The Soul Rebels are set to perform for four nights at the Blue Note Jazz Club from Sept. 21 through Sept. 24. The group will also be accompanied by a slew of special guests including Rakim & Big Daddy Kane. Comedian Tony Woods, New York icon Ja Rule, and rapper G-Eazy are all scheduled to host a different night.
A product of New Orleans’ rich musical history, The Soul Rebels is an eight-piece brass ensemble. The band has long been admired for its ability to fuse together elements of jazz, soul, hip-hop, pop, and rock. An artistic Swiss Army knife, The Soul Rebels have performed with the likes of Nas, Rakim, Katy Perry, Portugal. The Man, and even Metallica.
The eight-member collective has appeared on multiple major releases including G-Eazy’s “When You’re Gone” ft. Lil Wayne and Dave East and Nas’ “Godfather 4.” The ensemble’s 2019 album Poetry in Motion impressed listeners and spawned appearances on The Late Show and NPR’s Tiny Desk.
Performing a Blue Note Jazz Club residency is the holy grail of artistic experiences for our band. This opportunity brings together our favorite artists including our long-time friends and collaborators Rakim and G-Eazy and marks our debut performances with Big Daddy Kane and Ja Rule. This Blue Note engagement is truly monumental within our career and in culture. We are going big this year for the 50th anniversary of hip hop.
Drummer and co-founder, Lumar Leblanc.
The Blue Note Jazz Club continues to attract artists from a multitude of musical backgrounds. A Manhattan staple, the institution has been up and running since 1981. The Soul Rebels will be joined onstage by an all-star cast of jazz musicians. Louis Cato, Ray Angry, Elena Pinderhughes, and James Carter are all scheduled to be part of the band’s four-night run of performances.
Blue Note owns and operates New York’s Blue Note Jazz Club, Sony Hall, and Arthur’s Tavern; D.C.’s The Howard Theatre; and Blue Note Jazz Clubs Worldwide, which includes venues in Milan, Italy; Honolulu, HI; Beijing and Shanghai, China; Tokyo and Nagoya, Japan; Napa, CA; and Rio de Janeiro and São Paulo, Brazil.
Here for tickets and more information about the performances.
Boston Flowers has just released their latest single “Man On Mars” as well as an upbeat and colorful music video to go with it. The release comes just a month ahead of the band’s newest album Mondegreen, set to be released to audiences on Sept. 13.
Boston Flowers is made up of members Brad Flowers, who leads on vocals, lead guitar, rhythm guitar, and bass guitar, along with CJ Kostaras who keeps the music together on the drums. The Brooklyn-based musical group is known for their unique, seamless blend of indie, alternative, and pop-rock sounds. Drawing influences from a diverse range of musical styles, the duo has captivated audiences with their infectious lyrics and energetic performances, earning them critical acclaim along with the honor of being one of Brooklyn’s most exciting up-and-coming acts.
Their new single, “Man On Mars,” is a track of pure upbeat intoxication, encouraging listeners to treat every second of life with utmost value and to treat each day with a sense of community. The sound itself, with layered guitars, consistent drums, and strong vocals, exudes happy energy making it fit in perfectly with the alternative pop-rock community. Although it may not stand out strongly against similar releases in the genre, it is fun and captivating none the less, allowing listeners to jam out and let loose.
With the song in mind, Flowers shares, “Being in a busy city (like New York City) and working in a workplace with multiple moving parts, ‘Man On Mars’ touches on the interpersonal connections we must find to make it through each day, and growing a temporary armor to keep the bad away.”
The track comes from their upcoming album Mondegreen, which the band will celebrate and share with a special show at Arlene’s Grocery in the cityon Sept.r 13. Until then, enjoy the new single out everywhere!
The Lake George Arts Project is set to present a Courthouse Gallery exhibition titled “Jazz at the Lake: A Graphic Design Retrospective” in honor of the community’s annual event “Jazz at the Lake.” The display will be open to viewers for an entire month beginning on Aug. 23 and ending on Sept. 23.
Jazz at the Lake is an annual event held by Lake George’s Art Project that brings some of the most incredible talent in jazz right to Shepard Park. The weekend has been a staple of Lake George’s community for over forty years, striving to bring unity and culture to the New York town. This year, the jazz performances will be held from Sept. 15-17.
In anticipation of the arrival of the musicians and as a way to honor the legacy of “Jazz at the Lake,” the Lake George Arts Project will showcase the evolution of the imagery that has complemented the weekend since 2009. The design firm, Gruskin Creative, which has provided ample support and visuals for the jazz extravaganza for the past fifteen years has created beautiful images that layer the picturesqueness of Lake George with a visual representation of the mood of jazz. “Jazz at the Lake: A Graphic Design Retrospective” will also honor the vision of Paul Pines, Jazz at the Lake founder and artistic director from 1984 until 2018.
A Gallery Reception for the exhibit will also be held on Thursday, Sept. 14, from 7:00 PM to 9:00 PM to kick off the weekend!
On the summer evening of Tuesday, Aug. 15, Shakey Graves pulled a crowd of friends, strangers, and lovers to the rooftop of New York City’s Pier 17. On their “Movie Of The Week Tour,” Shakey Graves is celebrating the release of their newest EP, Big In The World. New York City was lucky enough to be a stop on Shakey Graves’s map, for the performance was unlike anything else the rooftop has seen before. As the unique sunset of pearly pink tufts and layers of soft yellow fortified, the perfect evening settled and waited for the show to begin.
Photograph by Emma Dowd.
Lucius, the opener, put on a riveting show of their own. The Brooklyn-born indie-pop band successfully combined the subgenre of alt-pop with disco tech, which called for a dancey audience. The crowd sang along with the instruction of lead singers, Jess Wolfe and Holly Laessig. Their matching hot pink blazers couldn’t be missed, neither could their impressive lyricism and captivating stage presence.
The duo left the stage, while the band held the set with an instrumental serenade. After a brief interlude, Wolfe and Laessig returned in disco-tile mini dresses. They made their way to the center of the audience, and the entire venue took a seat to listen and admire. At the center of gracious applause, Lucius closed out their performance.
Photograph by Emma Dowd.
In between Lucius’s and Shakey Graves’s set, the rooftop filled up with fans. A vital cooling August breeze rolled off the East River and sewed its way between the bodies of the crowd. With the wind came a threatening sheet of gray clouds holding in their bellies of rain, but the crowd stood unwavering, true to Pier 17’s rain-or-shine nature. Thankfully the weather prevailed, and the night remained nothing short of perfect.
As the sun finally set vocalist of Shakey Graves, Alejandro Rose-Garcia, made his way onto stage dressed in all black, from his cowboy hat down to his boots. It was just him on the stage for the first two songs. During that time he introduced himself with his guitar and established his tuneful and guttural vocals. He spoke about the theme of his show before singing his song “Late July,” saying “The running theme of tonight’s music is that time flies by.” In New York City fashion, time whirred around and above the audience, across the Brooklyn Bridge, and in the flickering seconds of the downtown skyline. Though, time moved slowly on the rooftop, for the audience swallowed every guitar strum and studied the lyrics like a hymn.
Photograph by Emma Dowd.
The rest of his six man-band joined him for the third song of the set. Cameron Neal, Patrick O’Connor, and Taylor Craft owned the strings. Matt Pence conducted the versatile percussion, and Dancey Jenkins commanded the keys. The sound was immediately elevated, and the smokey influences of blues, folk, country, and psychedelic rock could be heard clearly and with intent.
Photograph by Emma Dowd.
The music became something tangible through the physical effect it had on the audience. It became elusive as it settled as personal emotion in everyone’s gut. Pockets of people danced barefoot on the concrete, piling up their shoes, tossing their bags, and stomping on the rooftop. There was something about Shakey Graves’ music that was so raw, so human, that it elicited movement. Music can do that, it makes the body want to feel the ground connect with its soles, meet skin with every beat, and allow the passage of the body to really feel the relationship between sound and soul.
Photograph by Emma Dowd.Photograph by Emma Dowd.
The band paused their performance for Rose-Garcia to make a toast. “I want to congratulate all of you on making it through some crazy shit… I have a lot of things I love that I need to be more grateful for, family and friends… to you and yours, may you live forever. Cheers.” A roar of gratitude washed from the crowd onto Shakey Graves. Audience members embraced each other and smiled endearingly at their best friends and lovers, daughters and sons, mothers and fathers. Bodies held each other a bit tighter, and stood a bit closer, as the rest of the show unfolded.
Photograph by Emma Dowd.
Shakey Graves’s music spotlights the romance, the pain, the peace, that comes with falling in and out of love with people, places, and moments in time. It’s the moments of transition, realization, and reckoning that live in their lyrics. People sang their songs like they would solidify a promise, so faithful and sure. The rest of the evening consisted of songs of old and new. Rose-Garcia spoke on his relationship with New York City, one he created when he was young and “flat broke,” which landed relatable to the crowd of New Yorkers. He told the birth story of his hit single, “Tomorrow” (released in 2016), and how he wrote it during his time in the city.
The band left the stage, but the crowd remained in hungry anticipation of an encore. Sure enough, the band met the audience’s needs and returned to the stage for a branding final performance. People towards the spacious back end of the crowd let loose, dancing with their entire bodies and singing with their hands clasped to their chests. The band expressed their gratitude once more, and Rose-Garcia introduced his band members. When it came time for Shakey Graves to leave and the lights to turn on, everyone remembered it was a Tuesday night. Time sure had flown by, just as the band promised it would.
Ahead of their new album, Ghost of Vroom 3 releasing on Sept. 1, 2023, critically-acclaimed band Ghost of Vroom has announced its dates for the group’s North American Tour. From Nov. 3 to Nov.19, including three stops in New York, the band will play past hits and new singles from the forthcoming project.
Comprised of singer-songwriter Mike Doughty, bassist Andrew “Scrap” Livingston, and drummer Madden Klass, Ghost of Vroom’s newest album will additionally include producer Mark Caldato Jr.
Having previously worked with acts such as the Beastie Boys and Jack Johnson, Caldato’s talent brings a wide variety of positive expectations heading into the project’s release.
First known for his solo work and as the lead singer for Soul Coughing, Doughty’s experience with the band did not start until 2020, making their official debut with 2020’s GHOST OF VROOM 2 EP.
Highlighted by the hit single, “Rona Pollona,” the group’s debut piece attracted the attention of the industry, including Rolling Stone, who applauds the “laid back groove of shuffling drums, twisting guitar and lazy cello strokes” on the song.
Ghost of Vroom 2 album cover
Known to deliver a unique, funky sound, much of this can be heard through their most recent track “Pay The Man,” the lead single ahead of September’s release. Arriving via Mod y Vi Records on Friday, Sept. 1, pre-orders are available now for the second album in Ghost of Vroom’s catalog.
Tour Dates & Ticket Information
The North American tour dates begin Nov. 3 and travels through mid-November, making three stops in New York (New York City, Rochester, and Albany).
All general on-sale tickets for the announced dates will be available Friday, August 18 at 12:00 pm est. For full details and ticket information, you can also visit www.ghostofvroom.com.
November –
3 – Iowa City, IA – Gabe’s
4 – Minneapolis, MN– Fine Line Music Cafe
5 – Madison, WI – Majestic Theatre
7 – Chicago, IL – Lincoln Hall
8 – Detroit, MI – El Club
10 – Toronto, ON – Longboat Hall at Great Hall
11 – Cleveland, OH – Beachland Ballroom
12 – Rochester, NY – Flour City Station
14 – Boston, MA – Brighton Music Hall
15 – Amherst, MA – The Drake
17 – New York, NY – Bowery Ballroom
18 – Albany, NY – Lark Hall
19 – Philadelphia, PA – The Foundry at the Fillmore
The Catskill Mountain Jubilee was a blast this past weekend, held from August 10 to August 12 at Upstate New York’s Blackthorne Resort in East Durham. Friday night featured two sets from The Disco Biscuits, Dogs in A Pile, Space Bacon, a solo set by Mihali from Twiddle, and Legion of Melvin with Karl Denson, amongst a slew of other talented artists. Blackthorne Resort offered an ideal setting for the festival, with cabins, a public pool, and many comfortable amenities.
Friday proved to be sunny and hot at first. Bands at the main stage like Beg, Steal, or Borrow and Melvin Seals had to play in direct sunlight, yet still managed to deliver rocking sets. Space Bacon and Dogs In a Pile were at the Hangar Stage which proved to be more shaded, but also more dusty.
Mihali played some interesting originals, a take on “Best Feeling” by Keller Williams, and even a “Free Bird” cover. Dogs in a Pile played an energetic set full of originals, a “Hell in a Bucket” cover, and even a Led Zeppelin cover as their encore. Catskill Mountain Jubilee raged late into the night with two thumping Disco Biscuits sets followed by a variety of late night music.
The Troy Savings Bank Music Hall will unveil a brand new event, Kaleidescape: A Sonic Journey, on October 14. The event will feature over 15 artists and is set to be a musical experience unlike anything the venue has ever hosted before. The venue has commissioned seven artists to create an original piece of work that will debut at Kaleidescape.
Originally part of a historic bank, the Music Hall has become an artistic staple in Troy and the surrounding area. The Music Hall will serve as the central artistic inspiration for the new pieces of music . The mission of Kaleidescape is to celebrate the local musicians and fans who have helped to support Troy Savings Bank Music Hall.
Curated by Organ Colossal, Kaleidoscope will feature performances from Buggy Jive, Sara Ayers, Ohzhe, Zan and the Winter Folk, Sam Torres, and composer Patrick Burke. The event will also include multiple special guests like Julia Alsarraf and Girl Blue.
Kaleidescape will continue the venue’s mission of keeping music open and accessible. To ensure that cost is not a barrier, the organization has announced that there will be a limited number of free tickets. The Troy Redevelopment Foundation is sponsoring the Community Ticket Bank. To inquire or reserve these tickets contact Troy Savings Bank Music Hall by email, by phone at (518) 273-0038, or by visiting the box office.
Click here for a full list of performers, and visit here for paid tickets and more information.
The Dirty Pennies have just released their newest single titled “Head Open” for all to hear and enjoy. Alongside the fresh release comes exciting news of the Rochester band’s upcoming performances on New York stages including multiple appearances at the Bug Jar!
The rock band, originally formed back in 2012 by Ryan Klem and Lucas Howe, has evolved exponentially from a blues-rock duo into a garage rock band with the help of former bassist Joe Mungo. Today, especially taking into consideration their new release, The Dirty Pennies continue to take a step closer to exploring the realm of psychedelia with the help of recent additions: bassist Sean Doohan and keyboardist Doug Kelley.
From the beginning of “Head Open,” with its looping guitar melody and the heavy use of a synth, it is evident that the band has not simply crossed the line into the open space of psychedelia but has jumped right into a new sound. The voices layered throughout the single support this energy as the echoed vocals seem far away yet everywhere all at once as they repeat, “Head open wide, empty space.” After the lead stanzas of introspection, the voices are cut out, giving way to an epic concoction of complicated instrumentals.
To support their new single, The Dirty Pennies are set to perform at Rochester’s infamous Bug Jar on Aug. 25, a venue that is special to their hearts as it won’t be their first time rocking the stage. “Head Open” is now available to rock out to on Spotify, YouTube, and various other streaming services.
Upcoming Performances
August 25 – Bug Jar w/ Ace of Wands & Bad Bloom
September 9 – Cafe Nine w/ Pinkhouse / The Problem with Kids today / VVBES
September 16 – West Almond Stomp Festival
Upcoming Tour Dates
October 19 – The Song and Dance w/ Trauma Cat & Dead Wolf
Colin Barkell and his band King Vaudeville are set to perform two concerts at the Little York Pavilion in Preble on Sept. 6 and 14. Todd Meredith and special guest Kyle Lacy are also scheduled to appear. The shows are part of Cortland Repertory Theatre’s (CRT) 51st summer of programming at the venue.
Since appearing at CRT in 2019, Colin Barkell has gone on to make his Broadway debut and form the group King Vaudeville. His performance will feature impassioned covers of classic Johnny Cash, Elvis, and Chuck Berry tunes. Barkell will also mix in some of his original music, which reflects his upbeat personality.
Todd Meredith is no stranger to CRT either, appearing in Buddy! The Buddy Holly Story back in 2013. The Albany artist also performed in Ring of Fire: The Music of Johnny Cash and Million Dollar Quartet. Meredith and guest guitarist Kyle Lacy will perform an acoustic mix of classic and contemporary pop songs. With both musicians being prolific songwriters, the show will also include some of their own work.
Todd Meredith
Dr. James Palmer, associate director of theatre at SUNY Cortland, opened the Cortland Repertory Theatre in 1972. Since then, the organization has only grown, expanding to downtown in 2010. Past CRT performers and volunteers include Academy Award-winner Holly Hunter, Tony-winning director Joe Mantello, and renowned actor Stephen Borgardis.
Tickets for both concerts are available here, at the CRT downtown Box office, or by calling 800-427-6160. Click here for more information about these and upcoming shows and events at CRT Downtown this fall.
As the sky transitioned from a vibrant blue to hues of pink and orange, the scene was set for The Chicks, formerly known as the Dixie Chicks. The trio, consisting of Natalie Maines, Emily Strayer, and Martie Maguire, had captured the hearts of audiences for decades with their harmonious blend of country, folk, and Americana music. This is the first tour under the bands new name.
The Chicks performing at CMAC on August 11, 2023
The mood was elevated as the show’s opener, the venerable Ben Harper, took to the stage. Known for his soulful blend of folk, rock, and blues, Harper’s performance was nothing short of electrifying. His masterful guitar skills and heartfelt lyrics resonated deeply with the audience, setting the tone for an unforgettable evening. Harper’s ability to effortlessly weave together messages of love, unity, and introspection with his dynamic musical talents showcased his status as a true artist.
As the night unfolded, one thing became abundantly clear: The Chicks were not only there to entertain but to connect. Each song was a chapter in a story, an invitation to experience life’s highs and lows, love and heartache, resilience and redemption. The beauty of their music lies in its universality, and that night, it felt like the crowd was singing their own stories through every lyric.
One remarkable aspect of the performance was the synchronization of visual elements with the music. As The Chicks’ harmonies soared, the backdrop came alive with breathtaking visuals that amplified the emotions of each song. From nostalgic montages to evocative animations, the visual journey was a mesmerizing accompaniment to their already stirring music.
The Chicks’ onstage chemistry was undeniable, a testament to the camaraderie they’ve cultivated over their illustrious career. The seamless blend of Natalie Maines’ commanding vocals, Emily Strayer’s masterful guitar work, and Martie Maguire’s virtuosic fiddling created a musical tapestry that captivated every corner of the venue.
In a world where music has the power to transcend, The Chicks’ performance at CMAC was a testament to the enduring magic of live music. Their harmonies echoed in the hearts of 14,000+ overjoyed fans as they danced under the stars, creating an evening of empowerment, connection, and artistry that will resonate for years to come.
Setlist: Gaslighter, Sin Wagon, Texas Man, Julianna Calm Down, Talking The Long Way, My Best Friend’s Weddings, Sleep At Night, Ready To Run, Top Of The World (Patty Griffin Cover), Wide Open Spaces, Tights On My Boat, Daddy Lessons/Long Time Gone, Cowboy Take Me Away, Landslide (Fleetwood Mac Cover), Rainbowland (Miley Cyrus Cover), Don’t Let Me Die In Florida, March March, For Her, Everybody Loves You, White Trash Wedding, Not Ready to Make Nice, Goodbye Earl.
