Category: Show Reviews

Bad Religion Rocks the Paramount in Huntington, Long Island

On the evening of Tuesday, October 24, Huntington, Long Island was treated to a blistering performance by the legendary punk rock band Bad Religion. The Paramount, a renowned venue on Long Island, was almost sold out as fans eagerly awaited a night of high-energy music and a setlist spanning the band’s impressive 40-plus-year career.

Formed in 1980 by a group of punk rock enthusiasts in Los Angeles, California, Bad Religion has since become a driving force in the punk and alternative music scenes. Known for their thought-provoking and socially-conscious lyrics, the band has released numerous albums that have left a lasting impact on the genre. With a unique blend of punk and melodic sensibilities, they have earned a dedicated fan base worldwide. The current lineup includes Greg Graffin as the lead singer, Jay Bentley on bass, Brian Baker on guitar, Mike Dimkich on guitar, and Jamie Miller on drums.

The October 24 show was part of Bad Religion’s 2023 North American tour, which consisted of an impressive 22 shows. This leg of the tour was set to culminate at the Starland Ballroom in New Jersey on October 29, after which the band was scheduled to take their electrifying act overseas to Argentina, Brazil, Chile, Peru, and Colombia in December.

Bad Religion took the stage to raucous applause and immediately launched into their set. They opened with “The Defense,” and from that moment on, it was non-stop punk rock euphoria. The band expertly weaved their way through their extensive discography, performing fan favorites like “Against the Grain,” “Infected,” “No Control,” “Sorrow,” “Generator,” and many more.

One remarkable aspect of the performance was the relentless mosh pit that raged at the center of the floor, where bodies surged and collided in a frenetic dance of exhilaration. People were continually crowd surfing, their figures soaring over the rail, borne aloft by a sea of outstretched hands. In the midst of this chaotic fervor, Bad Religion displayed their unwavering energy and enthusiasm, traits that have been the hallmark of their live shows for over four decades. Their music, often delving into pressing societal and political issues, struck a deep chord with the crowd. Fans not only sang along and shouted their approval but also joined the relentless mosh pit, passionately responding to the band’s contagious punk anthems.

The climax of the night came with the encore, which featured one of their most iconic songs, “American Jesus.” In total, Bad Religion played an impressive 26 songs, showcasing the depth of their catalog and their enduring ability to captivate audiences.

A special mention must be made of the opening act, Speed of Light. Comprised of a group of young, talented musicians, this band had the honor of warming up the crowd for Bad Religion. Riley Christensen, a 16-year-old prodigy, took center stage as the lead singer, bassist, and songwriter. Her older brother, Cameron Christensen, at 19 years old, played guitar, sang backup, and also contributed to the band’s songwriting. Completing the trio was Tyler Christensen, the drummer, who not only kept the rhythm but also provided backup vocals and songwriting.

The night of October 24 at The Paramount in Huntington, Long Island, was a memorable one for punk rock enthusiasts. Bad Religion delivered a performance that not only showcased their enduring talent but also underlined the continued relevance of their music. As they continued their North American tour and looked forward to their international dates, it was clear that Bad Religion’s legacy in the world of punk rock remained as vibrant as ever. The show was a testament to the timelessness of their music, and fans left the venue with a sense of satisfaction, knowing they had been part of something truly special.

Setlist: The Defense, Against the Grain, Past is Dead, Anesthesia, Wrong Way Kids, To Another Abyss, Fuck You, Requiem for Dissent, Infected, My Sanity, Portrait of Authority, Delirium of Disorder, No Control, Do What You Want, Recipe for Hate, We’re Only Gonna Die, Los Angeles is Burning, 21st Century (Digital Boy), Drunk Sincerity, Candidate, I Want to Conquer the World, Sorrow, You, Fuck Armageddon…This is Hell, Generator, American Jesus

October 26, 2023
The Walkmen Play Kings Theatre, End 2023 Tour with Outstanding Show

Legendary Indie Rock outfit The Walkmen played the final show of their 2023 tour at Kings Theatre on Tuesday, October 17 in Brooklyn. Longtime friend of the band and acclaimed Vampire Weekend alum Rostam Batmanglij opened the show. His setlist included a Vampire Weekend song, as well as songs from his solo projects.

Rostam invited Walkmen founder and frontman Hamilton Leithauser onstage to join him for a few songs. The two had collaborated in 2016 for an album, and they played three songs from that record.

The Walkmen at Kings Theatre. Photograph by David Reichmann (@davidpresspass)

The Walkmen played a set packed with fan favorite songs, as well as quite a few deep cuts. The band is known for their high energy songs, with high tempo drum beats and hard rock vocals.

Rostam performs with The Walkmen. Photograph by David Reichmann (@davidpresspass)

To introduce “The Blizzard of ’96,” Hamilton brought his daughter out with a newspaper from the day of the blizzard.

This show marked the end of The Walkmen’s reunion. After their 12 year break from playing live shows, the band reunited for a 2023 tour, which included five sold out nights at Webster Hall. Hamilton said after the final song at Kings, “This is goodbye for a little while. Not forever. But a little while.” Despite the bittersweet nature of this final show of their tour and reunion for 2023, fans left abuzz with joy.

You can enjoy The Walkmen’s music here, and be sure to stay tuned for any tour announcements coming in “a little while.” Check out our photo gallery by David Reichmann below.

The Walkmen – Kings Theatre, Brooklyn – Tuesday, October 17

Setlist: What’s in It for Me, On the Water, In the New Year, The Rat, Wake Up, The Blizzard of ’96, New Years Eve, Little House of Savages, 138th Street, Blue as Your Blood, Juveniles, Dónde Está la Playa, Angela Surf City, Postcards from Tiny Islands, Red Moon, I Lost You, All Hands and the Cook, Canadian Girl, Heaven

Encore: Thinking of a Dream I Had, We’ve Been

October 25, 2023
Daze of the Dead: Billy & The Kids Rock The Capitol Theatre

This past weekend, Billy & The Kids played a two-night run at the legendary Capitol Theatre, with sets including covers of the Grateful Dead, Rolling Stones, The Who, and Eric Clapton.

This time around the band included of course Bill Kreutzmann, and the ‘kids’, Reed Mathis, Aron Magner, and Tom Hamilton, who were joined by Andrew and Brad Barr of The Barr Brothers.

The band started of with a tight set featuring crowd favorites like “Eyes of the World,” “Jack Straw,” and “Beat It on Down the Line.”

On October 20th, the theater celebrated the 1000th show for Head Usher Brian Lynch who had the occasion commemorated with a trophy which was handed by Pete Shapiro and Billy Kreutzmann himself.

The second set started off with a traditionally psychedelic “Drums > Space” into another crowd favorite “Scarlet Begonias.” The second set was filled with elaborate jams and ended with an incredible “Fire on the Mountain” and the band came back for an encore of “Lay Down Sally” and “Ripple.”

Billy & the Kids – The Capitol Theatre – Port Chester – Friday, October 20, 2023

Set 1: The Kids Are Alright, St. Stephen, Eyes of the World, She Belongs to Me, Beat It on Down the Line, Mama Tried, Jack Straw, Row Jimmy, Let’s Spend the Night Together

Set 2: Drums > Space, Scarlet Begonias, Friend of the Devil, Ramble on Rose, A Hard Rain’s A-Gonna Fall, Fire on the Mountain

Encore: Lay Down Sally, Ripple

October 24, 2023
Cat Clyde at Skylark Lounge: Rochester Catches a Rising Star

Honest Folk brought Canadian singer/songwriter Cat Clyde to Rochester’s Skylark Lounge on Saturday night. By the end of the show, or rather not even halfway through, it was a mutual love fest. The crowd, some familiar some not, were eating up every word and every note, while Clyde, recognizing this, was visibly and verbally blown away by the response. It was her first time to town and the cozy bar was essentially sold out, many singing along and most all exuberantly encouraging her between songs.

She, along with her band including guitar, bass and drums, were touring behind her excellent new release Down Rounder. In a little over an hour, they would play nearly every track from that record, while also sprinkling earlier and even newer material, one played for the first time live even, throughout.

Musically songs patched together sounds from grooving rock, surf, honky tonk, 50’s ballads, indie rock, slow blues, outlaw country, 60’s European psychedelia and even a little Middle Eastern influence.

Thematically the songs were grounded in the natural world. Rain, rivers, trees and other elements found around us were referenced liberally. But it as those actually ungrounded in nature that popped up most frequently: the birds, the moon, the sun and the stars.

“Hawk in the Tree” was about her urge to be a bird. An urge that doesn’t seem all that recent, because in “Not Like You” from her earlier release Hunters Trance she sang, “I may be a bird in a cage, but at least I have my wings.” In “The River” there were “birds moving like a school of fish in the sky.” “The Gloom” expressed her love for the moon, and in “All the Black” she “told the moonlight I was scared.” Even her one cover of the night was of Bonnie Guitar’s country croon “Dark Moon.” And in “Papa Took My Totems” she brought them both together, singing “the moon was a loon.”

Instrumentally the music was carried on Clyde’s incredible voice. Her backing band was excellent at fleshing out her tunes but remained a backing band throughout, there to service and highlight the talents of their front woman. Except when she played a couple on her own mid-set. She could drift from husky and deep to soft and soaring from verse to chorus, or jump octaves instantly and effortlessly from one word to the next. At times she would just be singing syllables in a folk-like scat, using her voice solely as an instrument, and an incredible instrument it was. When “Real Love” opened with her singing a capella, it became apparent she could carry an entire song, maybe the whole set, with just her voice.

Clearly Cat Clyde is a star, or bird or moon, on the rise.

Opener Libby DeCamp had played Rochester before, seven years ago, but her memories were fuzzy. She used her honey sweet voice and resonator guitar to present a set of mostly new songs like “Tigers of Wrath,” inspired by a transcendentalism phase she went through, and “Torch.” Her material was sparse and spacious, each note and each word carrying extra weight. Hopefully this memory sticks a little better for her, Rochester would love a quicker return.

But until then, Rochester has another Honest Folk show to look forward to as the great Marty O’Reilly returns to play an intimate gig at the brand new venue, Essex, on November 11.

Cat Clyde Setlist: So Heavy, Mystic Light, Everywhere I Go, Hawk in the Tree, The Gloom, Real Love, Mama Said, Dark Moon (Bonnie Guitar), New Song, Not Like You, The Man I Loved Blues, Where is My Love, Bird Bone, Papa Took My Totems, Eternity, So Cold, All the Black
Encore: The River, I Feel It

October 24, 2023
In Focus: My Morning Jacket at The Beacon Theatre

Celebrating 20 years since the release of It Still Moves, My Morning Jacket and their loyal fans descended upon the Upper West Side of Manhattan for three nights of shows at the Beacon Theatre, with Madi Diaz opening up each night.

My Morning Jacket kicked off their 3-night run at The Beacon Theatre with a bang, playing their album It Still Moves in its entirety to the sold out crowd. A real treat for fans, the band returned for a 7-song encore, starting with Jim James solo on “I Needed It Most”, played for the first time since 2018.

The encore included a live debut of “Grab a Body” as well as “Feel You,” “It Beats 4 U,” and “Phone Went West” to close out the night. James spoke about how blessed we are to be in such a beautiful place that is the Beacon Theatre.

Friday night of My Morning Jacket at the Beacon Theatre started off with a full version of “Cobra,” clocking in at almost 17 minutes. The setlist that followed captivated the sold-out crowd from start to finish, with stand out songs including “O is the One That Is Real,” “Strangulation,“ and “Victory Dance.”

They returned to the stage for a 6-song encore with opener Madi Diaz joining Jim James and company to perform “The Wind” by Cat Stevens. The highlight of the encore was “Highly Suspicious,” off their 2008 album Evil Urges.

Saturday saw Diaz join the band once again, joining for “I Will Be There When You Die,” an apt song given the first lines being “Joe was born in New York City, Son of Paul and Catherine, Always down and always out, But his ‘morrows always seemed jus’ fine.”

This week, the tour marches on, playing in Albany on Wednesday, October 25 at the Palace Theatre and at The Met in Philadelphia on Friday, October 27, before heading to the Southeast and closing the tour out in Chicago November 9-11.

My Morning Jacket – Beacon Theatre, NYC – Thursday, October 19

Setlist: It Still Moves, Mahgeetah, Dancefloors, Golden, Master Plan, One Big Holiday, I Will Sing You Songs, Easy Morning Rebel, Run Thru, Rollin Back, Just One Thing, Steam Engine, One in the Same
Encore: I Needed It Most, Old Sept. Blues, Feel You, It Beats 4 U, Compound Fracture, Grab a Body, Phone Went West

My Morning Jacket – Beacon Theatre, NYC – Friday, October 20

Setlist: Cobra, Gideon, The Way That He Sings, Lay Low, Slow Slow Tune, Run It, I’m Amazed, Least Expected, Lucky to Be Alive, War Begun, Strangulation!, Victory Dance, O Is the One That Is Real, Smokin’ From Shootin’, It’s About Twilight Now, Anytime
Encore: Butch Cassidy, The Wind (with Madi Diaz), Only Memories Remain, First Light, Highly Suspicious, Touch Me I’m Going to Scream Pt. 2

My Morning Jacket – Beacon Theatre, NYC – Saturday, October 21

Setlist: In Its Infancy (The Waterfall), Spring (Among the Living), Holdin On to Black Metal, Never in the Real World, Evil Urges, I Think I’m Going to Hell, I Will Be There When You Die (with Madi Diaz),
Knot Comes Loose, Heartbreakin Man, What a Wonderful Man, Honest Man, Tropics (Erase Traces), Thank You Too!, Climbing the Ladder, Off the Record, Wasted, Dondante, Love Love Love, Circuital
Encore: State of the Art (A.E.I.O.U.), Touch Me I’m Going to Scream Pt. 1, Wordless Chorus

October 24, 2023
Everyday Is Like ‘SATURDAY’ – Night 1 of Morrissey at United Palace

Originally scheduled to kick-off in Mexico City on September 10, the rescheduled “40 Years of Morrissey” tour rebooted in Orlando, Florida earlier this month after the British crooner and former frontman of the Smiths had fully recovered from some recent health concerns.

United Palace | Photo Credit: Michael Dinger

After sweeping through Georgia, Tennessee and Washington, D.C., the United Palace – a lavish theater nestled in the Washington Heights neighborhood of Manhattan – welcomed Morrissey (affectionately dubbed “Moz” by Smiths bandmate Johnny Marr) this past Saturday night, October 21, for the first of four shows in a brief residency.

Constructed in 1930, United Palace occupies a full city block and functions not only as a nonprofit performing arts center that has hosted artists the likes of Neil Young, Bob Dylan, Adele, Arcade Fire and Kraftwerk, but also as a spiritual center. You may have also seen the epochal venue as a backdrop for the film John Wick: Chapter 3 – Parabellum and in the Hulu television series Only Murders in the Building.

With showtime looming, latecomers entered the majestic theater from Broadway on a chilly autumn evening and into the grand foyer, many ‘blown away’ (as I was) by the sheer grandeur of the scene. At half past eight o’clock, a pair of square-shaped, side-by-side video screens suddenly came to life and for the next 30-minutes, displayed a barrage of images and video clips featuring actors and musicians who have inspired Morrissey over the years, including Roxy Music, David Bowie, Eddie Cochran and Sidney Poitier. The biggest reaction from the audience occurred when the breakthrough video of “Nothing Compares 2 U,” featuring the iconic, closeup visage of the late Sinéad O’Connor, appeared wondrously.

Morrissey | Photo Credit: Michael Dinger

At 9:10 pm, as the house lights went down, the crowd literally jumped out of their seats and erupted with rapturous applause. It was officially “Game On!” The perpetually suave Morrissey elegantly took the stage, dressed in black from head to toe, as he and his talented quintet of back-up musicians instantly transported us to 1992 with “We Hate It When Our Friends Become Successful” (Your Arsenal). Over the course of nearly 90-minutes, Morrissey gifted his legion of die-hard fans an eclectic set that incorporated a glorious blend of five tracks from his days with The Smiths, highlighted by “How Soon Is Now?,” the beginning of which signaled the simultaneously raising of cell phones high into the air to forever record the moment into eternity.

Morrissey | Photo Credit: Michael Dinger

The remainder of the nineteen-song set comprised tunes lifted from an extensive discography spanning Morrissey’s debut solo studio album released in 1988 (Viva Hate) to his upcoming studio album entitled Without Music the World Dies, with a tentative release date of later this year. As the night turned for home, Morrissey presented “Sure Enough, the Telephone Rings,” recorded in early-2021 and originally intended to appear on the studio album entitled Bonfire Of Teenagers – but will not be released by Capitol Records, the label Morrissey departed acrimoniously and who are now holding onto the album’s rights (at least for the time being). Morrissey and his signature baritone voice, in top form all night, exquisitely delivered the critically acclaimed “Everyday Is Like Sunday,” written shortly after the Smiths break-up, and yet another goosebump inducing moment.

Morrissey | Photo Credit: Michael Dinger

Returning to the stage after a several minute interlude, each band member – Jesse Tobias (lead guitar), Carmen Vandenberg (rhythm guitar), Juan Galeano Toro (bass), Camila Grey (keyboards) and Brendan Buckley (drums) – took a moment center stage at the mic to say a few words (entirely in Español), thanking all of us for being there. Waiting in the wings, Morrissey was now rocking his own T-shirt merch which featured the likeness of Billy Halop, an American actor from Queens who rose to fame in the 1930s. As the encore performance of “Speedway” (Vauxhall and I, 1994) neared its climax, Morrissey shed his shirt and tossed it to a lucky fan, exiting the stage bare-chested to a sustained ovation from the 3,500 capacity crowd that never sat down all night long. As I filed out of United Palace within a throng of highly satisfied patrons and into the chilly October night, I was already thinking about what special surprises lie in store for the next three residency gigs.

Morrissey | Photo Credit: Michael Dinger

Following the final night of the U.S. tour leg at United Palace on October 25, Morrissey’s global trek will resume on November 9 in Singapore, followed by shows in Hong Kong, Thailand, Indonesia, Japan, Australia and Auckland, New Zealand on December 14. Morrissey will then take some well-deserved time off until early-February, at which time he will play the rescheduled Mexico City show on February 3, 2024, followed by South American dates culminating in Brazil on February 24.

Watch Moz’s Saturday night performance of “Please, Please, Please Let Me Get What I Want,” recorded by the Smiths and released in 1984 as the B-side of the single “William, It Was Really Nothing,” below:

Setlist: We Hate It When Our Friends Become Successful > Our Frank > Suedehead > Stop Me If You Think You’ve Heard This One Before* > Alma Matters > Half a Person* > I Wish You Lonely > Let Me Kiss You > How Soon Is Now?* > Girlfriend in a Coma* > Darling, I Hug a Pillow > The Loop > The Night Pop Dropped > Sure Enough, the Telephone Rings > Irish Blood, English Heart > Please, Please, Please Let Me Get What I Want* > Everyday Is Like Sunday > Jack the Ripper
Encore: Speedway
*the Smiths cover

UPCOMING MORRISSEY WORLD TOUR DATES

11/09/23 – Singapore, Singapore @ Star Theater
11/16/23 – Chek Lap Kok, New Territories, Hong Kong @ AsiaWorld-Expo
11/18/23 – Bangkok, Thailand @ Samyan Hall
11/22/23 – Jakarta, Indonesia @ Istora Senayan Jakarta
11/28/23 – Tokyo, Japan @ Toyosu Pit
12/01/23 – Perth, Australia @ Perth Concert Hall
12/04/23 – Melbourne, Australia @ Palais Theater
12/05/23 – Melbourne, Australia @ Palais Theater
12/08/23 – Brisbane, Australia @ Fortitude Music Hall
12/10/23 – Sydney, Australia @ State Theater
12/11/23 – Sydney, Australia @ State Theater
12/14/23 – Auckland, New Zealand @ The Civic
02/03/24 – Mexico City, Mexico @ Palacio de los Deportes
02/08/24 – Lima, Peru @Anfiteatro del Parque de la Exposición
02/10/24 – Bogata, Columbia @ Movistar Arena
02/15/24 – Santiago, Chile @ Movistar Arena
02/17/24 – Buenos Aires, Argentina @ Movistar Arena
02/22/24 – São Paulo, Brazil @ Espaço Unimed
02/24/24 – Brasilia, Brazil @ Opera Hall

October 24, 2023
Daniel Donato brings his “Cosmic Country” to Brooklyn Bowl

On the evening of Saturday, October 21, fans gathered at the legendary Brooklyn Bowl in Williamsburg to witness an unforgettable performance by Daniel Donato. The 1000 capacity venue was completely sold out as Daniel and his ensemble graced the stage, bringing his unique presentation, “Cosmic Country,” to the streets of Brooklyn.

Daniel, who is currently in the midst of his fall tour, made a resounding statement by packing this iconic venue to the brim. The atmosphere was electric. Taking the stage promptly at 8:00 PM, Daniel showcased not just his musical talent but also the profound connection he shares with his audience. “Cosmic Country,” originally the title of one of his albums, has become more than just a moniker; it symbolizes a journey into the world of Americana, and the boundaries he pushes as he explores each song.

Hailing from Nashville, Tennessee, Daniel had previously made guest appearances at this venue earlier this year with the Kitchen Dwellers, and his growing popularity as an original artist has also seen him collaborating with mainstream icons. Notably, he recently joined Grateful Dead drummer Bill Kreutzman for several of his recent shows, including the sold-out Pier 17 NYC performance in August, as well as performing with Bob Weir in his home state last year.

https://youtu.be/lAOzVcLgoV8?si=mUMJR5Udcpu99M5t

Daniel’s “Cosmic Country” experience takes the audience on a captivating journey, with his influences in jam band music shining through. It’s a blend of country and folk, infused with groovy and funky elements. The music is structured yet possesses an ethereal, space-like quality. The audience, in sync with the Cosmic Country vibe, sported cowboy, western, and psychedelic attire.

A standout moment in the performance was when Scott Metzger, of Joe Russo’s Almost Dead fame, made a guest appearance during the first set. The energy in the venue was palpable as Daniel and Scott engaged in a musical duel, their notes creating a delightful exchange that resonated with the ecstatic audience. Throughout the night, Daniel’s ensemble band played an indispensable role in the evening’s success. Will Clark, commanding the drums, Nathan Aronowitz, who effortlessly alternated between keys and guitar, and Will McGee, holding down the bass, provided a solid musical foundation for the evenings journey.

As the final set concluded, Daniel playfully bid the sold-out crowd a faux goodnight. The audience, buzzing with excitement, began chanting for an encore, and their enthusiasm was infectious. Prominent venue owner Peter Shapiro even emerged, further igniting the crowd’s energy. Daniel and his band returned to the stage amidst cheers, embarking on a final descent that left a lasting impression. As fans exited the Brooklyn Bowl, they were left buzzing with excitement, their anticipation for Daniel Donato’s promising career is undeniable. He is undoubtedly on the cusp of becoming a prominent figure in the Rock Community, with a dedicated fan base to support him.

For those in Buffalo eager to catch a glimpse of the Cosmic Country phenomenon, a performance is scheduled for Tuesday, October 24. Furthermore, fans can look forward to his upcoming album, Reflector, set to release on November 10.

October 24, 2023
Marco Benevento Spearheads Fundraising Concert to Battle Controversial Development at Colony Woodstock

During the height of the COVID-19 shutdown, residents of Woodstock and surrounding burgs stayed sane, in large part, due to the efforts of Neil and Lexi Howard, the proprietors of the Colony Woodstock. While all other entertainment options seemed to be shuttered, Hudson Valley music-lovers could mask up and head to the new beer garden behind the legendary venue to eat, drink and hear great sounds – from both some national acts who were in performance cold storage due to the COVID shutdown and many fine local players.

So, it came as no surprise when the Colony opened its doors on October 22 to host a fundraising event for The Stop Woodstock National Coalition. This is a community-based group working with the Woodstock Land Conservancy to combat a proposed development that would wipe out 620+ acres of forest and wetlands with 191 housing units, a golf course and a helipad.

The sell-out event was headlined by Marco Benevento, the Woodstock keyboard wizard and multi-instrumentalist known for his work as a soloist, in his duo with Joe Russo and in collaboration with varied artists like Phish axe man Trey Anastasio, Grateful Dead bassist Phil Lesh, Tortoise’s John McEntire, drummers Billy Martin and Smashing Pumpkin’s Matt Chamberlin and many others.

Benevento gathered a flock of the area’s finest for a raucous evening of funk, psych and soul-inspired jamming all for a wonderful cause. The supporting line-up included but was not limited to drummers Aaron Johnston (Brazilian Girls), Bill Carbone (Max Creek) and Chris Consico, bassists Karina Rykman and Jeff Hill (Steve Earle), saxophonist Maria Christina Eisen, guitarist Danny Blume and singers Leslie Mendleson and Simi Stone.

The evening was kicked off with an eight-song set by singer-songwriter Kenny Roby. Roby’s first three numbers, with just acoustic guitar and voice, were obscured by the din of the packed house. Things kicked up several notches when he was joined by Johnston, Hill and Blume for a cover of “Street People” from legendary Woodstock songwriter Bobby Charles. Another highlight of his set was when Leslie Mendleson joined to belt out the lead vox on “I’m Gonna Leave You Behind.”

The night segued without break into Benevento’s set. He set things in motion with the bass and keyboard intro before kicking into trio hyper-drive with “At the End of the Beginning” from his 2022 disc Benevento. The youthful Consico laid down a thick Disco-meets-Bonham beat while Rykman kept it simple and in-the-pocket. The tune, as many in the evening, left plenty of space for Benevento’s inventive soloing on electro piano, organ and Mini-Moog. He also laid down lots of old school synth samples (was that a vintage Crumar sound, Marco?), with added echo, delay, phase and fuzz twisted out of an array of old stomp boxes.

The band next served up the title track from Marco’s 2019 release, “Let It Slide,” a toe-tapping stop-time pop funk crowd pleaser. On “Why You Gotta Throw It Away,” Benevento launched a solo that showcased the many influences he melds into a unified and distinctly original whole. There’s a heavy serving of New Orleans’ funk, some experimental jazz, Krautrock and psychedelics leanings and some jazzy flourishing arpeggios that make his sound like a paisley-stained Art Tatum.

The guest vocalist highlight of the night was Leslie Mendleson’s return to the stage for a take on Blondie’s “Heart of Glass.” Woodstock-reared singer Simi Stone also joined to add soul on a handful of tunes including “I Can’t Let You Go.” Benevento himself sang lead on perhaps the funkiest jam of the night, a cover of The Rolling Stones’ “Let’s Spend the Night Together.” The band riffed long and hard on this, with Marco rolling out more Louisiana keyboard hot sauce.

On the cover of “Come Together,” the assemblage sounded like “Low Spark of High Heeled Boys” era Traffic, with some fine Steve Cropper-inspired rhythmic soloing from guitarist Bloom and a biting tenor sax from Maria Christina Eisen. Another standout was the cover of the Gene McDaniel’s penned protest classic “Compared to What,” best known in its live rendition by soul jazzers Les McCann and Eddie Harris. This version had an early 1970’s Stones’ vibe of the ”Jamming with Edward” era, accented again by the broad, vintage Bobby Keyes yakety sax work.

For more info on Stop Woodstock National, visit their website.

October 24, 2023
The Darkness Shine Bright at Terminal 5

Celebrating the 20^th anniversary of their platinum-selling debut album Permission to Land, The Darkness flew into Terminal 5 this past Wednesday night, October 18 at a 3,000 capacity concert hall located in Manhattan’s Hell’s Kitchen – for the twelfth layover on their massive, 52-date global trek.

For those unfamiliar, the British quartet of Justin Hawkins (vocals, guitar, keyboards), brother Dan Hawkins (guitar), Frankie Poullain (bass) and Rufus Tiger Taylor (drums), son of Queen’s Roger Taylor, erupted onto the music scene in 2003 with said album’s infectious hit single “I Believe In A Thing Called Love.”

Justin Hawkins of The Darkness | Photo Credit: Michael Dinger

Providing opening support for The Darkness were Josh Dion (vocals, drums, keyboards) and Geoff Kraly (bass, modular synthesizer), better known as Paris Monster. Formed in 2012, the indie experimental duo and local natives hailing from Brooklyn took the stage promptly at 7:50 pm. Known for their musical virtuosity, Dion and Kraly play multiple instruments simultaneously and sound more like a quartet rather than just the two of them. As Hawkins would exude to the packed venue later in The Darkness’ set, “Frankie described it to me earlier. He says, ‘it sounds like aliens came down to Earth, listened to some of our music, and then decided to do their own version of it.’ Their fucking amazing. Paris Monster, it’s my favorite band.” The highlight of Paris Monster’s 40-minute, 10-song set was the closing number “A Vision Complete,” lifted from their debut EP It Once Had Been Kind released in 2013. For fans of the beat-driven, groove-based sound, inter-mixed with elements of funk and soul, I strongly urge you to check out their first full-length album entitled Lamplight (2019).

Paris Monster | Photo Credit: Michael Dinger

With The Darkness’ stage crew having put the finishing touch to the set, all of whom donned matching navy blue boiler suits complete with their nickname on the back, Abba’s instrumental “Arrival” played on tape over the house PA. And right on schedule, at a few ticks past 9;00 pm, the house lights went dark and the rock and roll outfit from ‘the other side of the pond’ appeared from the shadows.

Dan Hawkins of The Darkness | Photo Credit: Michael Dinger

Playing 2003 Permission to Land’s album in its entirety (and according to Justin, “in no particular order”), the 90-minute set kicked off with “Black Shuck,” a song about the Old English legend of a ghostly black dog roaming the English coastline – which actually is the lead track from their debut album. Before exploding into “Get Your Hands Off My Woman,” Justin spotted a fan along the rail sporting a brilliant, Queen-branded Hawaiian shirt that he confessed has “coveted for many moons.” After asking that the shirt be taken off and handed over, Justin quipped, “Thanks friend, you’re never going to see it again. Cheers!”

Frankie Poullain of The Darkness | Photo Credit: Michael Dinger

As the festive night ensued, Justin and his mates gifted the power ballad and fan favorite “Love Is Only a Feeling,” and then ripped through their pop anthem and smash hit “Friday Night,” backed by an exceptional Gotham audience who belted out the infectious chorus in unison. With the epic gig’s denouement upon us, Justin sang a beautiful rendition of “Happy Birthday” to Josh of Paris Monster, followed by “I Believe In A Thing Called Love” – sans audience members taking pictures or video with their phones – as per Justin’s request.

Rufus Tiger Taylor of The Darkness | Photo Credit: Michael Dinger

After taking a few moments off stage for everyone to catch a collective breath, The Darkness triumphantly returned to the stage rocking silk bathrobes. As Justin introduced the band before commencing the penultimate track “I Love You 5 Times,” there had been some personnel reshuffling – brother Dan was now behind the kit, Frankie had taken up an acoustic guitar, Rufus had a bass in his hands and their guitar tech, Softy, was seated at the Mellotron. The night concluded at 10:30 pm, but not before Justin majestically rode atop the shoulders of a roadie through the floor crowd during the solo to “Love on the Rocks With No Ice,” which was preceded by an impromptu jam of Don McLean’s “American Pie” (and not the full version that Justin had jokingly promised!).

Justin Hawkins of The Darkness | Photo Credit: Michael Dinger

Hawkins is the quintessential embodiment of the rock star persona, and per usual, he was at the top of his game on ‘hump day.’ His flamboyant, explosive on-stage energy was truly a spectacle to behold. Equipped with a signature falsetto and exquisitely delivered guitar solos featuring an intricate fingerpicking style, Hawkins gives The Darkness a magnificent pageantry that stands up in comparison to the likes of his biggest influences, notably Bon Scott, Steven Tyler, Robert Plant and Mick Jagger. Whether it be his dramatic gesticulations, a high-flying leap off the drum riser that would make David Lee Roth proud, or a show of strength by holding a self-supported handstand for what seemed like an eternity, he exhibited true showmanship and an enduring passion for his craft.

Watch The Darkness perform a cover of Radioheads’ “Street Spirit (Fade Out),” immediately followed by “Holding My Own” here:

This past October 6^th, an expanded edition of Permission To Land was dropped by the band as a five-LP package, a four-CD+DVD package, a double-CD package, as well as across various digital streaming platforms. Fans of The Darkness can also look forward to a feature-length documentary dubbed “Welcome To The Darkness” coming to cinemas for one night only, on November 9^th, in the UK and Ireland. Distributed by Lightbulb Film Distribution and directed by renowned photographer Simon Emmett, the film is a comeback tale of a “cult band” in search of its past glory that will also be available on digital download and Blu-ray beginning December 4^th.

Paris Monster Setlist: The Unclean > Laugh it Off > Andalusia > Hot Canyon Air > Ape > I’m Not Gonna Miss This Dive > Grandma > Darkest Days > Had Damon Caught His Sloane > A Vision Complete

The Darkness Setlist: Black Shuck > Get Your Hands Off My Woman > Growing on Me > The Best of Me > Makin’ Out > Givin’ Up > Love Is Only a Feeling > Curse of the Tollund Man > Stuck in a Rut > How Dare You Call This Love? > Street Spirit (Fade Out) > Holding My Own > Friday Night > Happy Birthday > I Believe in a Thing Called Love > Encore: I Love You 5 Times > Love on the Rocks With No Ice

UPCOMING WORLD TOUR DATES

10/21/23 – Sayreville, NJ @ Starland Ballroom
10/22/23 – Washington, DC @ 9:30 Club
11/07/23 – Berlin, Germany @ Admiralspalast
11/08/23 – Hamburg, Germany @ Markthalle
11/09/23 – Köln, Germany @ Essigfabrik
11/11/23 – München, Germany @ Technikum
11/13/23 – Ciampino, Italy @ Orion Live Club
11/14/23 – Milan, Italy @ Alcatraz
11/15/23 – Nonantola, Italy @ VOX CLUB
11/17/23 – Prattleln, Switzerland @ Konzertfabrik Z7
11/18/23 – Luxembourg City, Luxembourg @ den Atelier
11/20/23 – Rubigen, Switzerland @ Muhle Hunziken
11/22/23 – Bruxelles, Belgium @ AB
11/23/23 – Paris, France @ La Cigale
11/24/23 – Amsterdam, Netherlands @ Melkweg
12/02/23 – Belfast, Northern Ireland @ The Telegraph Building
12/03/23 – Dublin, Ireland @ 3Olympia Theatre
12/05/23 – Edinburgh, Scotland @ 02 Academy
12/07/23 – Newcastle Upon Tyne, England @ O2 City Hall
12/08/23 – Norwich, England @ UEA LCR Norwich
12/09/23 – London, England @ Roundhouse
12/11/23 – Glasgow, Scotland @ Barrowland Ballroom
12/12/23 – Manchester, England @ New Century Hall
12/14/23 – Bristol, England @ Bristol Beacon
12/15/23 – Nottingham, England @ Rock City
12/16/23 – Wolverhampton, England @ Wulfrun Hall
12/18/23 – Leeds, England @ O2 Academy
12/19/23 – Nottingham, England @ Rock City
12/20/23 – Brighton, England @ Brighton Dome
12/22/23 – London, England @ Roundhouse
01/26/24 – Wellington, New Zealand @ The Opera House
01/27/24 – Auckland, New Zealand @ Powerstation
01/30/24 – Adelaide, Australia @ Hindley Street Music Hall
02/01/24 – Fremantle, Australia @ Metropolis
02/03/24 – West Melbourne, Australia @ Festival Hall
02/07/24 – Brisbane, Australia @ The Fortitude Music Hall
02/09/24 – Bruce, Australia @ UC Refectory
02/10/24 – Moore Park, Australia @ Horden Pavilion
03/02/24 – Miami, FL @ Monsters of Rock Cruise

PARIS MONSTER

THE DARKNESS

October 21, 2023
Sam Gellaitry’s ‘Under the Illusion’ Unleashes Musical Magic at Elsewhere Brooklyn

The night at Elsewhere Brooklyn with Sam Gellaitry showcasing his newest EP, Under the Illusion, was nothing short of a mesmerizing musical journey. On October 13th, the venue buzzed with anticipation as Gellaitry took the stage and immediately immersed the crowd in a soundscape that can only be described as pure auditory bliss.

Under the Illusion is a testament to Gellaitry’s evolution as a musician. The EP seamlessly blends elements of electronic, hip-hop, and R&B, creating a tapestry of sound that is both innovative and emotionally resonant. Each track on the EP carries a unique flavor, yet they all maintain a consistent, ethereal quality that captivates the listener. From the dreamy “Alone” to the groove-laden “Think I Know,” the EP takes the audience on a sonic journey that transcends genres.

What truly sets Gellaitry apart is his ability to connect with the crowd. Throughout the performance, he exuded an infectious energy and passion for his craft. His interactions with the audience were genuine and intimate, making everyone feel like they were part of a shared musical experience. His stage presence was magnetic, and it was evident that he was pouring his heart and soul into every beat and melody.

Elsewhere Brooklyn provided the perfect backdrop for this musical odyssey. The venue’s industrial-chic aesthetic and state-of-the-art sound system were a perfect complement to Gellaitry’s avant-garde style. The crowd’s energy was electric, with fans of all ages and backgrounds coming together to celebrate the music. The atmosphere was both vibrant and laid-back, creating an environment where people could lose themselves in the music and dance the night away.

Gellaitry’s performance of Under the Illusion was a testament to his artistic prowess and ability to connect with his audience on a profound level. The night at Elsewhere Brooklyn will undoubtedly be remembered as a magical evening where music transcended boundaries, and the crowd’s energy and vibes were a testament to the unifying power of sound. Under the Illusion by Sam Gellaitry was not just a collection of songs; it was an experience that left a lasting impression on everyone fortunate enough to be there.

Images by @adrian_hernandezz

October 20, 2023