 2 big clothes irons from his penis and another performer named Enigma whose carnival act included eating live worms and maggots. Some things in life folks you can never un-see.
Jim Rose Circus at Lollapalooza 1992
The second stage also hosted Perry Farrell’s post Jane’s Addiction breakup band Porno for Pyros during the festival’s tour. This was a genius move on Farrell’s part because it enticed so Jane’s Addiction fans away from the thrall of the main stage and gave a chance for them to experience some of the lesser known artists on the second stage. Porno featured also many of the Jim Rose Carnival Crew during their performance which was perfect visually for the music that the band was providing. Stage 2000 also featured numerous up and coming bands like Shark Bait and Sweaty Nipples which have faded into obscurity over time and others like Cypress Hill, and House of Pain that would go on to have very long and successful musical careers.
The Lollapalooza Festival was also revolutionary at the time because it featured something unique, the Concourse of Curious Oddities that was comprised of lots of crafts for sale, artist installations, exotic multicultural food stalls, and lastly the Cyberbar that would let patrons experience the benefits of an Oxygen bar which most of us at the time never heard of or even knew existed. These were things I had never seen before at any show I had ever attended up to that point.
Lollapalooza 1992 signage
Lollapalooza was innovative as a music festival because it provided space for over a dozen political action booths that featured non-profit causes like PETA, Green Peace, ACLU, Rock the Vote, Handgun Control Inc., and the Women’s Voter’s League just to name a few. This was a big departure from the norm of any other music festival and was a master stroke of genius by organizer Perry Farrell. It was truly an ingenious way to activate members of Generation X. It effectively exposed concert goers who were mostly comprised of teens and 20 somethings to a variety of political causes that they would have never otherwise been exposed to, effectively making it cool to be an activist which at the time was desperately needed. Farrell also helped a lot of young folks get registered to vote just prior to a very important Presidential election that would go on to shape the remaining years of the decade and usher in the dawn of 21st century.
The heavy music action of course took place on the Main Stage, with English band Lush starting off the festival at 2:00PM. We were all getting ready for the big names on the bill that were slated to perform later on that night. My friends and I were at the point in the day where we were getting into the right “head space” for the festivities. Multitudes of concert goers milled about the grounds locating friends and joyfully explored the trappings that the carnival that had come to Saratoga had to offer.
Of course right at the point when it was time to start getting comfortable on the lawn to take the show in, the sky opened with rain, just like it always seems to in Upstate NY when there is a great show. By the time Lush finished their set and Pearl Jam came on SPAC’s main stage, the amphitheater’s lawn had been converted into a mud pit complete with crazy mud people that would, ironically for me, foreshadow my experience years later at the Woodstock 1994 festival in Saugerties NY.
The mud at Lollapalooza 1992 at SPAC
These maniacal misanthropes went sliding headfirst down the hill of the lawn crashing into whoever was not paying attention or just too fucked up to care. When Eddie Vedder and the rest of the band came on and they commenced belting out a blistering rendition of “Once” that was a deep cut off of their first album Ten it seemed like the 25,000 plus festival attendees went into a full on frenzy. Without a moment’s notice the crowd on the lawn made a mad rush through the rope barrier that separated them from the stage like a wave of humanity driving towards the stage. The muddy mosh pit that had developed on the lawn grew massively and those poor souls uninitiated to the art started fleeing from the flailing arms and body parts that were spastically thrown about. It was truly a sight I will truly never forget. At that moment and at that place there were no rules, no barriers that we could not push through. We reveled in the freedom and the audacity that the music we all loved brought us to in that time and place.
The rain had finally quit and Pearl Jam went on to finish an epic set of eight songs, leaving the crowd ready for a time out. By that time I too was ready for a break and milled about the festival grabbing some much needed food and alcohol before my next must-see band, Chris Cornell and Soundgarden, was to go on stage. I don’t really recall, but I may have checked out the last couple of tunes that Jesus and Mary Chain played, but to be honest after the energy that Pearl Jam threw to the crowd, I was unimpressed with the performance that they were giving.
Eddie Vedder at Lollapalooza 1992
It was then time for one of the bands that started the Seattle scene in 1990s Soundgarden. Of course those of us in the know at the time were secretly hoping that Eddie Vedder and the boys from Pearl Jam were going to join Chris Cornell on stage during their set. We were hoping that they would bust out a number off of the Temple of the Dog album that Cornell and PJ collaborated on. That effort was put together in order to commemorate the loss of good friend and former band mate Andrew Wood who was the lead singer of Seattle’s famed Mother Love Bone. Alas it was not meant to be, but Chris and the band put on a powerhouse of a set that night with renditions of classics like‘”Jesus Christ Pose,” “Outshined“, and“Rusty Cage.” Soundgarden even slipped in a kick ass rendition of “Cop Killer,” a controversial hit made infamous by previous Lollapalooza alum rapper turned Body Count’s hard-core front man Ice-T.
Soundgarden, backstage at Lollapalooza 1992
I took another stroll around the grounds, I was out of beer at that point and made it back to the lawn for Ministry’s set. I was sort of familiar with the band as they were gaining a lot of popularity at the time and their track “The Missing” was frequently played at QE2, the only punk club in Albany which I regularly hung out at on Friday nights. The Industrial mayhem that Ministry provided whipped up the crowd and the SPAC seats were being unceremoniously ripped loose and thrown about the front of the stage. It was getting real at that point and my concern for those up front started to outweigh what was going on the stage. The mayhem was like nothing I had ever experienced at any show, with the possible exception of the Faith No More concert I attended the year before at the now defunct Saratoga Winners. That one was truly beyond nuts!
By the time the Red Hot Chili Peppers took the stage, things at the festival had calmed down drastically. There was still plenty of crowd surfing and stage diving. The Pit was still very active, but the sense of unhinged craziness seemed to have really subsided and I was able to relax again. I believe the energy that was expended for Ministry’s performance as well as the other previous acts seemed to level out the crowd. RHCP took the stage and delivered a more tempered set with hard driving numbers like “Give it Away” and “Suck My Kiss” that transitioned into to more restrained songs like “Under the Bridge” and “Breaking the Girl.” RHCP bassist Flea was of course on stage in his “Whitey Tighties” for most of the set, beating on his bass like the beautiful maniac that he is. Front man Anthony Kiedis consistently connected with the crowd and performed the best set I ever saw the band crank out to this very date. Lots of energy and funkiness were provided that night with one of my RHCP all time favorites included their cover of Stevie Wonder’s classic “Higher Ground.”
The whole band at the end of the show donned these crazy hard hats that had fire coming out of the top of them while performing the Jimi Hendrix classic “Crosstown Traffic” which was the final number for the festival.
Ahead of us Gen Xers was a brand-new decade and the last one before the illustrious end of the 20th century. The future was thrusted upon us. Although we as generation were less filled with naïve idealism that our baby boomer parents had, we were a hopeful lot. Yes we were cynical to a fault and ready to call bullshit to anything or anyone that got in our way, but we still wanted what every generation us wanted, a part of the American dream we just weren’t certain what that was. One thing was for certain, we weren’t going to get fooled again by anyone. We were finally on top and were steering the ship and man we were ready to celebrate.
On the 33rd anniversary of this legendary musical moment in upstate NY, things are tougher than we Gen Xers ever expected them to be back at that time. Current challenges such as the COVID Pandemic, Climate Change, Political Unrest, and even the Internet have been inflicted on all of us.
That day back in 1992 in Saratoga there were over 40 arrests made at the show. Property damage was done. The passive rope line at SPAC that separated, what we perceived as, the haves and the have nots was changed to a permanent fence line not so easily disregarded by an energized crowd. SPAC has, since that fateful day in August 4th 1992, permanently banned the Lollapalooza festival from ever gracing their stage again. Here is what the Albany Times Union had to say looking back at the festival.
“SPAC legend and lore through the years:
One of the worst juxtapositions between consecutive-night crowds at the Saratoga Performing Arts Center came in 1992, when the Lollalapooza tour, headlined by Pearl Jam and the Red Hot Chili Peppers, performed a 10-hour show on a Tuesday before a horde of at least 25,000, followed the next night by a crowd 90 percent smaller for the Philadelphia Orchestra. Although comparatively few in number, some fans of the Philadelphians were still displaced, because Lollapalooza’s hordes had broken more than 70 seats inside the amphitheater. According to a Times Union account from the show, “Teenagers and young adults ran into the amphitheater by the hundreds, overwhelming the security staff, snapping ropes and pulling up the posts holding the ropes.” Authorities reported more than 40 arrests, and the tour was not welcome at SPAC the following summer; it stopped at the then-Saratoga Raceway in 1993.”
The memories of that day though, albeit a little foggier than they once were, but are still mostly intact. The sense of freedom of that day. Being able on that day to embrace music, art, and get a healthy dose of political activism as a group will never truly be lost on any of us that were lucky enough to be witness to it. It was most definitely not one I wanted to miss and I am so glad I didn’t.
Check out below we have some social media posts of other gen xers who shared some of their remembrances of Lollapalooza Festival 1992 at SPAC :
Kimberly:“My husband was one of the people who stormed down to the front. But then he started pulling people up out of the crowd and “saving” them from being swallowed up by the crowd or trampled. I stayed in the back 1/3 of the amphitheater. Too scary for a short person up front.”
Tim:“Random memory: waiting in line for food and the Enigma from Jim Rose walked up to my buddy, who got through the line ahead of me and was already eating a falafel pita, and he asked if it was any good. “Dude, you were just on stage eating live worms and maggots and you’re asking if THIS is any good?” “Well, you gotta watch what you eat!””
Peter:“I was there. Right before I went into the Navy. It was fucking awesome.”
Michael: “We had snuck inside using somebody else’s amphitheater tickets…. about 10 min before the gates fell! It was packed and totally insane! Top 5 show all- time easily.”
Peter: “All I know is I ate a 10 strip and woke up (after what seemed like 4 years) with cornrows. That’s a show.”
Roger:“We brought a football. We were throwing it around to people in the crowd who made eye contact with us. It ended up on stage and Ice Cube was holding it up during his set. Then he tossed it back out. Never did get that ball back.”
Toby:“I worked that concert it was a shit show cleaning up after it.The place was destroyed”
Bobby: “I thought I was going to be crushed to death during the Ministry set. Still woulda been worth it.”
Peter:“I dodged a few broken chairs during Ministry’s set.”
Michael: “I was there. Helping with Rock The Vote. It was a huge mess!”
Joseph:“I had lawn seats…. but, a group of us decided to make a break for it early. We ran across the tops of the seats till we reached the mosh pit in front. Fantastic concert. I still have my unworn t-shirt.”
Timothy: “Chris Cornell dove from the stage and landed on me and my friend Scott. I literally had a mouthful of his hair.”
Sarah:“I remember this event, too. My friend and I had seats in the Pit, and I nearly was killed when the crowd stormed the amphitheater. Gratefully, my friend was a lot bigger and taller than me and was able to lift me off the floor when I got knocked down. Saved my life. . .”
Evelyn :‘I got a Pit seat, 2nd row! BUT on the day there was so much chaos I never made it anywhere near that or even inside until RHCP. Incredible rain! Incredible mud!Good acid didn’t hurt.”
This past Tuesday, August 1st, The Backseat Lovers stopped in New Jersey to play at the Stone Pony Summer Stage. The picturesque outdoor venue, located right across the Asbury Park boardwalk, created the perfect setting for the Utah-born band to jam at their second-to-last show. The night was truly memorable, and an experience that everyone should have at least once in their lifetime.
Joshua Harmon from The Backseat Lovers, photographed by Sarah Hyun
Opening the night up was Bendigo Fletcher, an indie-folk band from Kentucky. Headed by lead singer Ryan Anderson, the band did not fail to build up the energy in the crowd of three-thousand. Anderson’s mix of screamy belts, harmonica playing, and guitar strumming set off rounds of applause and approving howls from the audience members. Towards the end of the opening set, Anderson brought out members of The Backseat Lovers to play a cover of “Certainty” by Big Thief.
Bendigo Fletcher, photographed by Sarah Hyun
The Backseat Lovers formed in 2018 in Provo, Utah, first with lead singer Joshua Harmon, guitarist Jonas Swanson, drummer Juice Welch, and later with bassist KJ Ward. The indie-rock / alternative band gained widespread recognition when their songs “Kilby Girl” and “Pool House” from their When We Were Friends album exploded on social media. They are now wrapping up their Waiting to Spill tour, which is celebrating the release of their latest album of the same name.
The buzz of excitement before the main act could be felt as people shifted on their toes in anticipation for “The Backseat Bozos” (as lead singer Joshua Harmon called it) to make their entrance. The pre-show playlist consisted of iconic jazz songs and Queen’s “Bohemian Rhapsody,” which the entire crowd sang along to. Most came dressed in casual beach day clothes—shorts, tank tops, The Backseat Lovers merchandise, Converse.
The crowd at The Stone Pony Summer Stage, photographed by Sarah Hyun
The Backseat Lovers opened the night with a lengthy instrumental accompanied by an intense buildup, and followed with their iconic song “Pool House.” Joshua Harmon scaled the stage with breathtaking agility, nimbly moving his fingers across his telecaster’s neck and shaking his luscious hair to the beat. No one can deny that Harmon can sing. His vocals were identical to the studio recordings, if not better. The true passion he put into every song, inclusive of the growls, screams, extended belts, and even opera-like yodels, only highlighted how truly talented he is. The rest of the band did not fail to deliver—KJ with his impressive basslines, Juice with his body-rumbling drumming, and Jonas with his iconic guitar solos.
During the beginning of the set, Harmon said, “The air is just lovely here. Did any of you guys get to go swimming today? I went swimming today, it was really great actually.” A few screams and howls from the crowd. Towards the end, he stated, “In light of the full moon, my dear friend KJ would like to do a howl.” KJ followed with, “On the count of three, can you guys join me in a big old howl?,” and everyone participated. Every person there was having a great time, jumping and spinning and dancing, all whilst shouting lyrics like, “I miss the days when girls were scary, scarier than spiders.”
At the end of the show, Harmon threw his guitar dangerously high up into the air and caught it, triggering a roar of screams from the crowd. The encore was extremely high-energy, and after the show ended, the goodbyes were bittersweet. The Backseat Lovers previously played two nights at the Hammerstein Ballroom in New York City in June, and are sure to come back when they next tour.
