NYS Music 2023

Category: Genres

  • Ambrose Getz Releases Empowering Album “Great House of Embers”

    Ambrose Getz, a Brooklyn-based pop artist, has released her newest album, Great House of Embers, which showcases her musical talent, as well as her impactful storytelling capabilities surrounding women’s experiences in today’s society.

    Ambrose Getz deconstructs and reconstructs various genres, including American folk music, Bossa Nova, classic rock, 40s jazz, and more. Getz recorded with a talented group of international musicians consisting of Almog Sharvit (also the producer), Ben Silashi, Tal Yahalom, and Micha Gilad. Emerging from the indie art-pop scene in Brooklyn, Getz has built a network of artists who inspire each other to reconsider American identity. They’re all top-notch musicians she knew could complement her range.

    Her current band that contributed to House of Embers consists of Almog Sharvit (bass, production), Ben Silashi (drums), Tal Yahalom (electric guitar), Micha Gilad (keys), Noah Rott (additional keys), David Leon (saxophone & flute on “Black Hole”), Hila Tako (background vox on “Grace”), Lisa Hoppe (string arrangements), Bergamot Quartet (“Arms Around Her,” “Carrie”), Ledah Finck (violin), Sarah Thomas (violin), Amy Tan (viola), Irene Han (cello).

    Throughout the record’s nine tracks, Getz showcases her fluency in many styles, all run through an art pop filter a la St. Vincent or Bjork. Synths, strings, and electric guitars blend with jazz-inspired percussion as Getz’s voice delivers the lyrics. Ambrose released the single and accompanying video for the jazz-influenced beauty of a song, “Starlight.” 

    “Starlight is about staying up past midnight, waiting for your crush to call. I wrote it on one of those long nights, losing myself in romanticism, knowing it was foolish to hope and laughing at myself for hoping anyway.”

    Ambrose Getz

    Wanting the song to transport the listener (the same way the jazz standards of the 40’s and 50’s do), after recording the song with her band, Ambrose added a special guest feature: a string arrangement composed by Berlin-based bassist Lisa Hoppe and performed by Brooklyn-based string quartet Bergamot Quartet.

    For the video, Ambrose and the band continued their theme of featuring women-led projects and performers with the addition of the directing team Las Lauras (Laura Sofía Pérez & Laura Isabel Tropi). Visually, they riffed on the theme of waiting through picking flowers and playing musical instruments. The video was shot by Lucas Hrabal, edited by Almog Sharvit, and colored by Alexey Zavolokin.

    The appeal of dynamic innovators like Getz and her collaborators lies in their ability to create work that defies passing trends.

    Great House of Embers ambrose getz
    Ambrose Getz

    Sometimes Getz’s adventurous spirit means adding synths and strings to a song inspired by jazz standards (“Starlight”), and sometimes it means crunchy guitars and twinkling synths (“Fantasies”). “Mary Awakens” takes a psychedelic detour through clips of Getz’s aunt speaking, girl-group harmonies, and a walking bassline. Getz has a strong, adaptable voice reminiscent of Suzanne Vega’s, and she uses every bit of it.  

    “When I wrote the song ‘Great House of Embers,’ I was thinking about JFK’s 1961 speech where he called America a “city upon a hill” and how Americans believed we had to be an example for other nations. My generation now sees the destruction our country has caused. Visualize a giant house on a big hill that has been on fire for a hundred years and is reduced to embers. That’s what my generation inherited.” 

    Ambrose Getz

    Singing loud, breaking forms, and telling complex stories converge in the album’s themes. The title track was inspired by Citizenfour, a documentary by Laura Poitras about NSA surveillance brought to light by Edward Snowden. 

    An avid reader, one of Getz’s favorite writers is Nobel laureate Alice Munro, whose work serves as inspiration for the song “Grace.” Getz’s said, “Her writing always has a subtle flip that can turn you on your head. She was the first author I read who consistently centered women’s stories, with depth and darkness and subtlety.” This influence is evident in Getz’s own lyrics, which deliberately delve into the experiences of women across generations, crafting narratives that are so apt and thought-provoking that they are sure to spark conversations between mothers and daughters. Through her shrewd songs about women’s lives, Getz shines a light on the cultural legacies we inherit both politically and personally. Her lyrics offer a keen insight into the complexities of these legacies, inviting us to explore and challenge the narratives that shape our understanding of women’s experiences.

    Getz never sacrifices the music for the message, as you can hear on debut single “Black Hole.” Written to be “dark and danceable,” the lyrics personify capitalism as an insatiable femme fatale, echoed in the music video directed by Margot Bennett and filmed by Eurica Yu. The video’s imagery—shot with dark backgrounds—pulls the viewer into a world where the allure of capitalism is as irresistible as it is dangerous. A single spotlight follows Getz, clad in androgynous black and white and sporting alarm-call red lipstick. Those images intercut with scenes of Getz wearing skintight black clothing and dancing, her red hair catching the light.

    Rather than posit herself as a victim of zeitgeist or a savior for our times, Getz offers candor and imagery alongside her range of musical styles. “Ultimately I see myself as an artist who writes songs that center women’s stories,” she says. Just as she asks what Americans inherited socio-politically, she looks to the women in her family to investigate what she has inherited personally. “Many of the songs on this album are short stories about my female relatives. ‘Mary Awakens’ is for my aunt, Mary Frances Ambrose, and ‘Carrie’ is for my maternal grandmother.”

    With Great House of Embers, Ambrose Getz adds another valuable record for the future to inherit. It’s a snapshot of a dark time illuminated by the hope of innovation. 

    The strings in her music are captivating, especially in the song “Arms Around Her,” which adds a classy feel and really creates a beautiful blend between the background music and the vocals.

    Every song is a little different and she truly showcases her abilities both in songwriting, but also in adapting to different genres. “Carrie” sounds more pop-influenced with a little country, while “Black Hole” is jazzy, and “Great House of Embers” might even have a little bit of rock influence.

    Many artists claim to be “breaking” genres, but this album is actually doing it.

    For more information on Ambroze Getz, visit her website, Instagram, or TikTok.

    Stream Getz’s music on Apple Music, Spotify, or Bandcamp.

  • Hearing Aide: Shooter Jennings and the Werewolves of Los Angeles Channel Zevon to Perfection

    The music of the late, great Warren Zevon is celebrated on the new live album Shooter Jennings and the Werewolves of Los Angeles Do Zevon, released on Friday, November 3.

    Werewolves of Los Angeles shooter jennings warren zevon

    Recorded at Monterey, CA’s Revels and Renegades Music Festival, Jennings leads the Werewolves of Los Angeles and channels Zevon’s music with precision and enthusiasm behind each song.

    The outlaw country legend, and son of original outlaw Waylon Jennings, Shooter brings together multi-instrumentalist Brian Whelan (Dwight Yoakam, Jim Lauderdale) and his longtime collaborators Jamie Douglass (drums), Ted Russell Kamp (bass) and John Schreffler (guitar) for an ideal mix of Warren Zevon for lifelong fans, casual fans and new fans.

    The band performed earlier this year during GRAMMY week at the Roxy Theatre in West Hollywood, and just this week, on November 1, performed the set to a sold-out Brooklyn Made.

    Featuring popular songs (“Excitable Boy,” “Werewolves of London”), deep cuts (“Mohammad’s Radio,” “Mama Couldn’t be Persuaded”) and final album tracks (The Wind’s “Dirty Life and Times,” “Keep Me in Your Heart”), there is something for everyone in a well laid out flow, capped off with Zevon’s autobiographical “Desperados Under the Eaves.”

    This last year we had a blast doing two separate shows paying tribute to one of my favorite artists of all time, Los Angeles legend Warren Zevon. When Zevon was picked to be potentially inducted into the Rock & Roll Hall of Fame this year we, along with millions of Zevon fans, were hoping that he would finally get his due in the halls of Rock & Roll History.

    Unfortunately, Zevon didn’t make it in this year and won’t be honored tomorrow night in New York City at the Rock & Roll Hall of Fame ceremony. Upon hearing this news, the Werewolves of Los Angeles gathered in our Wolfcave to discuss what we could do about it. We decided that even though Warren wasn’t going into the Hall of Fame, we could take a special trip up to New York City this week and do our own celebration of Warren’s bad-ass music.

    Shooter Jennings

    Shooter – a three-time GRAMMY Award winner, founder of Black Country Rock (a label and multimedia outlet), and host of “Shooter Jennings’ Electric Rodeo” on Sirius XM’s Outlaw Country channel – takes on a rock and roll legend still searching for a heart, and recognition for the indelible influence and mark Zevon left on rock n roll and Los Angeles. That recognition continues on through Shooter Jennings and the Werewolves of Los Angeles Do Zevon.

  • New York Philharmonic Presents Centennial Young People’s Concerts

    The New York Philharmonic is approaching the 100th anniversary of the annual Young People’s Concerts, a series of programming on Saturday afternoons geared towards children and families. The series aims to inspire music appreciation through interactive displays and performances of timeless classics and world premieres.

    Kwamé Ryan, director of 'Celebration' - Photo Credit: Zycopolis Productions New York Philharmonic Young People’s Concerts
    Kwamé Ryan, director of ‘Celebration’ – Photo Credit: Zycopolis Productions

    This season, the Philharmonic will present four YPCs highlighting the program’s history, modern themes, and future developments. All of the events are directed and designed by Doug Fitch, and take place in the Wu Tsai Theater at David Geffen Hall at 2PM.

    The first event, titled Time Capsule, will take place on November 18. Conducted and hosted by Thomas Wilkins, the show takes inspiration from previous Young People’s Concerts, featuring works by Rossini, Elgar, Jessie Montgomery, and Leonard Bernstein. The show will see the world premiere of Bunmi Afariogun (age 11), alongside Fiona Khuong-Huu (age 16) in her NY Philharmonic debut.

    Fantasy and Imagination will take place on January 20, conducted by Jerry Hou and hosted by NY Phil Teaching Artist Justin Jay Hines. The show will celebrate imagination and the power of music, featuring Musorgsky’s Pictures at an Exhibition, and new works by Very Young Composers participants.

    Kwamé Ryan, conductor of 'Celebration' Photo Credit: Mark Allen New York Philharmonic Young People’s Concerts
    Photo Credit: Mark Allen

    Next, Composing Inclusion will debut on April 20. Conducted and hosted by Daniel Bartholomew-Poyser, in his NY Phil debut, the show will present a collaboration between the NY Phil, American Composers Forum, and The Juilliard School’s Preparatory Division. With selections from William Dawson’s Negro Folk Symphony, the NY Phil will be joined by students from Juilliard’s Preparatory Division and Pre-College Orchestra.

    Finally, Celebration will be conducted and hosted by Kwamé Ryan in his NY Phil debut on May 4. Accompanied by Sheku Kanneh-Mason as a soloist, the show closes out the YPC centennial by exploring humor in music throughout history.

    Alongside the Young People’s Concerts, the NY Phil presents YPC Overtures, where children can try out instruments, listen to music by Very Young Composers participants, and participate in interactive workshops. YPC Overtures begin at 1PM on the day of the concert.

    More information and tickets for New York Philharmonic Young People’s Concerts, visit nyphil.org/calendar.

  • The Paper Kites & The Roadhouse Band at Racket: A Halloween Special

    On October 31, The Paper Kites and touring guest The Roadhouse Band performed together at New York City’s Racket. On their North American Tour, The Paper Kites are celebrating their new record At The Roadhouse, an artistic project birthed between the four walls of a dive bar in Australia that fans all across the world are holding close to their hearts today.

    With the epitome of an autumnal sound combined with the holiday atmosphere, The Paper Kites pulled in the proper crowd: costume-enthusiast folk fanatics.

    Photograph by Shauna Hilferty

    A crowd with creative costume ideas slowly filled the warehouse venue in the Meatpacking District. Spiderman, Peach and Mario, and plenty of Bob Dylan‘s mingled while awaiting the opening set. At 8:00 PM, The Cactus Blossoms casually strummed into their first song. With only an acoustic and an electric guitar paired with soothing vocals, the duo provided a warm opening performance. They expressed their gratitude to be on their first ever tour, and even more so they praised The Paper Kites for the opportunity and their musical influence. 

    Photograph by Shauna Hilferty

    Shortly after the Cactus Blossoms made their way off the stage, the stage crew decorated the space with an arsenal of instruments. True to The Paper Kites’ rich production value, each instrument that can be intentionally heard on their newest album was prepped and ready to be used on stage. Multiple forms of percussion, a collection of strings, an organ, electric keys, and the iconic vintage-looking microphone sat waiting to be given life.

    Once their signature drapes were hung across the back of the stage, the lights dimmed and each band member made their way onto stage. Eight people on stage seemed like it would be tight, but the congealed bands stitched together comfortably, and so did their sound. 

    Photograph by Shauna Hilferty

    The traditional lead of an acoustic guitar through their melody was threaded with the most intentional additions of twangy strings of banjos and mandolins, the romantic hum of the organ, the tune of the harmonica, and the heartbeat of various drums. If there’s one thing The Paper Kites are, it is consistent – consistently impressive. With a memorable setlist it can become difficult to entertain returning fans, but The Paper Kites routinely delivers a unique listening experience that bends the confines of genre labels through experimentation and passion.

    On stage stood eight music connoisseurs. Lead vocalist; Sam Bentley, on the guitar and the banjo; Dave Powys, on the pedal steel and guitar; Matt Dixon, on drums; Josh Bentley, on the bass; Sam Rasmussen, on the organ and percussion; Hannah Cameron, on strings and cowbell; Chris Panousakis, and the multi-instrumentalist and vocalist; Hadley Kennary. 

    Photograph by Shauna Hilferty

    From their last performance in New York City at Williamsburg Music Hall, their audience has grown – not just in size, but in comfortability. Throughout the show, fans openly conversed with each other and the band members in a respectful manner. Cooing that the song being performed was the song that was playing when they met the love of their life, or politely begging for their favorite oldies to be played. The Paper Kites’s lead vocalist, Sam Bentley, joked and reminisced with the audience all evening. It was truly refreshing, especially for a typically quiet audience.

    Photograph by Shauna Hilferty

    Midway through their performance, The Paper Kites quintuplet and The Roadhouse Band gathered around their signature microphone to sing a stripped version of the Kite’s hit “Bloom” from their oldest record “Woodland.” This is a treasured moment during a Paper Kites performance. Their sound becomes almost tangible in the room, with raw harmonies and only root instrumentals. A wash of peace laid over the audience, for their attention was devoted to the intimate production happening on stage.

    Photograph by Shauna Hilferty

    An applause full of raised hands in praise and hollers from the chest lasted for over a minute. Smiles overtook The Paper Kites’ faces as they made room once more for The Roadhouse Band. Each of the string players made the swap for more bassy instruments as Sam Bentley edged, “Now this is the part of the set where we play some louder songs.” As soon as the first chord of Dave Powys’ electric guitar ripped, the strobe lights were released into motion across the faces in the crowd.

    Photograph by Shauna Hilferty

    One of their new songs, “Black & Thunder,” was a crowd favorite. The soulful riffs and plunge of the bass emitted a similar sound to that of Fleetwood Mac’s “Rhiannon.” On stage the band members tapped their feet to the beat and visibly felt the command of their instruments, as they swayed and jolted their shoulders. 

    Photograph by Shauna Hilferty

    After a few songs, they returned home to their usual earthy gentle tone to close out the show. They sang songs from their record “On The Train Ride Home” that references New York City, which spoke to the audience on personal levels. Tears streamed down the faces of some while smiles stretched across the faces of others. Underneath the lights, a world was formed – a small culmination of vast lives all affected by the same poetry.

    The Paper Kites finished out their Halloween performance with an encore, singing some oldies that were wished for to send off the audience with a memorable evening. Once the lights came on, The Paper Kites and The Roadhouse Band said their thanks and bid their farewells to their New York City crowd.

  • Anna Kuwabara Announces Resignation as Executive Director of Albany Symphony

    Anna Kuwabara, the executive director of the Albany Symphony, has announced her resignation, effective January 31, 2024.

    Kuwabara, who joined the Albany Symphony in July 2017, played a crucial role during her tenure. She coincided her first day with the launch of Water Music New York, a celebration of the Erie Canal’s bicentennial through a series of free community concerts across the state. Her departure will be followed by the Symphony’s Board of Directors initiating the search for a new executive director.

    Photo Courtesy Of Capital Region Living

    Faith Takes, Chair of the Albany Symphony Board of Directors, expressed gratitude for Kuwabara’s leadership and dedication over her six-and-a-half-year stint. Under her guidance, the organization deepened its ties within the Capital Region community, initiated inclusion, diversity, equity, and access efforts, underwent two strategic planning processes, and navigated negotiations for two collective bargaining agreements with the Albany Musicians’ Association.

    Kuwabara, alongside the management team, orchestra musicians, and David Alan Miller, successfully steered the Albany Symphony through the unprecedented challenges posed by the COVID-19 pandemic. Despite the absence of in-person concert audiences, the power of music was upheld and continued to resonate within homes.

    David Alan Miller, the Music Director and Conductor, acknowledged Anna Kuwabara’s invaluable contributions. “We all appreciate Anna’s hard work, dedication, and kindness over the past several years, particularly her inspired leadership guiding our orchestra through the unprecedented challenges of the pandemic. I wish her the very best on her next endeavor,” Miller stated.

    Anna Kuwabara is appreciative for her time with the Albany Symphony, remarking on the extraordinary nature of the organization and the Capital Region. She spoke of her fondness for the staff, talented musicians, David Alan Miller, the dedicated Board, Vanguard volunteers, and loyal Symphony supporters. She will hold the Albany Symphony close to her heart as it approaches its 100th anniversary.

    Throughout Kuwabara’s tenure, the Albany Symphony spearheaded several projects and initiatives that enriched the community, expanded the boundaries of classical music, and brought recognition and acclaim to the Capital Region. These initiatives included an invitation for the Albany Symphony to perform at the Kennedy Center’s SHIFT Festival in Washington, D.C., commemorating the WWI Armistice Centennial, and hosting the Sing Out! New York Festival to celebrate New York State’s leading role as a champion of civil liberties. Additionally, the 2019-2020 Season celebrated Phenomenal Women in Music, and the Convergence initiative aimed to explore and build relationships with Black cultural arts, culminating in the 2023 Convergence American Music Festival. The Albany Symphony also introduced the Soundtrack New York Film Music Festival, showcasing extraordinary music from classic films, video games, and popular movies. The organization secured its second GRAMMY win for Christopher Theofanidis’ Viola Concerto featuring Richard O’Neill.

    The Albany Symphony is a renowned music institution celebrating its commitment to enriching the community through exceptional orchestral performances and engaging initiatives. For more information, visit albanysymphony.com/

  • Consider The Source Drop Star Wars-Inspired Music Video “Kashyyyk”

    Consider The Source, a NYC-based progressive jazz-rock trio, dropped their newest track alongside a music video for “Kashyyyk.” The video explores the band’s Eastern influences, with psychedelic graphics to accompany the new song.

    Consider The Source

    Consider The Source made a name for themselves in the NYC scene with their unique, genre-bending sound. During the pandemic, the group found themselves stranded apart from each other, forcing them to learn new techniques to record and collaborate. Their newest album, a re-issued version of their Are You Watching Closely, comes nearing the 15-year anniversary of its original release.

    Consider The Source Kashyyyk

    The group’s newest single, “Kashyyyk” is a reference to a Star Wars fictional planet, where Chewbacca calls home. The psych-rock track demanded over 30 hours of work by producer Jacob Nadeau and editor Francesca Belcastro. 

    Consider The Source will embark on a US tour this fall, with four dates in Woodstock, Saratoga Springs, Rochester, and New York City. The group will support numerous acts, including SkyDaddy, Bella’s Bartok, The Mushroom Cloud, and more. More information and tickets are available here.

    Consider the Source Tour Dates

    11.02 The Colony – Woodstock, NY +
    11.03  Bayside Bowl – Portland, ME %
    11.09  Putnam Place – Saratoga Springs, NY ^
    11.10  Nectar’s – Burlington, VT !!
    11.11  The Stone Church – Newmarket, NH &
    11.17  Flour City Station – Rochester, NY *
    11.18  Thunderbird Music Hall – Pittsburgh, PA !
    12.07  The Fox Theatre – Boulder, CO =
    12.08  830 North – Fort Collins, CO ==
    12.09  Globe Hall – Denver, CO
    12.29  Sultan Room – New York, NY #
    12.30  Electric Haze – Worcester, MA $
    12.31  Arch Street Tavern – Hartford, CT $

    + w/ SkyDaddy

    % supporting Bella’s Bartok
    ^ w/ Bella’s Bartok
    !! W/ The Mushroom Cloud
    & w/ Sqwerv
    * w/ Grub
    ! w/ TrailHeads
    = co-bill w/ Cycles
    == w/ Pipin’ Hot
    # w/ Habbina Habbina
    $ w/ Leon Trout

    Watch “Kashyyyk” from Consider the Source below.

  • John Mellencamp Confirms Continuation of Acclaimed Tour with “Live and In Person 2024”

    Folk-inflected rock artist John Mellencamp confirms the continuation of his acclaimed tour “Live and In Person 2024”, performing in 27 cities including Schenectady and kicking off in Rochester on March 8, 2024.

    Mellencamp is a member of the Rock and Roll Hall of Fame, a recipient of the John Steinbeck Award, ASCAP Foundation’s Champion Award, The Woody Guthrie Award and Americana Music Association’s Lifetime Achievement Award and more recently, the Founders Award, the top honor assigned by the American Society of Composers, Authors and Publishers and a member of the Songwriters Hall of Fame.

    “Beyond being just a rock star, he’s written songs that moved people, American anthems about teenage romance, about coming of age into adulthood, about families suffering through hard times in a trickle-down economy.” 

    – Pittsburgh Post Gazette

    Last year, he released a deluxe edition reissue of his beloved seminal album, Scarecrow, which features a massive collection of bonus tracks, rarities and more never previously shared before. His critically acclaimed studio LP, Strictly A One-Eyed Jack, was released early last year to praise from The New York Times, NPR Music, Associated Press, The Wall Street Journal, Forbes and more.

    The tour will kickoff in Rochester on March 8th with stops including Newark, Hartford, Schenectady, Washington D.C. and more with tickets going on sale Friday, November 3rd. The new tour dates will celebrate Mellencamp’s most recent album ‘Orpheus Descending’, recorded as his 25th studio album, exploring political and personal themes that compliment his American rocker artistry. He will continue to perform songs from the LP including standout tracks “The Eyes of Portland” and “Hey God” that highlight social issues Mellencamp continues to passionately advocate for.

    JOHN MELLENCAMP LIVE AND IN PERSON 2024 TOUR

    March 8—Rochester, NY—West Herr Auditorium Theatre

    March 10—Newark, NJ—New Jersey Performing Arts Center

    March 11—Worcester, MA—The Hanover Theatre

    March 13—Hartford, CT—The Bushnell Center for the Performing Arts

    March 14—Schenectady, NY—Proctors

    March 16—Erie, PA—Warner Theatre

    March 17—Toledo, OH—Stranahan Theater

    March 19—East Lansing, MI—Wharton Center

    March 20—Richmond, KY—EKU Center for the Arts

    March 22—Muncie, IN—Emens Auditorium

    March 23—Springfield, IL—UIS Performing Arts Center

    March 25—Green Bay, WI—The Weidner

    March 26—Madison, WI—Overture Center for the Arts

    March 27—Rockford, IL—Coronado Performing Arts Center

    April 4—Duluth, MN—DECC Symphony Hall

    April 5—Des Moines, IA—Des Moines Civic Center

    April 7—Omaha, NE—Orpheum Theater

    April 9—Springfield, MO—Juanita K. Hammons Hall for Performing Arts

    April 10—Little Rock, AR—Robinson Center

    April 12—Birmingham, AL—BJCC Concert Hall

    April 14—Greensboro, NC—Steven Tanger Center for the Performing Arts

    April 15—Chattanooga, TN—Soldiers and Sailors Memorial Auditorium

    April 17—Fayetteville, NC—Crown Theatre

    April 18—Washington, D.C.—DAR Constitution Hall

    April 20—Columbia, SC—Township Auditorium

    April 21—Norfolk, VA—Chrysler Hall

    April 23—Savannah, GA—Johnny Mercer Theatre

    For more information please visit here.

  • Brooklyn Electro-Pop Duo ‘FIIZ’ Announce New Single “ALL MY WORLDS”

    Electronic-Pop duo ‘FIIZ’ return to ignite dance enthusiasts with their new energetic single “ALL MY WORLDS”, released on November 2nd.

    FIIZ was born from the deep bond between best friends Fiona (Fi) and Isabelle (Iz) during shared quarantine, and a desire to fearlessly represent the LGBTQ+ community, defying norms in pop culture. United by their friendship, they create queer empowerment through music, challenging heteronormative standards with unapologetic expression.

    The Brooklyn based duo FIIZ entrance their listeners by exploring themes of imagination, the multiverse and questioning the boundaries between reality and the power of the mind. They draw concepts from the endless possibilities that lie beyond our perception which intertwine with their unique musical expression fusing electronic-pop, hyper pop and EDM into a groundbreaking sound that can be heard in the latest single.

    “ALL MY WORLDS”, forefronts the duos consistent pursuit of enlightenment, fluidity of time and the liberation of both the mind and body. FIIZ invites audiences to embark through the multiverse—an idea that has long captivated their creative spirit,  the track becomes an anthem, chanting a powerful mantra, “All my worlds are real, all my dreams are true.”

    With its pulsating beats, ethereal synths, and thought-provoking lyrical concepts, “ALL MY WORLDS” is poised to capture audiences worldwide. Hailing from the diverse and kinetic music scene of Brooklyn, FIIZ has once again encapsulated its progress in creating electrifying pop anthems that resonate deep within the mind space of its audience.

  • “Live From Daryl’s House” Returns After Three Years

    Award-winning show Live from Daryl’s House returns this fall after a three-year hiatus. New shows will premiere on Daryl Hall’s dedicated YouTube Channel, including guests Glenn Tilbrook, Robert Fripp, Howard Jones, and more, airing from his Pawling, NY venue, Daryl’s House.

    Live from Daryl’s House debuted on November 15, 2007, with a solo episode featuring Daryl himself, often spotlighting local chefs cooking their cuisine on camera. The first few seasons offered an eclectic mix of legends and newcomers from Gym Class Heroes’ Travis McCoy, Chromeo, Fitz and the Tantrums, Minus the Bear, Aloe Blacc and K.T. Tunstall to Nick Lowe, the Doors’ Robby Krieger and Ray Manzarek, Smokey Robinson, Toots & the Maytals, Train, Jose Feliciano, Billy Gibbons, Sammy Hagar, Todd Rundgren, Cheap Trick, Wyclef Jean, Aaron Neville and Kenny Loggins. Between 2007 and 2018, a total of 84 episodes were produced.  Since 2014, “Daryl’s House” Restaurant and Music Club in Pawling, NY has been the series’ home base.

    “It was an idea to use the Internet for entertainment, which hadn’t really been done before,” marvels Daryl Hall, introducing the new season of his popular Webby Award-winning music series, Live from Daryl’s House, recounting the lightbulb moment back in 2007 to host an intimate online showcase for music, and to fill the time between touring.

    “Having been a part of this series with Daryl since its inception, I’m filled with pride at the number of incredible artists that have appeared on this very special music series. In my opinion, our latest season is a continuation of the quality programming that the fans have come to expect.”

    Jonathan Wolfson

    Prior to the new season, the last two episodes filmed featured Styx’s Tommy Shaw and Vintage Trouble vocalist Ty Taylor, which both aired in October of 2020. 

    Wikipedia

    After a long production hiatus, Live from Daryl’s House will return on November 1 on Hall’s YouTube Channel, with a brand-new season of six shows, one a week, through the end of the year, starting with Squeeze singer/songwriter Glenn Tilbrook, including Atlanta psychedelic jam band Blackberry Smoke singer/guitarist Charlie Starr (Nov. 8); King Crimson guitarist and Daryl Hall solo album producer Robert Fripp (Nov. 15); singer/songwriters Andy Grammer (Nov. 22), Lisa Loeb (Nov. 29) and U.K. synthpop pioneer Howard Jones (Dec. 6).

    Visit Daryl Hall’s YouTube for episodes of Live from Daryl’s House.

    https://www.youtube.com/watch?v=sGYOPbvhr54

  • Taking No Prisoners: Dirty Honey’s “Can’t Find The Breaks”

    Rock and roll band Dirty Honey released their second studio record, Can’t Find The Breaks, on Friday, November 3. The band now features bassist Justin Smolian, guitarist John Notto, drummer Jayden Bean, and Niskayuna, NY native Marc LaBelle on lead vocals. Can’t Find The Breaks features 11 songs and has a total run time of 46 minutes.

    Photo Courtesy: therockpit.net

    Dirty Honey was finally able to release new music for the first time in two years after constantly touring as an opener for bands like Guns N’ Roses or headlining their own shows. Can’t Find The Breaks is a breath of fresh air for a modern band with a classic rock vibe that makes fans reminiscent of the Golden Age of Led Zeppelin, The Black Crowes, and Aerosmith.

    The band is leading the charge in the resurrection of rock and roll music. Outside of The Struts and Mammoth WVH, there hasn’t been a new band for the younger generation of rock fans to feast on. Dirty Honey is carrying the metaphoric rock and roll flag as the band continues to get bigger and bigger.

    Can’t Find the Brakes, to me, is pretty descriptive of what our life is right now. We are just on this out-of-control rock n roll train that is off the tracks and we don’t know where it’s going, but we’re down for the ride.

    Marc LaBelle

    The second track of the record, “Won’t Take Me Alive,” was one of the first singles off of the record. It’s easy to see why the band chose to release this song as the first single. Bean keeps the beat of the track moving forward while Notto provides the catchy riffs that keep fans air guitaring from start to finish.

    On “Get A Little High,” LaBelle is able to show off his impressive vocal range. LaBelle has always had the vocal range of an Axl Rose mixed in with Chris Robinson and the wonderful chorus behind him adds to the total wall of sound from the rest of the band. Notto provides one of his most melodic solos to date showing that he has learned a thing or two from touring the world with guitar gods like Pete Townshend of The Who and Slash.

    The final track that stands out the most on Dirty Honey’s sophomore record is “Coming Home (Ballad of the Shire).” The beautiful acoustic song sends shivers down listeners’ spines and gives them goosebumps as the band sings in perfect harmony on the chorus of this record. This peaceful ballad is a complete 180 from the in-your-face rock and roll that they’re used to, yet it fits the band perfectly.

    In support of their brand new record, Dirty Honey is trekking across the United States with special guest Austin Meade. 

    Listen to Can’t Find The Breaks here.