Experimental music festival 24 HOUR DRONE has announced their full artist lineup plus art installation details and food vendors for this years festival taking place at Basilica Hudson Saturday May 27 – Sunday May 28 from noon to noon as part of Drone Day.
Featuring 24 hours of unbroken, immersive sound, 24-HOUR DRONE blurs the line between artist and attendee to create transcendence through communal experience. Presented by Basilica Hudson and Le Guess Who? In collaboration with Sarah Van Buren, the festival activates the entire Basilica Hudson campus through audio/visual art installations and food pop-ups, with music centered in Basilica Hudson’s 6,000 sq. ft. Main Hall.
A total of 18 acts will perform, including six new artists announced today include Legendary experimentalist eucademix (Yuka C. Honda), Wolf Eyes performing in its latest incarnation as a duo, and renowned US-Based Balinese percussion orchestra Gamelan Dharma Swara returning to 24-HOUR DRONE for the first time in nearly a decade.
Further additions include pioneering queer saxophonist Michael Foster & DC-based jazz luminary Luke Stewart performing as a duo, a solo set from “transcendental black metal” artist Liturgy (Haela Ravenna Hunt-Hendrix) featuring looped guitar counterpoint, vocals, and electronic percussion, and internationally celebrated sitarist Veena Chandra returns to DRONE with her son, accomplished Tabla percussionist Devesh Chandra.
These artists join previously announced 24-HOUR DRONE acts including: 2022 Pulitzer Prize for Music winner Raven Chacon, C. Lavender, Fuji|||||||||||ta, and Photay with Celia Hollander and special guests Laraaji + Arji OceAnanda, each performing a special three-hour endurance set.
This will be the first 24-HOUR DRONE held in-person at the venue in four years. It will once again be streamed live on Wave Farm Radio broadcast live on WGXC 90.7-FM: Radio for Open Ears.
For more information, a full lineup, and to purchase tickets, please visit the festivals website.
DJ duo ODESZA have just announced the much-anticipated follow-up to 2022’s The Last Goodbye Tour.
This second leg of The Last Goodbye Tour will follow headlining performances at Governors Ball, Lollapalooza, Bonnaroo, Outside Lands and Electric Forest. The GRAMMY-nominated duo will make a stop at Darien Lake Amphitheater in Darien Center on September 1, with special guests Bob Moses, TOKiMONSTA, and QRTR & Plan.
ODESZA consists of Harrison Mills and Clayton Knight, known individually as Catacombkid and BeachesBeaches. They formed in 2012, shortly before Mills and Knight graduated from Western Washington University.
ODESZA and their live performances have become a modern legendary wonder, mixing stunning visuals, expert musicianship, pyrotechnics and an immersive environment to transform whatever venue they are at into an otherworldly experience. Last year’s tour included numerous sold-out, multi-night runs including in their hometown of Seattle at Climate Pledge Arena, LA’s Kia Forum, and New York’s Forest Hills Stadium.
ODESZA also recently attended the 65th Annual GRAMMY Awards in support of their nomination for Best Dance/Electronic Album for The Last Goodbye and released their new single “To Be Yours (feat. Claud)”. The duo are also schedule to headline the final day of Life Is Beautiful Festival.
The Last Goodbye Tour 2023 Dates
June 14 – Montreal, QC – Place Bell
June 30 – Milwaukee, WI – American Family Insurance Amphitheatre
Aug 30 – Columbus, OH – Schottenstein Center
Sept 1 – Darien Center, NY – Darien Lake Amphitheater
Sept 2 – Burgettstown, PA – The Pavilion at Star Lake
Sept 3 – Indianapolis, IN – Ruoff Music Center
Sept 8 – Tampa, FL – MIDFLORIDA Credit Union Amphitheatre
Sept 9 – West Palm Beach, FL – iTHINK Financial Amphitheatre
Sept 12 – Bristol, VA – Jiffy Lube Live
Sept 14 – Charlotte, NC – PNC Music Pavilion
Sept 16 – New Orleans, LA – Smoothie King Center
Sept 20 – Palms Springs, CA – Acrisure Arena
Sept 29 – San Diego, CA – North Island Credit Union Amphitheatre
Sept 30 – Santa Barbara, CA – Santa Barbara Bowl
Oct 4 – Omaha, NE – CHI Health Center
Oct 6 – Rogers, AR – Walmart AMP
Oct 12 – Oklahoma City, OK – Paycom Center
Oct 13 – Kansas City, MO – T Mobile Center
Oct 19 – Mexico City, MX – Sports Palace
For more information, please visit ODESZA’s website.
NYC-based multihyphenate creative Nicole Daddona, also known as FRIDAY, has shared her new single and music video, “Dear God.” The grunged-out ballad is a punk reclamation of emotions, paired with a video that shows her dressed up as a crying, cigarette-smoking clown as she takes over an empty indoor children’s entertainment facility.
When Nicole Daddona preforms as her alter ego FRIDAY, she channels her creativity in each moment and brings a sense of nostalgic fun to each track. Daddona catches her audience with an emotionally deep sound that when you listen, you’ll transport you to a world where the weekend never ends.
With each song, FRIDAY captures different aspects of the human experience, adding her unique, colorful perspective. When listening to “Dear God,” her hook-filled songs and playful melodies will get stuck in your head and your heart.
Besides Nicole’s new project FRIDAY, she is the founder and designer of the “lowbrow, high fashion” clothing and accessories company Magic Society, creating iconic, playful, and maximalist designs like the Judy Bag (a purse made from deadstock blow-up dolls). She’s also one half of the production company Magic Society Pictures, who just debuted their most recent film The Mundanes at this year’s SXSW.
It’s well known that FRIDAY is a true creative powerhouse. This talented artist is not only a visual artist and filmmaker but also a fashion designer who has turned her hand to music. Through her whimsical and eclectic solo musical project, FRIDAY explores themes of love and loss with a touch of nostalgia and DIY aesthetics. In fact, she once described her music as “Harry Nilsson meets Nirvana,” which gives you a taste of the unique sound she brings to the table.
FRIDAY’s music draws inspiration from a range of artists, including Marc Bolan, Jeff Lynne, George Harrison, Nirvana, and Harry Nilsson. Her sound is an accumulation of multiple genres, inspired by Art Rock, 70s power pop, grunge, bubblegum pop, and NU-Disco influences.
From the influences of NYC, her music is inspired by vintage horror films, unrequited love, dreamcore, and weirdcore. It’s a cross-genre project that has something for everyone. FRIDAY channels her creativity in each moment and brings a sense of nostalgic fun to each track.
To listen to “Dear God” by FRIDAY, click the link here.
To watch the music video for “Dear God,” click the link here.
Fresh off live scoring The Fifth Element at The Caverns in Tennessee, The Disco Biscuits marched north to Port Chester for three nights at The Capitol Theatre over March 23-25, quite possibly their strongest run at the ‘Original Rock Palace,’ dating back to 2016.
Few bands display the consistency the Disco Biscuits have displayed as of late, going back nearly a year to their last Capitol Theatre run, which has been followed by more than a dozen original song debuts that have quickly become part of the rotation.
From the crowd, the band looks like they’re having a blast on stage, rocking out to the music they’re creating, feeding off their own creation just as the fans are, creating a live camaraderie that is rarely seen. From the stage, one can see the band is getting down while watching the fans do the same, all while creating live electronic music to an unmatched degree of quality, making it look like just another day at the office.
Typically, Thursday of a three-night Cap run has been more of a ‘‘warm up night,’ as the band gets comfortable in the room. The shows have been great, but have been overshadowed by stellar Friday and Saturday shows. This was not the case this weekend, given the way the band has been playing, as there was no warm up needed and Thursday was on par if not stronger than the next two nights.
Starting the run with a jam that evolved into an almost 20-minute “Gangster,” a “Spacebirdmatingcall” sandwiched “Cyclone” that found Jon “Barber” Gutwillig hitting next level peaks as the industrial techno beat took over. As the set reached the second half, two rarely played songs, “Trooper McCue” and “Floes” appeared, a double dose of early Biscuits, with the more recent “Lake Shore Drive” fitting in nicely in between.
A rarely played “Park Ave” made its third appearance since 2011, and second this year, opening up the second set, then dipping into an inverted “Shelby Rose” which was last performed inverted style at the Capitol Theatre in 2019. The flowing set continued with an inverted “Reactor” which found Barber taking a section for “a couple of laps” as bassist Marc Brownstein put it. The set would close with ”Evolve,” a 2021 composition that gives off a late 90s Eurodance vibe, segueing into a 20-minute set closing “Caterpillar.” With a short encore slot leftover, “Portal To An Empty Head” put a exclamation point on a night that to some was the highlight of the run, but if anything, simply foreshadowed the greatness of the next two nights that followed.
The Disco Biscuits – Thursday, March 23 – The Capitol Theatre – Port Chester
Set 1: Jam > Gangster > Spacebirdmatingcall > Cyclone > Spacebirdmatingcall, Trooper McCue, Lake Shore Drive > Floes Set 2: Park Ave > Shelby Rose 1 > Reactor 1 > Evolve > Caterpillar Encore: Portal To An Empty Head 1 inverted
Friday night featured opener Dogs in a Pile, a New Jersey band that was making waves prior to the pandemic and who have not looked back in that time, touring across the country and building a ‘Dog Pound’ fanbase in the meantime. The full set is worth a listen, especially the final tune, “Time Stands Still,” with Ben Pinnola on saxophone.
When it comes to the Disco Biscuits, anything can be a jam vehicle, nearly everything is in play – new songs, old songs, fan favorites, rare covers – and that is what makes the band so enjoyable to see show after show, no matter if you last saw them a week ago or five years ago.
Cracking open the first set was “Shocked,” which stands to be the first song from the band’s forthcoming “Space Rock Opera,” and had fans shouting “Shocked” as if the tune was a longtime part of the repertoire. A stand alone “Digital Buddha” followed, with the pace accelerated by Barber and drummer Allen Aucoin to a furious froth, giving unparalleled energy as the song reached its peak.
Among all new debuted songs, a clear fan favorite is “Twisted in the Road,” which would proceed to sandwich three songs in between a “Twisted” 22 minute jawn, with lyrics “Let it run and let it roll” becoming a mantra for Biscuits fans in the process. “Bombs” made a return appearance at The Capitol Theatre (played in 2017 and 2019) after being brought off the shelf by fan request at a Drive-In show in May 2021. “Orch Theme,” the ever-welcome dark electronic Conspirator song arrived out of “Bombs,” bringing the rare “Rainbow Song” from the ashes of “Orch Theme,” before winding back into “Twisted in the Road” to close the set and reach the halfway point of the run.
Set 2 began with the fresh “Freeze” that ran for nearly 25 minutes and exemplified one of the best elements of the Disco Biscuits – you can easily forget what song you’re dancing to, and happily so. In the moment, it doesn’t matter what song it is when they’re jamming at this level of consistency, making song chasing secondary to enjoying these jams more than ever before. Anything is in play with improvisation opportunities found at all turns.
The middle section of “Crickets” gave way to “Another Plan of Attack” and “Space Train,” and then an inverted “Above The Waves” that clocked in at a raging 20 minutes. “One Chance To Save The World” closed the set with “King of the World” celebrating this powerful set in the encore slot.
The Disco Biscuits – Friday, March 24 – The Capitol Theatre – Port Chester
Set 1: Shocked, Digital Buddha, Twisted in the Road > Bombs > Orch Theme > Rainbow Song > Twisted in the Road Set 2: Freeze > Crickets 1 > Another Plan of Attack > Space Train > Above The Waves 2 > One Chance To Save The World Encore: King of the World 1 middle only 2 Inverted
Opening Saturday night was Eggy, who has been on the rise as of late and had recently opened for Twiddle at The Capitol Theatre in November 2022. This remarkable Connecticut band has excellent stage presence and precision jamming, with Jerry Garcia Band’s “Gomorrah” a fitting cover for the room.
The Biscuits’ first set opened up with stand alone versions of “Story of the World” and “Astronaut,” a departure from the sandwiching of other tunes inside segments of these compositions. A classic “Little Shimmy In A Conga Line” had a percussion segment that was unique and fit the jam well, and may have been exploring a shift into “O Fortuna” (a cantata by Carl Orff), from the Biscuits’ catalog of classical covers. Shortly after, “Shimmy” started to give off “Digital Buddha,” but having already played “Buddha” the night before, this meant the audio doppleganger for “Buddha” – “Tricycle” – was on the horizon.
The last two minutes of “Shimmy” made it seem as though the band would be dipping into one of their most high energy songs for a segue. Then out of left field came a short, sweet and nasty “Tempest” that provided a bridge to the full on “Tricycle,” which had the crowd singing along in unison like no other in recent memory, the four fully dialed in for this fusion of sound and bringing the audience along with them for the ride. The newer “Vibes” hit the spot out of “Tricycle” and found its way into the ending of “Svenghali” to close the set on a high mark.
The first set had so much energy and hit all the right spots, contending quickly for ‘Set of the Weekend.’ The general consensus at setbreak gave no notes, no criticisms and no hot takes other than ‘these guys are on fire.”
Sorry if that sounds like hyperbole, but the dedicated fan base is in agreement that the band is as dialed in and consistent as they’ve ever been. So when it came time for Set 2, the crowd was abuzz as the setlist was confirmed to be written by longtime Biscuits audio engineer Rich Steele, celebrating his 300th show this evening. The set unfolded as a dissection of one of the Biscuits’ earliest songs, “Basis For a Day” spread out over the 90 minute set with four of the newer ‘Space Opera’ songs woven in between, leading fans to coin the fluid set “Spaces for a Day.“
If you hadn’t heard “Basis For a Day” in a minute, you were in for a treat. The band opened up with “Basis,” segueing into “The Wormhole” before finding their way back to “Basis.” Despite only debuting nine months ago, “Who’s In Charge” has found its home in regular rotation and followed the second “Basis,” with a driving beat behind Barber’s repeated query “Who’s in charge….. of this place right here?” From there, it was back into “Basis” for round 3, followed by “The Deal,” a song so new it had only been played three times prior to this evening. Back into “Basis” and then “To Be Continued,” with a new wave/techno riff from Aron Magner, seeming to be a song towards the end of the Space Opera. By the time they went back into “Basis” for a final time, nearly 90 minutes had passed but fans didn’t notice as they were far too busy getting down.
You couldn’t find a stronger way to cap the run with a set of this nature, where knowledge of the band’s collective level of consistency in performance and songwriting was put high on a pedestal for all to see. Weaving the band’s unnamed/unreleased “Space Opera” in and out of one of their most performed songs was a master stroke and paid dividends for everyone in attendance. A fitting encore of “We Like To Party” framed the three night run, with the band and fans in unison proclaiming enthusiastically, loudly and proudly, “We like to dance, sorry if you don’t.”
Don’t sleep on the Disco Biscuits – they’re in Colorado this coming weekend for four shows, head down south for four more in May before heading to Iceland for their first international jaunt in well over a decade. Tour dates for the summer have just been announced, which find the band touring up the east coast in June for eight shows, starting in South Carolina on June 7 and closing out with two nights at Mulcahey’s in Wantagh. Here’s hoping for more details on the upcoming “Space Opera” as the year progresses.
The Disco Biscuits – Saturday, March 25 – The Capitol Theatre – Port Chester
Set 1: Story of the World, Astronaut, Little Shimmy In A Conga Line > Tempest > Tricycle > Vibes > Svenghali 1 Set 2: Basis For A Day > The Wormhole > Basis For A Day > Who’s in Charge > Basis For A Day > The Deal > Basis For A Day > To Be Continued > Basis For A Day Encore: We Like To Party 1 end only
2x-Grammy-nominated DJ and producer Steve Aoki brought the heat to the stage during his electrifying performance on the HiROQUEST: Genesis Tour at Terminal 5 on March 17. With an explosive mix of EDM bangers, stunning visual effects, and his signature cake-throwing antics, Aoki had the crowd jumping and dancing non-stop all night long. Fans left the show with unforgettable memories and eagerly anticipating his next performance.
Steve Aoki is a world-renowned DJ, producer, and entrepreneur, known for his energetic live shows and collaborations with top musicians such as BTS, Kid Cudi, and Linkin Park. Born in Miami and raised in California, Aoki began his music career in 1996 in college by producing DIY records and running underground concerts out of his room at UC Santa Barbra, and has since released multiple studio albums and produced countless chart-topping tracks. He is also the founder of the record label Dim Mak Records and has expanded his brand into fashion, food, and philanthropy. Aoki’s most recent release is fiery new single “New York” with multi-platinum DJ and producer Regard, and featuring alt-pop artist mazie. Together on “New York,” the upbeat dance club jam joins mazie’s dreamlike, twisted musical tendencies through a seamless combination of Regard’s unmistakable production and Aoki’s high-powered creativity for a song that arrives just in time to become the pop anthem to kick off the new year.
The first opener, NYC based DJ Callie Reiff is a force to be reckoned with in the electronic dance music scene. A rising star since her early teens, she’s been smashing stages with her high-octane sets and bold beats. Armed with a fearless attitude and an infectious energy, Callie has been pushing boundaries and breaking down barriers, redefining what it means to be a woman in EDM. With an impressive list of collaborations under her belt, including Diplo, Sofi Tukker, and Borgore, Callie’s sound is a dynamic fusion of genres, blending elements of trap, bass, and techno to create a sound that is uniquely hers. From playing major festivals like Electric Daisy Carnival and Ultra Music Festival to headlining her own shows, Callie Reiff is on a meteoric rise and shows no signs of slowing down.
Following Callie Reiff was Juuku; a rising star in the world of electronic music, known for his genre-bending sound and emotionally charged productions. With a background in classical piano and guitar, this mysterious producer has been captivating audiences with his unique blend of future bass, trap, and indie-pop influences. Hailing from an undisclosed location, Juuku’s music is a reflection of his personal journey, infused with raw emotion and a deep sense of introspection. Since emerging on the scene in 2020, Juuku has quickly gained a loyal following, with tracks like “Gone” and “Leaving” racking up millions of streams on Spotify. With support from major tastemakers like Zeds Dead, Juuku is poised to take the music world by storm with his innovative sound and undeniable talent.
Amping up the show to a whole new level was Timmy Trumpet. Sporting his Pitbull-esque sunglasses, a trumpet, and copious amounts of alcohol, Timmy escalated the show tenfold. Timmy Trumpet is an Australian DJ, producer, and multi-instrumentalist who has been making waves in the electronic dance music scene since the early 2000s. With a background in jazz and classical music, Timmy brings a unique musicality to his high-energy performances, incorporating live trumpet playing into his sets. Known for his explosive live shows and infectious party anthems, Timmy has become a global sensation, headlining major festivals and clubs around the world. His chart-topping hits, including “Freaks” and “The Buzz,” have become instant classics, with millions of streams and views on platforms like Spotify and YouTube. With a tireless work ethic and an unwavering commitment to his craft, Timmy Trumpet is a true superstar in the world of EDM, constantly pushing the boundaries and delivering electrifying performances that leave audiences in awe.
During Timmy’s set, he climbed the stage and started boxing the air, doing pushups, and cheering as he downed shots of tequila on stage and set off gas canisters. Timmy pulled out all the stops, taking off his shirt, spraying champagne, handing out glasses and hats, throwing out “100 dollar” bills, and even humping a giant inflatable trumpet. He celebrated St. Patrick’s Day with Irish dancing and dumped an entire bottle of tequila on stage. Timmy also sang Happy Birthday to a fellow Aussie and held his trumpet high as a trophy or a guitar, cementing his place as a true showman and a legend of the EDM world.
Steve Aoki’s set was a visual and auditory feast for the senses. The videos playing in the background, featuring music videos and lyrics, added an extra dimension to the music. Images of funky aliens with vibrant colors and bored ape NFTs on blimps further enhanced the experience. A hyped-up entourage backed Steve up around the DJ booth, as he played fan-favorite “Hungry Heart” featuring Hayley Kiyoko and a new track set to release next month. The visuals during “My Heart Will Go On” were unforgettable, as Jack and Rose were replaced by Steve himself. He even took off his shirt and threw it into the crowd, followed by more champagne and his infamous cake-throwing tradition. Fans went wild as they caught CDs of his most recent album and fought to become bigger targets for the cake-throwing. Steve even filmed the crowd going crazy during a new song, turning it into a music video. The concert ended with a shower of streamers and confetti, and fans throwing phones onto the stage in excitement. Steve Aoki’s performance was truly a party that nobody wanted to leave.
Timmy Trumpet will be busy performing sets at multiple different shows and festivals, but will be back in NYC on Saturday May 6th at the Marquee.
Though the Genesis Tour has wrapped, you can find Steve Aoki still performing at many different miscellaneous shows, including May 6th at Bamboozle Festival in Atlantic City, NJ. Stay up to date on show/tour announcements here.
John Wesley Seneca is debuted his new album, While Rome Burns, earlier this month. The album consists of 14 tracks, most of which are largely instrumental. The tracks were recorded during the early months of the Covid-19 pandemic from March to November of 2020, and the album’s release comes near the three-year anniversary of the world shutting down due to the pandemic.
Promotional artwork for While Rome Burns. Credit: Wes Seneca
A veteran Capital Region performer, Seneca goes by the alter ego “Wes.” An acoustic musician, he never intended to make an electronic album but said “circumstances” led to it. At first, it was just a way to pass time during the lockdown, but it became something bigger as the world “slowly started to open up.” The singer never intended to release an album, but upon hearing again in 2022, he thought he could “curate” some of the songs into something more. The music of WhileRome Burns is vastly different than what he normally makes, which is why he made the album under an assumed name.
“All for Me Gorg,” is a highlight of John Wesley Seneca’s new album. The track is a disco-inspired version of an Irish sailor’s song and lyrically quotes both “Row, Row, Row Your Boat” and Shannon’s 1983 dance hit “Let the Music Play.” While the Covid-19 pandemic is certainly something many don’t want to remember, especially since it is on-going, While Rome Burns provides a glimpse into how music helped Wes Seneca cope with the most arguably some of the most disastrous months of the virus. WhileRome Burns is now available, however, the album currently isn’t available to download for free. Click here for more information.
Watch part 1 of the John Wesley Seneca interview for While Rome Burns
Electronic artist Kayzo performed for Buffalo locals at the Town Ballroom for his Unleashed XL tour on Thursday, March 16. His blend of EDM and rock has introduced a new wave of dubstep, bringing drums and guitar into his live shows to add a unique aspect to his sets.
Photo Credit: Maddie McCafferty
Openers of the night included Automhate who at just 15 years old is making a name for himself on this tour. Followed by riddim producer Infekt and popular dubstep artist Ray Volpe. All of which kept the crowd pumped up before Kayzo took the stage and even blew a speaker beforehand.
Photo Credit: Maddie McCafferty
Kayzo, also known as Hayden Capuozzo, had his career first take off in 2012 when he won Insomniac’s Discovery Project challenge. This then started a ripple effect for his growing fandom around the world. He later started playing for renowned festivals and venues. In 2018 Kayzo launched his very own record label Welcome Records further leaving his imprint in the scene as well as bringing attention to other new talent.
Photo Credit: Maddie McCafferty
When Kayzo took the stage at the Town Ballroom a wave of electric energy filled the venue. The popular producer not only knows how to hype up a crowd but also introduce different elements into the EDM scene that make his shows a new experience. Joined by Tyler Lacca on drums and Ben Havok on guitar, the trio were undeniably rage worthy.
Photo Credit: Maddie McCafferty
Kayzo performed many of his hits like “Battle Drums,” “Domination,” and “Suffocate.” He also performed remixes from various artists such as Sullivan King, John Summit, and Fred Again. The EDM producer does not shy away from doing what is different. As many EDM artists do he samples from popular songs. Although, what makes Kayzo standout is how he incorporates old school rock and metal into these tracks.
Photo Credit: Maddie McCafferty
This blend of live music and bass is something that fans don’t know they’re missing out on until they hear it live. Which paid mind to the nonstop mosh pits that opened up throughout the show. Opener Automhate even joined in on the moshing for his birthday celebration.
Overall, the night in Buffalo was a hit for both metal and dubstep lovers alike. Make sure to checkout upcoming shows at the Town Ballroom. Hawthorne Heights perform March 23 and The Movement take the stage March 29. Get tickets here.
At the Schenectady Armory, the Van Gogh Experience has been open for nearly a year, welcoming thousands to explore the art and life of Vincent Van Gogh in an immersive experience. A variety of new events that incorporate music into the art space have added a new twist on Van Gogh, combining art and music in unique ways.
Following a successful performance by Gratefully Yours in February, a Silent Disco event – Silent Night Starry Night – will be held on Friday, March 24, combining Van Gogh and music in a truly unique way.
Doors open at 8pm, with patrons receiving headsets upon arrival. The music starts at 8:45pm, featuring two DJ’s battling back and forth on the two channels, allowing attendees to listen to either channel as they explore the entire exhibit, including the immersive room. The channels will allow you to flip back and forth between top 40, R&B, house and reggae music, with the channels tracking listeners, leading to a winning DJ and genre being declared.
The first 100 tickets are $40 and presale tickets $50, plus a $5 ticketing fee. VIP packages are available and include a private table, coat check and a Van Gogh poster from the retail shop. Vendors are welcome but need to purchase a four pack of VIP tickets in order to vend.
Additional events at the Schenectady Armory and Van Gogh Experience include yoga classes and Sensory Friendly nights for children and adults.
Yoga is held one Saturday morning each month at 7:30 a.m. and the last Sunday of every month, a yoga wine down starting at 7pm, both in the immersive room. The Sunday March class will be held March 26th and again on April 30, both followed by a happy hour in our Armory lounge. Yogis are welcome to get a non-alcoholic beverage or cocktail and either hang in the Armory lounge or cruise through the exhibit with their cocktails. The next Saturday session will be April 8.
The cost for regular admission to the yoga class is $50 which includes the class, admission to the exhibit and your first cocktail or beverage is complimentary. VIP packages are also available, which include the yoga class, admission to the exhibit with the virtual reality experience also included, your first beverage during happy hour, a Van Gogh yoga mat, thermos and yoga hand towel. The cost for this package is $90.
On the first Tuesday of each month, discover the exhibit during a sensory sensitivities and disabilities Awareness Day. Schools are welcome as well as families with autistic children and students with other disabilities for an inclusive sensory conscientious showing of the exhibit. Special accommodations will be made to create a more sensory-friendly environment for guests with sensory sensitivities and other special needs.
National Autism Awareness Day is Sunday April 2nd with an event held that day, followed by the first Tuesday autism and disabilities awareness day on April 4th.
Sensory Friendly and Autism Awareness Days feature artificial noise reduction, the elimination of flashing lights and the dimming of armory lighting as well as sensory safe spaces throughout the exhibit all in an effort to create a more sensory-friendly atmosphere.
The cost for all students and their siblings is $15. One caretaker or teacher is admitted complimentary and the cost for additional adults is $30. For information on groups and field trips please email Tiffany at gmschenectady@exhibitionhub.com. Tickets may be purchased at the box office at 125 Washington Ave Schenectady NY 12305 or at feverup.com
King of punk rap music Curtis Waters brought the Bad Son Tour to the iconic Baby’s All Right in Brooklyn. As part of his first ever headline tour, with help from Tommy Richman and Jonah Roy, Curtis Waters turned Baby’s All Right into an anticapitalist-rock paradise for an incredible show.
Curtis Waters (Photograph by Chinaza Ajuonuma)
Curtis Waters is a rising star in the music industry, known for his infectious beats, catchy lyrics, and fearless experimentation with various genres. Born in Nepal and raised essentially everywhere, Waters has been making music since his early teens and honed his skills through online collaborations with other musicians around the world. His breakthrough hit, “Stunnin’,” which he produced, wrote, and performed, went viral on TikTok in 2020 and propelled him to mainstream success.
Since then, Waters has continued to push boundaries with his music, blending elements of hip-hop, rap, and punk to create a unique sound that better reflects who he is and resonates with fans worldwide. With recent releases HIMBO and GOD’S LONELY MAN that were 7 years in the making, Curtis Waters is poised to become one of the most exciting voices in music today.
Tommy Richman (Photograph by Chinaza Ajuonuma)
Hailing from Woodbridge, Virginia, Tommy Richman is a certified star. Tommy’s passion for music started at a young age, when he began taking voice lessons and singing in his church choir. After dropping out of college to pursue his dreams, Tommy persevered and has become a force to be reckoned with in the music industry. With hit releases such as “Star Girl”, Richman’s music gives us a glimpse into the mind of a true musical genius. Richman just released “Wish I Never Knew You”, produced by him and Jonah Roy. With his signature sound and unwavering commitment to his craft, we can’t wait to see where Richman’s journey takes him next.
Curtis accepting the “Most Humble Musician Ever” Award (Photograph by Chinaza Ajuonuma)
The energy of the show was absolutely unmatched. From start to finish, the concert was akin to an eventful burst of a supernova, with support from Jonah DJing and playing guitar all night, to opening up the pit during every single song – even launching himself off the stage to mosh with the people. Between the jumping and yelling, there were sentimental moments, like when two dedicated fans presented Curtis with a specialized “Most Humble Musician” award and a brand new tie he wore at the rest of the stops on tour. While there was a general set list, because the crowd was so engaged with the show, he performed a never before seen song, specifically requested by his self proclaimed biggest fan. Riding off the high of the buzzing crowd, Curtis and friends left the stage to interact with fans after the show, showering them with support and admiration for the hardcore show. From anticapitalist rants to heartfelt speeches about success, anyone who attended the show is already counting down the days until the next time they can attend a Curtis Waters concert.
Curtis moshing in the crowd (Photograph by Chinaza Ajuonuma)
Though Bad Son Tour may be over, stay tuned to Curtis and Tommy’s socials for news for any upcoming performances.
In celebration of 36 years, industrial-dance trailblazers My Life With The Thrill Kill Kult have announced additional dates for their ‘Evil Eye Tour,’ featuring the band’s classic hits from 1987-1997.
With fans clamoring for dates throughout the East and North Central states, the band released 16 additional dates, once again alongside support acts Adult and Kanga, including Halloween night in New York City.
Hailing from Chicago’s renowned Wax Trax! Records stable of artists, My Life With The Thrill Kill Kult have been conjuring up sonic tales of sex, blasphemy and kitschy horror since 1987. The band helped develop the industrial music genre, yet have continued to expand their style, creating one of the most diverse repertoires in modern music. Electronic rock, heavily influenced by both disco and funk can best describe their sound, while spoken-word samples lifted from B-movies gives the band their signature mark. They have released 14 studio albums, a slew of remix compilations, and have contributed to a variety of soundtracks and film scores, including a cameo performance in the 1994 cult movie classic The Crow.
Artist Franke Nardiello and musician Marston Daley, two Chicago neighbors who enjoyed late night binges watching trashy exploitation films and horror flicks, wanted to make their own movie to be called “My Life With The Thrill Kill Kult”. While the project never came to fruition, they wrote some music to be the accompanying soundtrack. Both worked at the Wax Trax record store, and when label founders Jim Nash and Dannie Flesher heard the songs, they were intrigued. Using the film title as the name of the band, they released a 3-song EP in early 1988. The response was overwhelming, and it was clear fans wanted to hear more.
Taking the stage names Groovie Mann (Nardiello) and Buzz McCoy (Daley), the duo began to focus on music full time. They created an occult meets leather biker image to compliment the band’s name which included enlisting a bevy of voluptuous back-up singers / dancers known as the BOMB GANG GIRLZ. In June of ’88, they flew to label mate Luc Van Acker’s studio in Belgium to record their first album, I See Good Spirits and I See Bad Spirits. It was recorded in just ten days, and mixed in another ten days at Southern Studios in London. The fans ate it up! They followed up with two hard-hitting dance floor 12” tracks – Kooler Than Jesus (1989) and Cuz It’s Hot (1990), which features no-wave chanteuse Lydia Lunch on vocals. The New York Times wrote, “Sex, blasphemy, big beats and go-go dancing; they’re all in a day’s work for My Life With The Thrill Kill Kult”. This attracted the attention of indie fans, as well as the ire of the PMRC and conservative religious groups in practically equal measure. By the time of their sophomore release, Confessions Of A Knife (1990), they were far and away one of the biggest selling acts on the label.
1991 saw the release of their third album, Sexplosion!, a calculated sonic and visual departure from their previous work. 1950’s pin-up models replaced the demonic imagery, while sleazy stripper horns, disco beats and house diva vocals (provided by artist Shawn Christopher) took prominence over the more abrasive musical elaments.They put together a provocative stage show, complete with spinning police lights, mirror balls and a stocked bar with bartender to serve the scantily clad musicians and dancers while they performed. It was a huge success, and the group signed a deal with Interscope Records shortly afterwards and released two more albums – 13 Above the Night (1993), and Hit & Run Holiday (1995).
Hollywood also embraced the KULT, recognizing the unique cinematic aspect in their sound. Most notably, the band scored five songs for animator Ralph Bakshi’s Cool World (1992) and wrote the lap dance song for director Paul Verhoven’s saucy Showgirls (1993). Comedies BASEketball and The Flintstones Movie prominently feature songs from the Hit & Run Holiday album. They have been roasted by MTV’s Beavis & Butthead, and were written into the story line of the film Sexy Evil Genius which also features the song “A Daisy Chain 4 Satan”. Most recently the club hit “Kooler Than Jesus” can be heard blasting in Season 3 of the Netflix series Narcos.
Today SLEAZEBOX.com boasts the complete THRILL KILL KULT catalog, in addition to related works and McCoy’s self titled projects. They continue to work with Wax Trax! Records for the purpose of re-issuing special limited edition vinyl. Buzz and Groovie still record and perform live along with veteran band mates Mimi Star (bass) and Justin Thyme (drums), all the while making a reputation for themselves as one of the most notorious and controversial cult bands of their generation.
For Mor Information, and to purchase tickets, please visit the bands website.
