We’re less than a week from the 47th edition of Rye Bread Festival, held in the Eastern New York hills of Schaghticoke, a gathering of musicians from across the Northeast and beyond, headlined by none other than Oteil Burbridge and Friends over July 27-29.
Rye Bread has been a unique experience since inception, when it was initially held on an island in the Mohawk River, being an event that started as an ‘in the know’ gathering for live music and camping – Neal and Alan Evans performed there in the years prior to forming Soulive – before evolving into a full on festival set in the Capital District at the Schaghticoke Fairgrounds. What started as a backyard party nearly 50 years ago, Rye Bread has steadily grown, from the ground up, into Upstate New York’s premier music and arts festival.
But Rye Bread is more than just a concert festival – this is a family with generations of deep roots, bringing people together through music in a spirit of community and charity, and of course good times for all. Thousands more will be welcomed into the Rye Bread Family with open arms, in their 47th year.
Al Schneir performing at Rye Bread Festival
With Burbridge (Dead & Company, The Allman Brothers Band) on bass, the group also features longtime Jerry Garcia Band organist Melvin Seals, Steve Kimock and Tom Guarna on guitar, vocalist Lamar Williams, Jr., John Morgan Kimock on drums and multi-instrumentalist Jason Crosby rounding out a stellar lineup.
Also joining the Rye Bread Festival lineup are the legendary North Mississippi Allstars, led as always by brothers Luther and Cody Dickinson, Cool Cool Cool, Lespecial, Dogs In A Pile, Couch, DJ Logic & Friends, Talkpeck Soundsystem, Brown Eyed Women, Baked Shrimp, Neon Avenue, The Seapods, The Billy Walton Band, Muscle Tough, Super 400, The Nolanauts, Fungkshui, The Rob Beaulieu Band, Mushroom Men, Dr. Jah & The Love Prophets and The Rye Bread Family Band.
Attendees can expect plenty of unique collaborations between artists throughout the course of the festival, making for a truly memorable weekend of live music.In addition to the stellar lineup of live music, the Rye Bread Music and Arts Festival will feature food and craft vendors on site and festival goers can enjoy plenty of room to stretch out and feel comfortable at the spacious Schaghticoke Fairgrounds, centrally located just minutes north of Albany and south of Saratoga Springs.
Two -day passes are $125, with single day Friday passes $69 and single day Saturday for $79. Full ticketing info and more can be found at ryebreadfest.com
Camping Information
Tenting / Car Camping
Campsites are 10′ x 30′ One or two campers per site. $80.00 Three or four campers per site. $150.00 All campers must arrive at the same time. Camping passes are two day only. For tent camping, one car is allowed per site, and your car will remain on your campsite.
Family Camping
Family camping is on a separate part of the fairgrounds as tenting/car camping with quiet hours between 11:00pm and 7:00am Campsites are 10′ x 30′ One or two campers per site. $80.00 Three or four campers per site. $150.00 All campers must arrive at the same time. Camping passes are two day only. For tent camping, one car is allowed per site, and your car will remain on your campsite.
RV Camping
Campsites are 16′ x 40′. Six campers per site. One RV per site (34′ maximum). 50 AMP Service – No Pigtails (30 amp adapters) Available). Full hookups on site. All campers must arrive at the same time. Camping passes are two day only. One tow vehicle allowed per site, and your vehicle will remain on your campsite. Additional companion vehicle pass included. Remember all campers must arrive at the same time
Parking
Single day pass on-site parking is available for one day pass holders. $20.00. Two day pass on-site parking is available for festival goers that are not camping. $30.00. Companion pass on-site parking is available for RV campers that bring additional vehicles.
This past Sunday evening, July 16, in the heart of New Haven’s downtown arts district, veteran singer-songwriter Jenny Lewis paid a visit to College Street Music Hall (CSMH), a historic concert hall constructed in the mid-1920s that was nearly sold-out to its holding capacity of 2,000 souls.
Jenny Lewis | Photo: Michael Dinger
Lewis is touring in support of her latest solo album Joy’All (Blue Note/Capitol) released last month, a good portion of which was written in early-2021 during a week-long virtual songwriting workshop hosted by Beck. For more than 90 minutes, the co-founder of the charting indie outfit Rilo Kiley in the late-1990s did not disappoint en route to a dazzling performance. But more on our treasured country-rock troubadour a bit later.
College Street Music Hall Marquee | Photo: Michael Dinger
The first of two opening acts was Hayden Pedigo, an eccentric 29-year old performance artist who also moonlights as a model and even a politician – he campaigned in 2018 to fill a City Council seat in his native Amarillo, TX. Pedigo mesmerized the growing audience on the general admission floor with four tranquil instrumental pieces featuring exquisite fingerpicking on an acoustic Yamaha 12-string and an electric Epiphone.
Hayden Pedigo | Photo: Michael Dinger
Following Pedigo was Cass McCombs who hails from Concord, CA, but calls NYC his home. Born in 1977, the alt-country musician who owns the reputation as one of the great songwriters of his generation was backed by a trio of touring musicians on bass, drums and keyboards. Like Pedigo, music is not McCombs’ only passion – in 2020, a book of his poetry was published titled Toy Fabels, with illustrations by none other than McCombs himself. For nearly 40 minutes, and without much pandering to the audience, the quartet presented a set filled with jaw-droppingly gorgeous, soulful rock delivered with a laid-back attitude, which was more than fine by me.
Cass McCombs | Photo: Michael Dinger
Smack in the middle of an 18-date tour that kicked off in early-June in Nashville, TN, including an appearance by Lewis at the Bonnaroo Music & Arts Festival, the Las Vegas native who first gained prominence in the 1980s as a child actress took to the CSMH stage at 9:15 pm. Bathed in a sea of red, purple and blue lights and accompanied by a foursome of all-female musicians, Lewis gracefully glided about the stage, frequenting an elevated circular platform adorned in red roses or taking a seat at her piano which was positioned front and center.
Lewis’ evocative lyricism was on full display from the jump with “Psychos,” the lead single from Joy’All and her first No. 1 song on a Billboard chart that she earned only two days prior to the CSMH show. Lewis would go on to gift her fans four more songs from Joy’All, but she was sure to spread the wealth around from her discography, including “Red Bull & Hennessy” (On the Line, 2019), “Head Underwater” (The Voyager, 2014) and the title track from 2008’s Acid Tongue.
Jenny Lewis | Photo: Michael Dinger
During the sugary-sweet “Cherry Baby” (Joy’All), red, white and silver balloons were released into the air, much to the delight of the audience, many of whom were in their late-teens and early-20s and sung along to the chorus on several songs. Several of the flailing balloons that were being batted around by the fans depicted the likeness of Bobby Rhubarb, Lewis’ beloved two-year old black Cockapoo who even has her own Instagram account with more than 5,600 followers! Two tunes later, during “Just One of the Guys” (The Voyager), one of the balloons mysteriously hovered between Lewis and her bassist at stage left. Static electricity? A demonic possession? Check out the video below and you decide what the strange occurrence may have been attributed to.
Speaking of Lewis’ dog, as the show turned for the home stretch, the rotary dial telephone sitting atop her piano suddenly rang. It was Bobby Rhubarb on the other end of the line, and she had a joke for all of us! Because most of us in attendance did not speak the “bark” language, Lewis translated, “Why is it so hot at the Grateful Dead show? Because their fans don’t work!” As part of the four song encore, Lewis offered up two wonderfully rendered covers – “Lust for Life” by Girls and the night’s finale, “With Arms Outstretched,” by none other than Rilo Kiley from 2002’s The Execution of All Things.
Following its New Haven stopover, The Joy’All Tour continues for three more weeks, including scheduled dates along the west coast in early-August. For the final three shows of the tour – Bend, OR (August 3), Concord, CA (August 5) and Inglewood, CA (August 7) – Lewis will be joined by the aforementioned Beck and Phoenix, who are embarking on a split bill of their own next month.
Jenny Lewis | Photo: Michael Dinger
No rest for the weary, Lewis and the indie pop supergroup The Postal Service, a trio that she has been a part of since 2002 with Ben Gibbard and Jimmy Tamborello, will be hitting the road on a co-headlining, 30-date U.S. tour (performing Give Up in its entirety to celebrate the album’s 20th Anniversary) with Death Cab for Cutie this fall. So, in case you missed Lewis this time around, or you just cannot get enough of the “redheaded indie wet dream,” as the rock critic Robert Christgau fittingly referred to her in a 2004 piece for The Village Voice piece, she’ll be back soon!
Jenny Lewis Setlist: Psychos > Do Si Do > She’s Not Me > Late Bloomer > Joy’all > Red Bull & Hennessy > Heads Gonna Roll > Head Underwater > Giddy Up > Cherry Baby > Little White Dove > Just One of the Guys > Puppy and a Truck > Acid Tongue > Encore: The Next Messiah > Lust for Life (Girls cover) > With Arms Outstretched (Rilo Kiley song)
One could not have asked for a more pristine summer evening, on Wednesday, July 12, when Fleet Foxes brought their sounds to the Beak and Skiff Orchard in Lafayette.
There is perhaps no other band more in touch with the various seasons these days than Fleet Foxes. Hailing from Seattle, Washington, Fleet Foxes continue to tour in support of their latest release, 2020’s highly praised Shore. The album, which was released for public consumption precisely at the autumnal equinox, drew much praise from critics and fans alike. Known for creating acoustic folk-rock with exquisite harmonies and musicianship, they have released four studio albums, several EPs as well as 2021’s live offering A Very Lonely Solstice.
Nigerian-born singer/songwriter, Uwade opened the evening. She is well known to fans of Fleet Foxes, having sung extensively on their latest release. Taking the stage by herself and armed with only an acoustic guitar, Uwade quickly took a captive hold of the audience. She delivered a thirty-minute set of acoustic folk tracks, intimately and honestly. It seems often this type of permanence can get lost in a large venue such as Beak and Skiff, however, this was not the case on this evening. The area surrounding the stage was quiet enough to hear a pin drop, as Uwade performed tracks dealing with topics such as the illness of her father. he was joined by Fleet Foxes members Christian Wargo and Christopher Icasiano to finish out her set.
After a brief intermission, the Fleet Foxes took to the stage. Boasting an impressive eight-piece band, and accompanied by opener Uwade, they immediately launched into “Sun Giant.” It was an appropriate opener to showcase what was to come, featuring a beautiful acapella track with layers of harmonies that floated about the concert field. The band followed with the mellow “Wading In Waist-High Water,” which saw Uwade again take lead vocals (as she did on the studio track) as layers of the band’s instrumentation built. The band then followed with the more upbeat “Can I Believe You,” which had the audience singing and dancing along.
As their set rolled on, the band would dig deeper into their catalog. Backed with a video board that showed nature scenes and other colorful visuals, the band churned out fan favorites such as “White Winter Hymnal,” “Montezuma,” and “Mykonos.” In what is becoming a tradition at their concerts, the band pulled an audience member from the crowd to sing and play guitar on “White Winter Hymnal.” For the uninformed, one would not have known this fan was not a lifelong member of the band.
In all the band would perform over 20 songs followed by a three-song encore. The band would close the evening with “Helplessness Blues,” a track about longing for a simpler life. Featuring the lyrics “If I had an orchard, I’d work ’til I’m raw,” it was a near-perfect ending to a brilliant evening of music.
New York City’s soundscape was on full display at the second annual Bronx Summer Jam this past Saturday, July 15. Local Bronx artists encapsulated the Bronx’s vast musical environment, performing everything from rock and hip hop to reggae and soul.
Bronx Summer Jam participants and audience members ’23. Photo courtesy of Michael Nickerson.
This wide array of genres not only reflects the Bronx’s sound but the individuals that create it. Take Emelia Vero for example, who performed on the Kings Stage from 1:30-2:30 pm under her stage name Bombii. In between her silky-smooth songs, she explained why her lyrics switched from English to Spanish. She said by singing in both languages, her music was able to fully represent herself. As such, she loves when people call her by her stage name. If they know her music, they know her. The notes bind audience and singer together, creating a family.
Audience member Francesca echoes Bombii’s sentiments. “I remember being a teenager, and a lot of people from different high schools would all go to these concerts. These would be people whose real names I didn’t even know. But when we were there, we were best friends. We were family.”
For some, it truly is family. From 4:30-5:00 pm, DJ F1rst Class performed. His wife Alina and daughter were front and center to watch him. Alina said the reason they are together is because of their passion for music.
Alina was glad she was able to bring her daughter to relish in the music as well. Most of the time, it isn’t easy to bring children to concerts. But the Bronx Summer Jam was outside at a local park, making it easily accessible for everyone.
“Usually they have it at places where there’s alcohol or it’s indoors. I couldn’t always bring my daughter,” Alina said. “But the Bronx Summer Jam is for all ages.”
Wastewood performing for the crowd at Bronx Summer Jam ’23. Photo courtesy of Michael Nickerson.
Bronx Summer Jam was produced by Sirens & Kings, a co-production company made of two Bronx music collectives, Sounds & Sirens and The Fox & King. They hoped that by locating the festival at a park, it would allow everyone to be able to participate. It was a hope that was achieved.
“I live right across the street, and I came out for just a few minutes to sit on the park bench. Then I started hearing the music and walked right over here,” said Ivecte Lopez.
Despite the scorching heat, the crowd grew throughout the day. Those walking through the park stopped by to enjoy the music. Some set up hammocks or chairs under the trees’ shade and within hearing distance of the festival. Others took on the sun’s beating rays, standing within feet from the stage.
With a bigger crowd, the musicians began to engage with the crowd. Bombii did a call-and-answer. Everytime she said “Para,” the audience sang back “Siempre.” Later in the day, artists Ray Pearson, Ki Storii, WIN, Kony Brooks, and July Quinn left the confines of the stage. They moved across the park’s lawn to the beats of their rap and hip-hop songs.
Their performances were contrasted with the full rock sounds of Wastewood and Balcony Talk. The bands’ sounds were then further contrasted by the acoustic sounds of Drew Torres.
Drew Torres performs at Bronx Summer Jam ’23. Photo courtesy of Michael Nickerson.
During his set, Torres sang an original upbeat song titled “Minus 4,” named for his glasses prescription. He later ended his set with tapping, a technique that involves tapping one’s hands on the guitar’s body.
“This is not just a hobby for me,” Torres said. “This is my therapy. This is the way I personally express myself. I just want to inspire others.”
Audience member and devoted member of the Bronx music scene, Mocha said it was concerts like the Bronx Summer Jam that inspired him to play music. “I was inspired to pick up an instrument at a local show back in 2004. I saw bands and immediately was like, ‘This is what I’m going to do.’ I was sixteen then. Without that concert, I don’t have any clue who I would have been now.”
Perhaps this festival inspired someone in the audience to learn an instrument or to start singing. The festival’s music definitely reached a number of people ranging from those who knew about the festival to those in the park who happened upon it.
To see more of what Sirens & Kings will produce, click here and here.
The West Side Tennis Club welcomed Weezer to Forest Hills in Queens with open arms this past Thursday night (July 13) for the SoCal quartet’s 22nd stop on a 30-date “Indie Rock Road Trip” summer tour that launched in Huntsville, Alabama on June 4. Dubbed the Indie Rock Road Trip, Weezer’s tour is divided into three legs, the first of which saw them link up with indie rockers Modest Mouse and Momma. Future Islands and Joyce Manor took over support duties for Rivers Cuomo and Co. at the Columbia, Maryland gig back on June 23, and tonight’s show marked the magical end to the tour’s second leg.
Rivers Cuomo of Weezer | Photo: Michael Dinger
One of NYC’s best concert venues – indoors or out – Forest Hills Stadium has a rich, storied history that is celebrating 100 years this season. Originally designed in the 1920s as the home of the U.S. Open tennis tournament, the Romanesque stadium and its grounds hosted 60 editions of the major tournament before it moved to its current home in Flushing Meadows in 1978. In the 1960s, the tennis club began booking concerts and attracted some of the most culturally significant artists of our generation – The Beatles, Jimi Hendrix, Frank Sinatra, Barbra Streisand, The Rolling Stones and Bob Dylan, to name just a few.
However, by 2011, the 14,000-capacity facility had fallen into a “crumbling ruin.” After narrowly escaping demolition, the stadium re-opened on August 28, 2013 with Mumford & Sons performing the inaugural concert (my wife and I were there!). Although the music that night was fantastic, the overall experience, not so much. But over the next four years, Forest Hills Stadium underwent multi-million dollar state-of-the-art renovations including optimized acoustics, patching up concrete exterior walls, old seats were removed and replaced, a permanent stage was installed, the concourse was redesigned and expanded to twice its original size, the General Admission central tennis courts were replaced and easier access to concessions and restrooms was provided, finally!
Scoreboard Marquee | Photo: Michael Dinger
Arriving early to guarantee a painless parking experience (parking is limited in the surrounding area), I also wanted to explore the stadium and its grounds ahead of the first opening act. After securing my media credential at the box office, I proceeded through the main entrance where I was greeted with a plethora of things to do, along with welcoming staff at every turn. Although the craft beer huts and local food eateries were tempting, I opted to walk the periphery of the cherished coliseum to discover for myself what had changed since my last visit nearly a decade ago. The answer, a lot!
A history buff, I was pleasantly surprised to see banners, plaques and artwork depicting the images of past rock iconswho played here. As I made my way to the bands’ merch table, I came upon a WFUV kiosk – a non-commercial radio station owned by Fordham University and an affiliate of National Public Radio (NPR) who presents Forest Hills Stadium’s live broadcasts – offering patrons free goodies such as stickers and beverage Koozies. An avid fan of all sports, it was also thrilling to witness the hanging banners of by gone tennis legends including Stan Smith, Althea Gibson, René Lacoste, Billie Jean King, Rod Laver and Arthur Ashe.
An hour after doors, Joyce Manor took the stage promptly at 6:00 pm. Despite the sweltering, 90-degree heat, the band formed in 2008 and hailing from Torrance, California did not seem to mind very much, if at all. Named after an apartment building that co-founder Barry Johnson would often pass by on his walks, as Joyce Manor’s pop-punk sound has evolved, their feverish fanbase has grown right alongside them.
Barry Johnson of Joyce Manor | Photo: Michael Dinger
Over the course of 30 minutes, the trio of Johnson (singer-songwriter, guitar), co-founder Chase Knobbe (guitar) and Matt Ebert (bass), who were also joined by touring musicians Neil Bertheir (acoustic guitar, synthesizer) and Neil Hennessy (drums), performed songs with inspiration drawn from emo acts like Weezer themselves. The band of thirtysomethings offered up tracks spanning four of their six studio albums, with the heaviest dose coming from 2014’s Never Hungover Again.
The showstopper, however, which incited a mosh pit (albeit short-lived) near stage left half-way through their pummeling set, was ripped from their sixth and most recent album 40 Oz. to Fresno (Epitaph Records) released in June of last year. Titled “NBTSA,” short for Never Be The Same Again, the number perfectly exemplified Joyce Manor’s signature blend of melodic guitar leads, rock-solid bass and driving drums in a no-filler, concise package.
In keeping with the strict, mandated curfew of 10:00 pm due to the stadium’s location within a residential neighborhood, the party kept rolling along in a timely fashion. At 6:55 pm, next up were Future Islands, a synth-driven pop band based in Baltimore, Maryland. Formed in 2006 and fronted by Samuel T. Herring, the quartet is rounded out by Gerrit Welmers (keyboards and programming), William Cashion (bass, acoustic and electric guitars) and Michael Lowry (drums).
Future Islands | Photo: Michael Dinger
Ahead of tonight, I knew very little about Future Islands, other than their live performance of “Seasons (Waiting on You)” on the Late Show with David Letterman, the lead single from their fourth studio album (Singles, 2014), became the television show’s most-viewed video on their YouTube page. But after tonight, which included witnessing firsthand a live performance of the same song, I knew much, much more.
Backed by a supremely talented band, I was most blown away by Herring and his stage persona. Despite the heat, he was dressed head-to-toe in black, and it did not take long for him to become drenched in his own sweat. Once Future Island’s first song of the night kicked in, “For Sure” from 2020’s As Long as You Are, Herring feverishly jumped, kicked, spun and fist pumped his way from one end of the stage to the other, repeatedly, and for all 13 songs in the emotionally thrilling set. When Herring finally stopped to catch his breath, he engaged directly with the audience members, staring intently while continuing to gesture with his arms and hands in continual flowing motions. I would later learn that Future Islands was originally meant to be a performance art piece, which completely makes sense to me now.
Herring’s vocal delivery is also something of a marvel. Despite being diagnosed with Reinke’s edema (vocal cord swelling) nearly 10 years ago, his delivery is striking and distinct. Along with an extensive background in hip-hop and rapping that began as a teenager, a solo act that he engages in via the moniker Hemlock Ernst, it is also not uncommon for a loud, stadium-shaking growl to be thrown into his vocal recipe.
Weezer Fans | Photo: Michael Dinger
With the time approaching 8:30 pm, the stage roadies were putting the final touches on the stage, most of which was being performed behind the gigantic opaque curtain swallowing the stage ahead of the big reveal. Making my way back into the pit with my fellow photographers for the third time, Toto’s “Africa” came across the stadium’s PA system. If you are not an avid fan of Weezer, you might ask “Where’s the connection?” Long story short, back in 2018, the two bands released reciprocal covers of each other’s hits, with Weezer covering the perennial 1982 classic and Toto covering “Hash Pipe” from 2001’s The Green Album. Then suddenly, the curtain dropped and it was time to hit the road!
Brian Bell of Weezer | Photo: Michael Dinger
One by one, our lovable, geeky power-pop kingpins entered stage left. Brian Bell (rhythm guitar, keyboards) led the charge, followed closely by Cuomo who was sporting his staple Buddy Holly-esque retro specs. Bringing up the rear were Scott Shriner (bass) and Patrick Wilson (drums), the latter taking to his stool atop an elevated riser. The Los Angeles foursome played in front of an impressive and clever set design built to resemble a stage-sized car dashboard, complete with a steering wheel emblazoned with a Weezer logo, a radio with a tuner and a volume knob. And if that wasn’t cool enough on its own, video graphics were displayed across the massive windshield and a rearview mirror.
Rivers Cuomo of Weezer | Photo: Michael Dinger
The nostalgia shifted into high gear with the adrenaline inducing “My Name is Jonas” from 1994’s The Blue Album. A smooth segue transported the stadium to “Beverly Hills” (Make Believe, 2005), with Cuomo substituting the song’s closing lyrics with an homage to the neighborhood of “Forest Hills.” There was also a special guest appearance for two songs from 1996’s Pinkerton – “El Scorcho” and “I Just Threw Out the Love of My Dreams” – as the indie rock solo project of singer-songwriter Lindsey Jordan (better known as Snail Mail) joined Cuomo atop the dashboard.
Scott Shriner of Weezer | Photo: Michael Dinger
For a show that could have lasted hours longer with all the career-spanning material that Weezer has to offer – a three decade discography comprising 15 studio albums, and as per Cuomo during his introduction to “Falling for You,” 672 songs! – they did a wonderful job of gifting their fans the classics (“Undone – The Sweater Song,” “Island in the Sun,” “Say It Ain’t So,” “Hash Pipe” and “Surf Wax America”), deeper cuts outside of their studio catalog (“Susanne” and “Blast Off!”) and newer material (“All My Favorite Songs”), including a couple of tracks from two of their four seasonal inspired EPs released in 2022, “Thank You and Good Night” from SZNZ: Summer and “Run, Raven, Run” from SZNZ: Autumn.
Patrick Wilson of Weezer | Photo: Michael Dinger
The festive evening closed with a three-song encore capped by fan favorite “Buddy Holly.” With Cuomo perched at the edge of the stage apron, he soaked in the applause raining down on him from the sold-out house engulfing him on all sides. After several moments, before the band took their final bow, he ripped off his shirt and hurled it into the front rows before throwing down the signature “W” hand sign. And with that, we had all been officially Weezer’d, and better for it. Now it was time to take it easy brah.
Up next for Weezer is a trek to Naeba, Japan for Fuji Rock on July 30, followed by shows in Osaka and Tokyo on August 1 and 2, respectively. Then, it’s on to West Vancouver, Canada for the Ambleside Music Festival on August 19. The next night, August 20, the third leg of the Indie Rock Road Trip resumes in Auburn, Washington where the boys will be accompanied by Spoon and White Reaper as opening support.
Forest Hills Stadium | Photo: Michael Dinger
The 2023 summer tour culminates at PETCO Park in San Diego, California on September 3, at which time the band will take a much needed rest to refill their collective gas tank. And in case you missed the Forest Hills Stadium show, or just cannot get enough of these darling alt-rockers, Weezer will be traveling back to the tri-state area for an appearance at the Sea.Hear.Now Festival in Asbury Park, New Jersey on September 17.
Joyce Manor Setlist: Heart Tattoo > Beach Community > Gotta Let It Go > Ashtray Petting Zoo > Don’t Try > Schley > Falling in Love Again > NBTSA > Big Lie > Victoria > Constant Headache > Christmas Card > Catalina Fight Song
Future Islands Setlist: For Sure > Hit the Coast > Plastic Beach > Peach > Walking Through That Door > Light House > A Dream of You and Me > Before the Bridge > Long Flight > King of Sweden > Seasons (Waiting on You) > Vireo’s Eye > Little Dreamer
Weezer Setlist: My Name Is Jonas > Beverly Hills > Return to Ithaka > The Good Life > Pork and Beans > Pink Triangle > El Scorcho > I Just Threw Out the Love of My Dreams > Blast Off! > Undone – The Sweater Song > Falling for You > Susanne > Only in Dreams > The Greatest Man That Ever Lived (Variations on a Shaker Hymn) > Island in the Sun > Perfect Situation > All My Favorite Songs > Say It Ain’t So > Run, Raven, Run > Hash Pipe > Thank You and Good Night > Encore: The Waste Land > Surf Wax America > Buddy Holly
Brooklyn-based singer-songwriter Maya Donovan has just released her latest single “Lenox,” a contained ballad that recounts the residual emotions created through trauma. This track sees Donovan embrace rich bass lines, complex vocal harmonies, and a uniquely electric piano tone to establish her signature sonic environment.
Following her 2018 debut EP and her new successful single “We Should Get Dinner,” Maya Donovan is hopeful to bring her mellow compositions to audiences through a string of upcoming single releases. Her music is beautifully made, blended with her heartfeltly modern lyricism.
Maya Donovan is a 24-year-old singer-songwriter raised and based in Brooklyn whose style draws on a host of genres: folk, soul, pop, and jazz. A masterful storyteller, Donovan writes of the most painful parts of life with unflinching honesty, empathy, and humor. Her rich voice, armed with delicate control, will pull you into her music and keep you there.
Since almost as early as she could talk, Maya Donovan has been writing tunes to express her innermost feelings. Most recently, Donovan continues to utilize songwriting to chronicle her battles with anxiety and her constant re-discovery of herself through adolescence and young adulthood.
A graduate of New York City’s prestigious LaGuardia High School for Performing Arts (the “Fame” school), Donovan has been making music for as long as she can remember. Some of her first songs she wrote before the age of 10, hunched over a first-generation iMac computer. Donovan comes from a long line of creatives: daughter of Academy Award-winning documentary filmmaker Vanessa Roth, and granddaughter of screenwriter Eric Roth, whose prolific work includes the Forrest Gump screenplay.
To enjoy Maya Donovan’s charismatic presence live, you can find her as a resident artist at The Bitter End in Greenwich Village, which has been graced by some of her biggest musical influences, such as Carole King, Billy Joel, and Lady Gaga. Additional inspiration for her art comes from fellow contemporary singer-songwriters such as Fiona Apple, Sara Bareilles, and Julia Jacklin.
Porno for Pyros has announced their Horns, Thorns en Halos tour, which will feature stops in Manhattan and Port Chester. This tour marks 30 years since the release of Porno for Pyros, and is the first tour for the band in 25 years.
Credit: Andi K. Taylor
Porno for Pyros was originally founded in 1992 by members of Jane’s Addiction, vocalist Perry Farrell and drummer Stephen Perkins, as well as vocalist and guitarist Peter DiStefano and bassist Martyn LeNoble. The band went on hiatus in 1998 after releasing Porno for Pyros in 1993 and Good God’s Urge in 1996.
The original members reunified in 2022, performing at a sold-out show in Los Angeles, CA. Following this, the Porn for Pyros has performed at Rockville, the Chicago Metro, and Lollapalooza. They have also been working on new material that they expect to release sometime this year.
Upcoming Tour Dates
Oct. 8 – Hard Rock Live Sacramento – Wheatland, CA
Oct. 10 – The Masonic – San Francisco, CA
Oct. 13 – The Wiltern – Los Angeles, CA
Oct. 15 – The House of Blues Las Vegas – Las Vegas, NV
Oct. 17 – The Union – Salt Lake City, UT
Oct. 19 – Fillmore Auditorium – Denver, CO
Oct. 21 – Steelhouse Omaha – Omaha, NE
Oct. 23 – The Sylvee – Madison, WI
Oct. 24 – Byline Bank Aragon Ballroom – Chicago, IL
The Great South Bay Music Festival 2023, one of the most highly anticipated events of the summer, is set to make a triumphant return this year after facing numerous challenges due to the COVID-19 pandemic. The festival begins on Thursday, July 20 and runs through Sunday, July 23rd.
As Long Islanders emerge from quarantine and yearn for the joy of live music, this family-friendly festival promises to deliver an unforgettable experience for music enthusiasts of all ages. I had the pleasure of speaking with James Faith, the festival’s producer, about the festival’s journey and what attendees can expect this time around on The Long Island Sound Podcast
The Great South Bay Music Festival, held in the picturesque Patchogue, Long Island, has always been a celebration of local talent alongside renowned artists from various genres. What sets this festival apart is its commitment to creating a family-friendly environment, where attendees of all ages can enjoy music from both local acts and big-name performers across multiple stages.
James Faith – Producer of the Great South Bay Music Festival
James Faith, the festival’s producer, emphasized the importance of creating an inclusive atmosphere, stating, “We want to make sure that families can come and enjoy the music together. It’s not just about the headliners; it’s about showcasing the incredible talent from our local community as well.” This unique blend of local and established acts allows for a diverse range of musical styles and ensures that there’s something for everyone to enjoy.
Putting the Pandemic in the Past
Reflecting on the impact of the pandemic, Faith described the challenges faced by the festival and its organizers. Despite the uncertainties and setbacks, they remained committed to delivering a memorable experience for attendees. “We had to adapt and overcome numerous obstacles, but we never lost sight of our goal: to bring people together through the power of music,” Faith explained.
We want to provide a platform for emerging artists to shine alongside the big names. It’s about fostering a sense of community and giving these talented musicians the exposure they deserve.
James Faith
Now, as the festival gears up for its 2023 edition, attendees can look forward to an impressive lineup that embodies the festival’s spirit. A few of the local artists have been my guests on The Long Island Sound Podcast, including, Matt Marshak, Kerry Kearney, Lex Grey and Phil Firetog.
Among the artists set to grace the stages are Phil Lesh and Friends, Gov’t Mule, Dave Mason, Hot Tuna, Dirty Heads, Cassandra House, Kerry Kearney, Gold Finger, The Fabulous Thunderbirds, Duane Betts, Bad Fish, Tauk, Neighbor, Miles to Dayton, Lex Grey and the Urban Pioneers, oogee Wa Wa, Clifdiver, Harbour, The Joni Project, Phil Firetog Trio, Shecky and the Twangtones, Adam and the Metal Hawks, Jules Radino, Jack Licitra, and Matt Marshak.
The Great South Bay Music Festival goes beyond just the music, offering a range of activities and amenities to enhance the overall experience. Attendees can explore artisan craft vendors, indulge in delicious food from local vendors, and engage in interactive workshops and activities for all ages. From art installations to face painting, there’s something to captivate the entire family.
Faith encouraged attendees to immerse themselves in the vibrant Long Island music scene by exploring the Long Island Music Hall of Fame in Stony Brook. This esteemed institution showcases the island’s rich musical legacy and pays tribute to iconic musicians such as Billy Joel, Eddie Money, Joan Jett, and many more.
The Great South Bay Music Festival promises to be a thrilling experience for music lovers and a testament to the resilience of the Long Island community. With its four-day duration, family-friendly atmosphere, and a diverse lineup of local and renowned acts, this festival is set to reclaim its place as one of the region’s premier summer events.
I have my tickets to the Festival! So when you see a white haired guy, who looks like the picture below, make sure you say hello.
The anticipation was palpable as My Morning Jacket took the stage at the Artpark Amphitheater in Lewiston on June 26. The crowd erupted in cheers as the band launched into their set with the powerful and infectious “War Begun.”
From that moment on, it was clear that this would be a night to remember. My Morning Jacket flawlessly navigated through their setlist, effortlessly blending old favorites with newer tracks. “Circuital” and “Mahgeetah” showcased the band’s signature sound, with Jim James’ distinctive vocals soaring above the intricate guitar work and driving rhythm section.
The band’s musicianship was on full display throughout the night. The intricate guitar solos and dynamic drumming added depth and complexity to each song. Whether it was the introspective beauty of “Golden” or the raw energy of “One Big Holiday,” My Morning Jacket commanded the stage with a magnetic presence that held the audience in rapt attention.
As the evening progressed, the crowd was treated to a range of emotions. The hauntingly beautiful “Never in the Real World” and the introspective “If All Else Fails” showcased the band’s ability to delve into more introspective and introspective territory. The energy reached its peak during fan-favorite anthems like “Wordless Chorus” and “One Big Holiday.”
The encore was a fitting culmination of an already exhilarating performance. “Touch Me I’m Going to Scream Pt. 1” enveloped the venue in a wave of sound, with its infectious rhythm and soaring vocals. The atmospheric “Spring (Among the Living)” provided a brief moment of reflection before the band unleashed the explosive “Touch Me I’m Going to Scream Pt. 2.” The combination of these three songs created an electrifying finale that left the audience wanting more.
Setlist: War Begun, I Will Sing You Songs, Circuital, Love Love Love, Mahgeetah, Golden, Never in the Real World, Anytime, One Big Holiday, Death Is the Easy Way, Feel You, If All Else Fails, Lay Low, Friends Again, Off the Record, Evil Urges, Wordless Chorus
Encore: Touch Me I’m Going to Scream Pt. 1, Spring (Among the Living), Touch Me I’m Going to Scream Pt. 2
Alternative/Indie group Public Water Supply has announced an interactive music and fashion extravaganza, encouraging fans to participate in a red-carpet-style fashion show on July 22.
Taking place at the Dawn Lipson Canalside Stage at the Rochester JCC as a part of their Summer concert series, Public Water Supply wants to create Upstate New York’s version of the Met Gala, complete with a red carpet event, creative outfits, and some of their tunes.
The red-carpet event starts at 6:00 pm on Saturday, July 22, as paparazzi and media interviews will welcome guests into the fashion show experience. In addition to this, the band will also release limited edition merchandise for the show which is available for purchase throughout the event.
Lead singer Iggy Marino, and the rest of the band compiling Karis Gregory, Spencer Kornrich, Alex Brophy, and Tanner Kartes believe the fashion/music event will be a perfect opportunity for fans to express themselves while taking in some of their favorite PWS music.
This event is all about self-expression. Bust out the vintage or come-as-you-are. Just let your outfit speak for itself…when the energy is right, the band loves to throw on a costume. So, now we want to see what our fans can bring in fashion form.”
– Iggy Marino
A pop-up shop, Little Shop of Hoarders will also be on-site so concert-goers may purchase extra accessories if needed.
In between sets, judges will go around the venue to select the five best-dressed people. The judges will crown one individual “concert royalty” and the winner will have their photo taken for the cover of the band’s next single.
Expect PWS to perform much of their self-titled debut album, unreleased tracks, and some of their fan-favorite covers coming from Dolly Parton, Waylon Jennings, and many others.
Tickets are $15 and available online and at the door. When it comes to weather cancellations, the event will go on as planned unless extreme weather takes place. Cancellations or any other changes in the schedule will be posted on the JCC website.
Beer and wine will additionally be available for purchase.
