Playbill, The Broadway League, and the Times Square Alliance have announced the lineup of Broadway shows to be included in the Curtain Up! LIVE from Broadway finale concert, concluding the third-annual Curtain Up Broadway Festival.
The Curtain Up! LIVE from Broadway finale concert will be a grand, outdoor event taking place rain or shine on Sunday, Sept. 10 from 11:00 AM – 12:30 PM in Duffy Square. This free outdoor concert spotlights marquee talent, showcases current Broadway musicals and plays, and will be aired live on WABC TV.
Participating shows include & Juliet; A Beautiful Noise, The Neil Diamond Musical; Aladdin; Back to the Future: The Musical; The Book of Mormon; Chicago; The Cottage; Hadestown; Harmony; How to Dance in Ohio; Jaja’s African Hair Braiding; Kimberly Akimbo; The Lion King; Moulin Rouge! The Musical; The Shark Is Broken; Shucked; SIX;Some Like It Hot; Spamalot; Wicked; and more areto be announced.
From Friday, Sept. 8 to Sunday, Sept. 10 the Curtain Up Broadway Festival brings Broadway to the streets, in the heart of New York City. Stretching between 45th and 47th Streets, the festival will include interactive events and performances that are all live, free, and open to the public. It kicks off with guest speakers from Playbill, The Broadway League, Times Square Alliance, & Prudential Financial, with Broadway guest hosts, special performances, and special guests from The NYC Mayor’s Office of Media and Entertainment (MOME), Hotel Edison, Open Jar Studios, The Entertainment Community Fund, and more.
What better way to kick off a new Broadway season than to celebrate the Curtain Up Broadway Festival in Times Square. This incredible three-day festival will host special concerts, sing-alongs, and workshops, just to name a few of the many exciting events planned. Last season, Broadway had a total attendance of 12.3 million indicating just how much live theatre means to so many and its pivotal role in NYC’s economic development. We’ll wrap up the weekend with the Curtain Up! LIVE from Broadway finale concert on Sunday, September 10th and thank WABC for returning to live broadcast the star-studded show.
Charlotte St. Martin, President of The Broadway League.
The Prudential Stages on Broadway Brought to You by Playbill contest hosted by Brittney Johnson, an acclaimed Broadway star who made history playing the title role of Glinda in the smash-hit musical Wicked, will take place on September 9 and gives aspiring and emerging artists across the country the opportunity to capitalize on their “Now What?” moment. The winning artists will have the chance to network with theatre professionals – like host Johnson and contest judges Tara Rubin and Allen René Louis – and could walk away with a monetary prize of up to $10,000 plus an opportunity for financial advice from a Prudential Advisor.
Additional events include ¡Viva! Broadway® Hispanic Heritage Month Celebration, Broadway Sing-Alongs throughout the festival on the ‘Belt It Out On Broadway’ stage, Curtain Up After Dark events featuring Broadway Sings and Rockers On Broadway, Ailey’s Revelations dance workshop, multiple Dueling Piano events at the ‘Belt It Out on Broadway’ stage, Broadway Block Parties presented by the NYC Mayor’s Office of Media and Entertainment (MOME), and more to be announced.
For more information and a full lineup, visit here.
New York is a breeding ground for all kinds of talented individuals. The densely populated nature of NYC makes it challenging to achieve stardom there. With all of the people in this world, it can be difficult to differentiate yourself.
A major part of standing out deals with genetic makeup, upbringing and the place you grew to become familiar with your surroundings. However, New York encourages an unmatched hustle and rewards individuals who persevere with the utmost ambition. If you can make it in New York, you can make it anywhere.
DonMonique, or DonDada releases refreshing tunes every time she steps into the studio. She dismantles traditional hip-hop by dispelling the notion that there can only be one Queen of Rap. She appreciates her hometown for its hectic jungle atmosphere, nuances, and grounds for uncontained creativity. With an old soul and a Brooklyn drawl, this artist consistently asserts a quintessential New York sound every time she lays rhymes down on wax.
Where Brooklyn @?
Brooklyn has birthed a few legends within its time. This is not to say she’s reached legend stature yet, but DonMonique is taking all the right steps to disrupt the game of hip-hop as a whole. She first gained recognition and garnered major attention through her fashion choices and photoshoots.
For a while, she modeled for Pharrell Williams on a website called Karmaloop. A major turning point came about when she did a photoshoot in rare FUBU attire that made its way to Tumblr and had thousands of “notes” and reposts within hours. With a fashion outlook, she set the tone at a high level with crossover appeal between fashion and hip-hop with style and distinction.
Before becoming a hip-hop artist, Don immersed herself within important spheres of influence and made connections with people who are relevant within the genre. Her manager recommended that she avoid popping up in studios without anybody knowing her personally. By building rapport, networking and gradually placing herself on people’s radar she saw success. This whole process took about a year, but proved worthwhile as she focused upon relationship-building and creating a good reputation for her brand.
The Dutchess
When it was finally time to burst upon the scene, DonMo captured her moment in all of its glory. A common theme within hip-hop involves replacing certain powdery substances with the names of white females. On the song, “Pilates,” DonMonique name-dropped Kendall, Kylie and Miley. Furthermore, this song premiered on an Alexander Wang fashion show runway which caused it to gain additional traction.
Pilates took flight when Kylie Jenner posted the song on her Snapchat. Kylie has been known to post new music on her Snapchat account and the fact that this quality song mentioned her name must have made a good impression. Subsequently, people began to take notice of this young Brooklyn artist with only a few songs to her name.
Thereafter, she started working with artists like Danny Brown, Justine Skye and Chuck Inglish. She toured with Lil Debbie, opened Webster Hall for Lil Yachty and got Stelios Phili (the same man who helped produce Ferg Forever) to entirely produce her mixtape, Thirst Trap. Without a doubt, she has that New York pizzazz that many covet and few are able to generate.
Autonomous Maneuverability
DonMonique discovered her voice through trial and error. Much more than just a face in the crowd – she possesses originality and unmistakable flavor. Hence, a strong-willed woman who thrives upon independence and confidence carries complete control over her trajectory. She takes risks regardless of obstacles, embraces her sexuality and rejects the approval-seeking nature that many feel required to subscribe to in America. Furthermore, with spunk and determination, she emerges noticeably different from other artists and travels along her path with subversive femininity.
When it comes to developing songs, DonMonique takes a minimalist approach. By giving the people just what they need and not a drop more, she keeps the fans honest and insatiable. Her clever verses and raspy vocals allow her to wisely navigate the male-dominated industry and reach new wavelengths. As a calm, cool and cozy Brooklyn cat she comes up with music that keeps her audience directly in mind which ultimately boosts her credibility and relatability.
Hypnotic Radiance
DonMo provides a rugged, rough around the edges tomboyish vibe. As a hungry artist she provides gritty bars, deadpan delivery and brash rhymes. With a raw persona, she approaches the genre with titillating, enticing, menacing and genuine bars. Being a noticeably distinct person speaks volumes to her audience and those who are in tune take specific notice of her energetic hustle.
She stands firmly within the throws of an era where hip-hop connoisseurs continue to witness women gain much deserved respect. As a result, she serves as a symbol of empowerment and advocates about unity for women in the form of uplifting anthems and dialogue.
Her first mixtape, Thirst Trap dropped in conjunction with the Hot 97, “Who’s Got Next” showcase. The mixtape title plays on the phrase for social media posts that attract viewers and persuade them into leaving desperate comments. Thirst Trap also relates to the fact that her body of music paired with her physical body and outstanding style leaves the audience thirsty for more.
Before dropping her album,Black Kate Moss, DonMonique took a hiatus to appreciate the moment and rejuvenate herself in order to supply the best possible product for her consumers. The release date was pushed back so that she could concentrate on herself, reflect via introspection and develop her sound further.
As a rebirth effort, this move gave her a chance to reevaluate, appreciate the entire process, cherish her gifts and prioritize her health. She continues to innovate and receive incredible reception from her loyal New York fan base. She performed at the Bowery Ballroom and the Meadows last fall. Stay tuned to hear where she performs next.
Local Oneida teacher Heather O’Connell has been awarded the prestigious Music Teacher Award from the one and only Barry Manilow for her work as an excellent music teacher.
Barry Manilow attends the Clive Davis Gallery Ribbon Cutting at New York University on April 05, 2022, in New York City. (Photo by Dia Dipasupil/Getty Images).
Heather O’Connell has won the Manilow Music Teacher Award for her work as a music teacher at Oneida High School along with $10,000, which consists of $5,000 cash and another $5,000 in “Manilow bucks” to purchase musical instruments for her school’s music program. The Manilow Music Project Teacher Award recognizes an “outstanding music teacher who helps bring music to life for their students,” stated Turning Stone. The Manilow Music Project has given away over 10 million dollars worth of funds and musical instrument donations.
“I am so humbled and so honored to have won this award to give me the opportunity to help so many students,” said O’Connell. “The $5,000 instrument money is going to my colleagues to purchase instruments for the students, and the other $5,000 is going directly back to the students at the high school. We have a beautiful community outreach program here in our school that I can help to feed and clothe and help kids in our community.”
O’Connell received several nominations from Turning Stone employees, who helped nominate deserving music teachers in the area. The Manilow Music Project then selected ten finalists, opening up voting online to name the winner. Turning Stone Bingo Supervisor Dezaire Collins was one of those employees who nominated O’Connell.
“Honestly, [Mrs. O’Connell] was the first person I thought of; she is truly an amazing teacher,” said Collins. “Now that I’m a parent and think back to the joy she brought to my life in music, and now she’s giving it to my kids as well. It’s quite amazing the impact she’s made in our district over these past 30 years.”
Heather O’Connell.
Barry Manilow performed on Aug. 19 at Turning Stone, where O’Connell received VIP tickets. Manilow also presented her with the award at a backstage ceremony during the concert.
“It is wonderful to partner with our concert venues to identify schools and music teachers in their neighborhoods that deserve this small token of my gratitude, said Manilow. “Many school music programs have either been terminated, or their funds have been severely depleted. I always want to do my part through The Manilow Music Project to keep music in schools.
Standing out as one of New York City’s most unique MCs of all time, the late Ol’ Dirty Bastard’s discography chalks full of city anthems, whether spawning from his time with Wu-Tang Clan or his solo career. Passing away in 2004, the Brooklyn native leaves behind a legacy as one of hip-hop’s best, presenting an eccentric, energized style of rap that couldn’t be recreated by anyone else.
Al Pereira/Getty Images
Raised in the Fort Greene section of Brooklyn, Ol’ Dirty Bastard’s raspy, crazily spewed vocals paired with his violent lyricism eventually made him a central figure of the majority Staten Island group Wu-Tang Clan and hip-hop as a whole. Made up of himself, Method Man, RZA, GZA, Raekwon, Ghostface Killah, U-God, Inspectah Deck, Masta Killa, and Cappadonna, the group first came together in 1992.
Enter the Wu-Tang (36 Chambers), the group’s first project would release in 1993 following the immense success of the single “Protect Ya Neck”, highlighting the immense talents he and the rest of the group had in store as one of New York’s rising talents.
His solo career came to fruition in 1995, as Return to the 36 Chambers: The Dirty Version, would drop on March 28, 1995, chock full of hits symbolizing the city of New York and more specifically his time in Brooklyn. With only Method Man’s solo effort coming out before his, the music industry was able to get its first glance into Ol’ Dirty Bastard’s career outside the infamous group.
Album cover for Return to the 36 Chambers: The Dirty Version by Ol’ Dirty Bastard (Photo via SoundCloud)
With Return to the 36 Chambers: The Dirty Version would come one of the rapper’s best performances, an ode to his city and former group through a song known as “Brooklyn Zoo,” as the hidden messages throughout go deeper into his life growing up in Brooklyn and his affiliation with other artists growing up.
Brooklyn’s Finest
Produced by himself and True Master, the track “Brooklyn Zoo” shot to the top of his discography following its release a month prior to his solo debut. This serves as the first real taste of Ol’ Dirty Bastard’s journey outside of the group and would end up being his highest-charting single released, peaking at 54 on the Billboard Hot 100 and spending 16 weeks on the chart.
Accompanying the track are two separate music videos. The most popular one, which features Wu-Tang members throughout the video, sees ODB loitering around an empty apartment building, most likely abandoned, chanting the malicious words of the track.
A second release, a short film with subtitles, came out with more of a storyline, with the rapper portraying a man completing his prison sentence and transitioning through his life returning home to gang violence. A majority of networks denied air of the film due to its explicit subject matter, but is known as the “Chinatown Version” with much of the film taking place in that section of NYC.
The music video for “Brooklyn Zoo”
Considered a hip-hop classic, the single goes deep into the “one-man army” that Ol’ Dirty Bastard calls himself, diving into his life growing up in the streets of Brooklyn as well, directly calling the region a zoo. The song’s many hidden meanings behind the title leave countless interpretations of ODB’s wordplay and past experiences.
“Shame on you, when you step through to the Ol’ Dirty Bastard, straight from the Brooklyn Zoo”
Other than its references to Brooklyn’s actual zoo in Prospect Park and the streets he grew up in, the track also mentions the second hip-hop group ODB was additionally a part of, Brooklyn Zu. Having an affiliation with the Wu-Tang Clan, Brooklyn Zu includes some of Ol’ Dirty Bastard’s closest colleagues 12 O’Clock, the rapper’s cousin, Buddha Monk, Raison the Zu Keeper, and others.
Since the group’s formation around the same time as Wu-Tang Clan, many of the members have been featured on ODB’s Return to the 36 Chambers: The Dirty Version, also releasing their own project Chamber #9, Verse 32 in 2008.
“Brooklyn Zoo” (Chinatown Version)
Dissecting the streets of Brooklyn for his listeners, the aggressive track truly encapsulates the one-of-a-kind style of rap/lyricism that ODB brings to the table. The countless New York interpretations behind the name of the track leave fans and avid rap listeners room to experience Ol’ Dirty Bastard’s work.
“Brooklyn Zoo” Lyrics
Shit Word, I’ll bust that n***a ass right now Ain’t no, none of them n***as can’t fuck with me What? N***a, you could never fuck with me, my n***a I’ll fuck you up right now, what? What? What? (Fuck you n***as) Bust your motherfucking ass, boy I ain’t no motherfucking joke You know who you talking to? (Yo, word up, bust that n***a ass, word up) Ol’ Dirty Bastard, you know what I’m sayin’? I’ll fuck you up right now Yeah, what? What? What? (Serve that n***a, yo) He ain’t sayin’ nothin’, fuck him (he ain’t sayin’ nothin’, fuck him)
I’m the one-man army, Ason I never been tooken out, I keep MC’s looking out I drop science like Cosby dropping babies Enough to make a n***a go crazy In the G building, taking all types of medicines Your ass thought you were better than Ason, I keep planets in orbit While I be coming with deeper and more shit Enough to make you break and shake your ass As I create rhymes good as a Tastycake makes This style, I’m mastered in N***as catching headaches, what? What? You need Aspirin? This type of pain you couldn’t even kill with Midol Fuck around, get sprayed with Lysol In your face like a can of mace, baby Is it burning? Well, fuck it, now you’re learning How I don’t even like your motherfucking profile Give me my fucking shit, ch-ch-blaow Not seen and heard, no one knows You forget n***as be quiet as kept Now you know nothing Before you knew a whole fucking lot Your ass don’t wanna get shot (shot) A lot of MC’s came to my showdown And watched me put your fucking ass low down As you can go, below zero Without a doubt I never been tooken out By a n***a, who couldn’t figure Yo, by a n***a, who couldn’t figure Yo, by a n***a, who couldn’t figure (Brooklyn Zoo) How to pull a fucking gun trigger I said, “Get the fuck outta here” N***a wanna get too close, do the utmost But I got stacks that’ll attack any wack host Introducing, yo, fuck that n***a’s name My Hip Hop drops on your head like rain And when it rains it pours, ’cause my rhymes hardcore That’s why I give you more of the raw Talent that I got will riz-ock the spot Mc’s I’ll be burning, burning hot Whoa-hoa-hoa, let me, like, slow up with the flow If I move too quick, oh, you just won’t know I’m homicidal when you enter the target N***a get up, act like a pig trying to hog shit So I take yo’ ass out quick The mics, I’ve had it my n***a, you can suck my dick (dick) If you wanna step to my motherfucking rep Ch-ch-bloaw-blaow-blaow, blown to death You got shot ’cause you knock, knock, knock “Who’s there?” Another motherfucking hard rock Slacking on your macking ’cause raw’s what you lack You wanna react? Bring it on back (back)
Shame on you, when you step through to The Ol’ Dirty Bastard, Brooklyn Zoo Shame on you, when you step through to The Ol’ Dirty Bastard, Brooklyn Zoo Brooklyn Zoo (what?) Shame on you, when you step through to (my n***a) The Ol’ Dirty Bastard, Brooklyn Zoo Shame on you, when you step through to The Ol’ Dirty Bastard, Brooklyn Zoo Shame on you, when you step through to The Ol’ Dirty Bastard, Brooklyn Zoo
What? My n***a Shame on you Shame- Shame on you when you step through to Shame on, shame on, shame on you when you step through to Shame on you when you step through to The Ol’ Dirty Bastard, Brooklyn Zoo Shame on you when you step through to The Ol’ Dirty Bastard, Brooklyn Zoo What? My n***a
This may well be the final go-round for The Fugs, the satirical and politically-charged group of musical anarchists founded way back in 1964 in the East Village by poets Ed Sanders and Tuli Kupferberg and drummer Ken Weaver.
For those not in the know, The Fugs were probably the furthest edge of the counterculture musical spectrum. They were a whip-smart, motely group known for their comical, and often lewd, noise rock lullaby/sendups of America’s hypocritical political and corporate structures, and their singularly vehement protests of the Vietnam War, something expressed in tunes like “Kill for Peace.” An FBI memo on The Doors labeled The Fugs “the most vulgar thing the human mind could possibly conceive.” Actually, they were, and continue to be at heart, a goodtime band whose messages are contained in hooky singalong-worthy works. In concert, these are delivered with the kind of slapstick comic timing that can warm and thoroughly engage even the chilliest audience.
With the release of their latest and reportedly final album Dancing in the Universe, The Fugs have reunited for a short series of what may be their final shows, at NYC’s City Winery and Woodstock’s legendary Byrdcliffe, America’s first art colony.
Today, the group is led by its last original member, Ed Sanders. Sanders is an insanely productive writer acclaimed for his many volumes of poetry, historical works and fiction like my own favorite, the five-volume Tales of Beatnik Glory. He may be best known to the general public for his 1971 best-seller, The Family, the consummate work on Charles Manson and the Tate-LaBianca murders.
On Friday, August 18, 84-year-old Sanders led The Fugs through a spirited two-set, 27 song performance at the rustic barn at Byrdcliffe in Woodstock, where the poet has lived since the mid-1970s.
The Fugs of today are far more polished than the 1960s edition. A lot of the credit for this goes to Scott Petito, the group’s bassist who has also served as their recording engineer and producer since the group reformed, after a 15-year hiatus, in 1984. The ensemble was completed by guitarist/singer Steven Taylor, an ethnomusicologist and longtime accompanist to poet Alan Ginsburg, and drummer/singer Coby Batty.
The group kicked off their first set with a blast of East Village past, “Slum Goddess.” This is a Ken Weaver-penned ode to a saucy and sexual free girl of the L.E.S. past, one whose “skirt is not much wider than her garrison belt.” This was followed by one their best-known offerings, “CIA Man,” a Kupferberg tune Sanders observed was “as true in 2023 as it was in the 1960s.” Sanders the poet came to the fore with a solo recitation of his nihilist opus, “Nothing.” Taylor performed a solo rendition of one of the standout tracks on this latest album, “God Bless Johnny Cash.” The set also included two new songs from their recent album produced from cassette demos recorded with Kupferberg before his death in 2010, the wonderful “I Want to Be Healed” and “Where Have All the Commies Gone?” The Fugs’ “R&R Hall of Fame” is a humorous response to Jann Wenner’s stance of forever barring the band for consideration in Cleveland’s fame rock hall.
The Fugs of today are far more musically adept than their original editions, especially as it relates to vocal harmony. Their unique three-part harmony swaddled the second set tracks, “Swinburne Stomp” and “Ah, Sunflower.” The thought-provoking “End Times” was an Ed Sanders’ tune inspired by a voice mail message about depression by another Woodstock songwriting legend Tom Pacheco, one where Taylor’s vocals gave off a Lou Reed vibe. In the introduction to the psychedelic “The Garden is Open,” Sanders told how it was The Fugs who gave Jimi Hendrix one of the two prototype wah-wah pedals they were gifted, a few days before he headed off to London and stardom. Sanders used it to make a rare positive commentary about America: “No country that can invent the wah-wah pedal can be all bad.”
Agreed, Mr. Sanders.
The Fugs continued to dig deep into their beefy discography with the 1966 single, “Frenzy,” and an update on Tuli’s anti-war classic, “Kill for Peace.” Another Kupferberg original from the newest disc, the melodic “Protest and Survive,” struck a blow for optimism in the face of our world’s problems, while “Crystal Liaison” was the perfect parody of the psychedelic “hogwash” of the 1960s, with lines like “In the great bowling alley of your mind, I am your Pin Boy.”
As for all the hoopla of this being The Fugs final spin on disc and in concert, it’s not very certain according to producer Petito. “It seemed like every album since their 1984 was going to be the last,” laughs Petito. And from the sharpness of his mind and humor and his energy, one can imagine the godly productive Sanders rounding up the troops for another round of musical blows against the empire in the not-too-distant future.
Rock outfit Dogstar have announced that they will be stopping in Brooklyn as part of the tour for their upcoming album Somewhere Between the Power Lines and Palm Trees, the group’s first project in over 20 years. Dogstar is made up of Bret Domrose (guitar/vocals), Robert Mailhouse (drums), and notably, Keanu Reeves (bass). The band is set to perform at the Music Hall of Williamsburg on December 11.
Founded in Los Angeles during the 90s, the group started to formulate their alt-rock sound with garage jam sessions. In 1994 Dogstar would depart on an extensive tour and a year later the collective opened for David Bowie. The band released just two albums together, Our Little Visionary in 1996 and Happy Ending in 2000. Due to the members’ other professional and artistic commitments, the group grew apart, last performing in 2002. However, Dogstar returned this year with the single “Everything Turns Around” off their upcoming album.
We are so excited to re-introduce Dogstar with our new single ‘Everything Turns Around.’ It feels like a fun summer song to us.
In addition to “Everything Turns Around” the group recently released “Breach” off of Somewhere Between the Power Lines and Palm Trees. Made for the summer, both of the albums’ singles channel the Southern California energy that the band has become synonymous with. Somewhere Between the Power Lines and Palm Trees is slated to drop on October 6.
Dogstar’s upcoming tour includes over 25 dates and stretches from each coast of the United States. The tour started on August 10 and runs until December 21. In addition to their American performances, the group also has three shows scheduled in Japan. Click here for tickets and more information.
Dogstar Tour Dates
8-22 Napa, CA – Uptown Theatre
8-23 Menlo Park, CA – The Guild Theatre
8-24 San Luis Obispo, CA – Fremont Theater
8-26 Ventura, CA – Ventura Music Hall
8-27 Solana Beach, CA – Belly Up
8-28 Santa Ana, CA – The Observatory
9-05 Osaka, Japan – Zepp Namba
9-06 Yokohama, Japan – KT Zepp
9-07 Yokohama, Japan – KT Zepp
11-30 Los Angeles, CA – Troubadour
12-03 San Francisco, CA – The Great American Music Hall
Godsmack, the hard rock band from Lawrence, MA, will close out their Fall Tour in Glens Falls, with a show at Cool Insuring Arena. The additional tour dates are in support of their eighth studio album Lighting Up The Sky.
The band will kick off their headlining fall tour on September 3 in Baton Rouge, LA, with stops in Tampa, FL, Salt Lake City, UT, Calgary, AB, Quebec City, QC and Glens Falls.
For over 20 years, Godsmack has had chart-topping success, cementing themselves as 21st-century hard rock titans. With 11 #1 singles on mainstream rock radio, they have achieved 20 Top 10 hard rock hits, the most of any act since February 1999. They’ve also enjoyed four Grammy nominations and were named Billboard Music Award’s Rock Artist of the Year in 2001. Godsmack is Sully Erna (vocals, guitar), Tony Rombola (guitar), Robbie Merrill (bass), and Shannon Larkin (drums).
The tour stops in Glens Falls, NY at Cool Insuring Arena on October 24. Tickets will be available starting with an Artist presale beginning Wednesday, August 23 at 10am local time. Additional pre-sales will run throughout the week ahead of the general on-sale starting Friday, August 25th at 10am local time at godsmack.com.
GODSMACK HEADLINING FALL TOUR DATES 9/3 Baton Rouge, LA Raising Cane’s River Center^
Friday, August 18th was a chilly summer evening. Seneca Niagara Casino in Niagara Falls transformed into a haven of country music enchantment as the iconic Brad Paisley took the stage.
Despite the uncharacteristically cold breeze that swept through the outdoor venue, Paisley’s fiery performance warmed the hearts of all in attendance. The atmosphere crackled with anticipation as the clock struck 8pm. The night unfurled with a symphony of soul-stirring melodies that echoed against the backdrop of the cascading falls.
Paisley, a virtuoso of the six-string, began his sonic journey with the precision and charisma that have cemented his status as a true guitar maestro. The strings of his guitar seemed to sing in harmony with his soul, transcending the chill in the air and enveloping the audience in a cocoon of musical warmth. With each strum, Paisley painted vibrant stories of life, love, and heartache, showcasing his prowess as both a gifted lyricist and an instrumental virtuoso.
A true highlight of the evening came when Paisley honored the valiant members of the military. In a poignant display of gratitude, he invited these heroes onto the stage, creating an atmosphere of unity and reverence. As he strummed the opening chords of a poignant ballad, the stage became a canvas of emotions, painting a vivid picture of resilience and sacrifice. The crowd stood united in heartfelt applause, their spirits lifted by the power of music to transcend barriers and celebrate the human spirit.
Throughout the evening, Paisley effortlessly navigated his extensive repertoire, treating fans to a spellbinding 23-song setlist that spanned the breadth of his illustrious career. From chart-topping hits that had the crowd swaying in unison, to soulful ballads that hushed the venue to a reverent silence, Paisley has the ability to wield his guitar as an extension of his very soul.
As the night unfurled its final moments, and Paisley bid his farewells under the moonlit sky, the air was filled with a sense of fulfillment and satisfaction. Despite the nip in the air, the crowd left the venue with spirits soaring and hearts aglow, having experienced a musical journey that transcended the ordinary.
Brad Paisley’s performance at the Seneca Niagara Casino was a masterclass in musical finesse and a heartfelt homage to those who serve. With his deft guitar work and emotive storytelling, Paisley took a cold and windy night and turned it into a warm tapestry of sonic artistry. As the echoes of his final chords faded into the night, it was clear that this evening would be etched into the memories of all fortunate enough to bear witness to his musical magic.
Residents of Binghamton’s West Side neighborhood are mowing their lawns and moistening their reeds in anticipation of Binghamton Porchfest 2023, back for an eighth year next Sunday, August 27, from noon to 7 p.m.
Porchfest invites thousands of community members each summer for a free afternoon of live music performed from the residential porches, stoops, and yards of the Abel Bennett Historic Tract. The 2023 festival features 162 local and regional bands performing at 63 host locations, showcasing folk music alongside hip-hop, worship music next door to heavy metal, high schoolers covering Lou Reed, retirees singing Beyonce, classical, jazz, opera, country, and punk.
Food vendors and restroom locations dot the neighborhood and a free shuttle traverses the perimeter of the roughly quarter square mile festival footprint, defined by the rough borders of Riverside Drive, Chestnut Street, Recreation Park, and Beethoven Street. Most roads will be closed to traffic, with free golf cart shuttles offering rides where traffic is prohibited. Lourdes Hospital is offering free parking in their back lot at the end of Lourdes Road. Cans collected during the festival will benefit fundraising efforts for the Danielle House.
Like the many other Porchfests operating independently throughout the country, Binghamton Porchfest is modeled after a DIY community festival hosted by the residents of Ithaca since 2007.
Binghamton Porchfest 2023 comes to life with the support of the City of Binghamton and Mayor Jared Kraham, Cavanaugh’s Grocery, Visions FederalCredit Union, and the generosity of many community sponsors and donors. This event is made possible with public funds from the Statewide Community Regrants Program, a regrant program of the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, and administered by The Earlville Opera House. Additional support for the Broome SCR Program graciously provided by the Stewart W. and Willma C. Hoyt Foundation, Inc.
It was a big night for rock fans in Syracuse on Wednesday, August 16th, as The Goo Goo Dolls brought their Big Night Out Tour to Lakeview Amphitheater. O.A.R. opened the show.
It’s been a long road for The Goo Goo Dolls. The Buffalo natives formed in 1986 and have maintained their core two members, John Rzeznik (vocals, guitar) and Robby Takac (vocals, bass guitar) since day one. They are now joined by Craig Macintyre, who took over drumming duty in 2014. Along the way, the band have released 14 studio albums and have an impressive 19 top-ten singles. The band saw their popularity explode in 1997 with the release of “Iris,” which was included on the City of Angels soundtrack. The song spent an impressive 18 weeks on the Billboard Hot 100 airplay charts.
The evening kicked off with a set by Maryland rockers, O.A.R. The amphitheater was already well on its way towards full when O.A.R. took the stage at 7:15pm. The band launched in to “Love and Memories,” off their 2005 release Stories of a Stranger, which brought those in attendance quickly to their feet. It was clear early on that many in attendance were passionate followers of the band, as many made their way to the front of the amphitheater to sing and dance along. The band wasted no time playing their familiar hit “Shattered” early on in the set. The band would close out their set with the ever popular “Crazy Game of Poker” which saw the front pit section jump up and down and throw playing cards in the air.
After a lengthy stage change over, the Goo Goo Dolls took to the stage at 9:10. The band took no time breaking out the hits, opening with the high energy “Broadway” off 1998’s Dizzy Up the Girl. It was the perfect upbeat opener, and quickly it was clear the band was excited to be there. Rzeznik and Takac bounced from one end of the stage to the other, with smiles fixated across their faces.
Early in the set, Rzeznik paused to thank the fans of his band who have been there since day one, as well as to pay homage to legendary Syracuse rock club, The Lost Horizon. “I remember coming here in 1986 and playing at the Lost Horizon, and just being amazed that anyone actually came to see us.”
The remainder of the 25 song set saw the Goo Goo Dolls perform their various classics and fan favorites, like “Slide,” “Here is Gone,” “Black Balloon” (which saw fans toss black balloons in the air) along side newer hits like 2023’s “Run All Night” and “Yeah, I Like You.” Along the way Rzeznik took multiple opportunities to thank the crowd and convey his appreciation, proclaiming “I can’t believe I still get to do this, and I want to thank you guys…” before performing one of the band’s earliest hits, “Name.” As the evening neared a close Rzeznik introduced the second to last track as “One you all will know” before playing a cover of Tom Petty’s “I Won’t Back Down,” a track the Goo Goo Dolls and O.A.R. recently teamed up to record in the studio. The band would then close the evening with their 1997 smash hit, “Iris”, much to the crowd’s appreciation. It truly was a big night out for rock fans.
