The final public piece of the reconstruction of the World Trade Center, the Perelman Performing Arts Center (PAC), will be opening in September 2023. Executive Director Khady Kamara and Artistic Director Bill Rauch announced recently that the facility would be opening after 20 years of labor to create a new heart of culture in lower Manhattan.
Perelman Performing Arts Center exterior at day. Credit: Field Condition
The vision for the PAC began almost 20 years ago as a part of the original master plan for reconstructing the World Trade Center during Michael Bloomberg’s time as mayor of NYC. Bloomberg currently acts as the chair for the project. Named after Ronald O. Perelman, a businessman, philanthropist, and benefactor, the building was designed by the architecture firm REX, with many interior spaces being designed by Rockwell Group.
According to a recent article by the New York Times, the building has gone through a lot of changes over its 20-year development. Even without formally changing the name of the building, the institution has switched from calling it “the Perelman” to “the PAC.” Though the namesake of the PAC, Ronald Perelman, has his name on the building, former mayor Bloomberg has now contributed more capital, totaling at $130 million.
Our goal in developing the artistic program is to innovate – providing exciting new ways for artists to create, collaborate, and share their work with a broad public – while representing and celebrating the humanity of our city in all its fullness. Whoever you are, wherever you come from, we want you to be able to find yourself in the PAC and find your connection to everyone else who shares in the work we do.
Artistic Director of PAC Bill Rauch
A defining feature of the building’s façade are the 5,000 panels of bookmatched marble. They allow for light to cast an amber glow into the building in the day and for the building to produce an amber glow at night. The panels were quarried and cut in Portugal, fabricated with glass in France, and assembled into panels in Germany.
Perimeter interior of the PAC, with marble panels visible. Credit: Laurian Ghinitoiu
The interior design is also unique, with three modular stages that can quickly merge or separate depending on the venue’s requirements. Independently, the three stages include: the John E. Zuccotti Theater, which seats up to 450; the Mike Nichols Theater, which seats up to 250; and the Doris Duke Theater, which seats up to 99. Altogether, their capacities range from 99 to 950 people.
A render of a theater in PAC. Credit: REX
The interior of the eight-story structure is divided into three main sections. The “public” level includes the John C. Whitehead Lobby, which features a stage for free performances, a restaurant, a bar, and the Dalio Family Terrace. The “artist” level has the necessary support spaces for artists at the center, whereas the top level, the “play” level has the three theaters and a rehearsal space.
Render of the restaurant on the “public” level. Credit: Rockwell Group
Leading PAC is Executive Director Khady Kamara, who has more than 24 years of theater management experience. Prior to being executive director at PAC, Kamara was executive director for Second Stage in NYC. She would go on to win a Tony Award in 2022 as a member of the leadership team for “Take Me Out.” As a part of her extensive non-profit background, Kamara had a 20-year career with Arena Stage in Washington DC.
Responding to the sanctity of the World Trade Center site and the humanistic aspirations of the PAC’s mission, our design empowers artistic teams to imagine and create a vast range of performances and audience experiences, within a building that addresses its setting with respect and warmth.
Joshua Ramus, founding principal of REX
Bill Rauch acts as PAC’s artistic director, and has worked as a theater director in venues ranging from small community centers to the largest in the country. He has been a part of productions of the Tony Award-winning “All The Way” and its sequel “The Great Society,” as well as directed seven world premieres of plays.
While details for the opening Fall shows have yet to be announced, more information and updates can be found on the PAC’s website.
Marina Laurendi, recognized as a “sad girl on the rise,” returns with a series of rock-centric singles, starting with her latest, “Silver Lining.” The Buffalo-based singer released the single following the success of her debut EP and music video, “Stay Mine.” The indie rock songstress further solidifies her hold as “one to watch” in the alt. world with this dancey, evocative up-tempo.
Buffalo born and bred, Marina Laurendi is an indie pop/rock singer-songwriter. Her sound fuses storytelling, alternative elements, and bursts of cinematic pop. Through this, she evokes a sense of wanderlust, nostalgia, and dreamy idealism. With poetic verses, infectious hooks, and haunting vocals, Marina throws a refreshing twist on old school Alt.
“Silver Lining” grooves with nostalgia, featuring reverberating guitars and subtly nuanced vocals, oozing texture and allure. The elements blend together seamlessly to create the perfect soundtrack for road trip radio jamming, or a sunny day stroll.
Despite the song’s happy melody and dance-worthy beat, but carries a raw, honest message about change. Laurendi says that the song is about going through life-changing events that alter who you are as a person. Written during her father’s terminal battle with cancer, the song depicts being unable to keep up with appearances in the midst of grief and loss.
The music contrasts with the lyrics, with a nostalgic vibe of a 1950’s bandstand—vintage vocals, layered instruments, and a melancholic slide guitar. The song details a romantic relaitonship where one party can always see the silver lining, but the other is in a different place entirely, struggling to feel seen.
Laurendi says of the song, “I think it’s so relatable because at some point we all suffer a loss that alters us, at least for a little while. When you’re in a different place emotionally than yout friends or even your partner, you can drift apart. Sometimes people can’t fathom what you’re going through unless they’ve lived it.” The feeling of being unseen and misunderstood is simply and eloquently summed up in the lines, “You want to paste a smile on my face and act like I’m alright…I can’t dance the way I used to anymore.”
For this single and her upcoming sophomore EP, Laurendi dove headfirst into the alternative rock pocket, lovingly nicknaming her particular genre as “Bitch Rock.” She says, “It’s about embracing all the emotions women are taught not to show – rage, desire, ugliness, all of it. We’re people not flowers,” she laughed. If you’re a fan of the honest songwriting style of Samia, the gritty textures of Angel Olsen, and the effortlessly nostalgic quality of Alvvays and Best Coast, “Silver Lining” is sure to top your summer sad girl playlist.
Marina grew up as a theatre performer and moved to NYC shortly after college to perform Off-Broadway and around the East Coast. She recently performed at The Bitter End (NYC), Buffalo Ironworks, Rec Room, and Nietzsche’s, Whirlybird Music & Arts Festival (Jamestown, NY), and Buffalo’s 20th Annual Music is Art Festival. Her music has been featured on Thunder 102 in Sullivan County, WBFO The Bridge, Broadway World, NYS Music, and more. In 2022, she was a quarter finalist in a national competition to open at the Hollywood Bowl. Her debut EP “Stay Mine” and title track music video are out now on all platforms. Follow Marina Laurendi on social media here and catch her next hometown performance on August 4th at Nietzsche’s in Buffalo.
Binghamton University’s Anderson Center for the Performing Arts announced its 2023-24 season, including performances by Step Afrika!, a Coco Live-to-Film Concert, Lisa Fischer, and more.
The Anderson Center for the Performing Arts is located on the main campus of Binghamton University, in Vestal, NY. The Anderson Center’s multiple theaters are designed to meet the needs of every performing group including soloists, chamber ensembles, symphonies, and more.
Programming at the Anderson Center includes performances by the Binghamton University Departments of Music and Theatre and various student groups, as well as a summer concert series, an international performing arts series and special events for the university community and regional arts lovers.
Step Afrika!: Saturday, Sept. 30 at 7:30 p.m.
Step Afrika! blends percussive dance styles practiced by historically African American fraternities and sororities. This includes traditional Western and Southern African dances and an array of contemporary dance and art forms into a cohesive, compelling artistic experience.
These performances are much more than dance shows. They also integrate songs, storytelling, humor, and audience participation. The blend of technique, agility, and pure energy makes each performance unique and leaves the audience with their hearts pounding.
Coco Live-to-Film Concert: Thursday, Oct. 12 at 6:30 p.m.
AMP presents Disney Pixar’s Coco Live-to-Film Concert on Tour featuring a screening of the complete film. The screening will also be accompanied by Oscar and Grammy-winning composer Michael Giacchino’s musical score performed by the 20-member Orquesta Folclórica Nacional de México.
Ranky Tanky with Very Special Guest Ms. Lisa Fischer: Thursday, Nov. 2 at 7:30 p.m.
This band of native South Carolinians brings the soulful songs of the Gullah culture to life. They mix low country traditions with large doses of jazz, gospel, funk, and R&B. Grammy-winning powerhouse vocalist Ms. Lisa Fischer joins them as a very special guest. Fischer toured for over 25 years with the Rolling Stones and has a standout appearance in the Oscar-winning documentary 20 Feet from Stardom.
Red Hot Chilli Pipers: Friday, Mar. 15 at 7:30 p.m.
After nearly selling out the theater in 2022, the Red Hot Chilli Pipers (that’s pipers, not peppers) return to the Anderson Center in March 2024 to celebrate St. Patrick in foot-stomping Binghamton style.
The Magic of Rob Lake: Wednesday, May 1 at 6:30 p.m.
One of the world’s most celebrated illusionists, Rob Lake’s mind-blowing illusions dazzle and entertain millions across network television, in Times Square, on the Vegas Strip, in Atlantic City, and before sold-out audiences in casinos, arenas, and theatres worldwide. Named “The World’s Greatest Illusionist” by NBC, Lake is also internationally renowned for his mesmerizing and award-winning illusion spectacular.
The 2023 Grey Fox Bluegrass Festival is set to be held from July 12th to the 16th on the Walsh Farm in Oak Hill, NY. The celebration is known to bring together the Who’s Who of Bluegrass, Newgrass, and Roots Music.
Acoustic music lovers from every corner of the US, Canada, and beyond travel to Grey Fox to see and hear Grammy, AMA, CMA, and IBMA award winners, discover new artists, camp, dance, and create a memorable weekend with family, friends, and new acquaintances.
This year, nearly forty bands will perform on the festival’s six stages. The setlist includes everyone from The Infamous Stringdusters and Sam Bush to Sierra Hull and the Newgrass All-Stars. The Jerry Douglas Band will perform Friday with the 14x Grammy winner and Dobro master, Jerry Douglas, who also returns as Artist-in-Residence to sit in with select groups and even contribute to the Bluegrass Academy for Kids. Saturday’s show will culminate with the Late Night All-Star Super Jam directed by fiddler/composer/producer, Darol Anger of Mr. Sun.
Photo by Jay Strausser.
The traditional-style bluegrass band, Dry Branch Fire Squad is the long-time host of the festival led by mandolinist and storyteller, Ron Thomason. They will kick off the festival that Thursday afternoon with their music and tales. Other performers over the course of the days include Bush, Del McCoury Band, Sierra Hull, Keller Williams featuring The HillBenders, Dan Tyminski, Della Mae, Natalie MacMaster and Donnell Leahy, John Cowan and the Newgrass All-Stars.
In addition to its internationally acclaimed roster of music, Grey Fox is particularly proud of introducing hot, new talent to thousands of avid fans. Making their debut at this year’s festival are AJ Lee & Blue Summit, Jake Blount, Henhouse Prowlers, Tray Wellington Band, Chicken Wire Empire, Armchair Boogie, and more. Meanwhile, this year’s official Emerging Artists will include Fog Holler from Oregon, Pictrola from Virginia, and others including graduates of the American Roots Music Program at Berklee College of Music in Boston. Berklee grads will be accompanied by renowned old-time fiddler and Berklee instructor, Bruce Molsky.
In addition to more performers, Festival goers can also get involved in hands-on workshops, join in morning yoga, and meditation as well as enjoy festive and ethnic foods. The venue will also set up a Family Stage for kids to enjoy as well as provide the opportunity to sign up for the 24th annual Bluegrass Academy for Kids.
The weekend in Oak Hill seems to provide something for everyone in which Bluegrass lovers will not want to miss.
Ticket prices for the 2023 Grey Fox Bluegrass Festival range from $90-$300. Kids 12 and under get in for free. Get your tickets and more information here.
On June 9, Alec Betterley released his new LP River Gone, a piece of ethereal and dreamy music that employs each of its instruments excellently. For the most part, the LP feels like a bedtime story, which is fitting given the opening song “Tell Me a Story.” This standard is mixed up throughout the LP, adding some extra variety.
Based in Upstate NY, Alec Betterley is a songwriter, multi-instrumentalist and music therapist who first got his start with a four track recorder all the way back in middle school. He has gone on to be a founding member of the groups My Friend Other, as well as Toys and Tiny Instruments. The LP was produced in a “30 songs in 30 days” project in May 2022.
“River Gone” was written and recorded in the very late/extremely early hours before the kids awoke. A record about parenting, anxiety, insomnia, sweet dreams, golden hour light, violence in America, longtime partnerships and all the sparkle and sorrow in between. The li’l stuff.
Alec Betterley
River Gone opens with “Tell Me a Story,” which features lyrics from Missy Lees. Her vocals, also included in “In City We Swing” and “River Gone,” help bring the LP into the ethereal, dream realm that it often finds itself in. It sets the standard for the rest of “River Gone” with its tone, and is a fitting opening given the vocalists askes for “a song of all of our days.”
Around 3:15 in “Tell Me a Story,” there is a music box-like sound that makes it feel as though the song takes place in a child’s bedroom. It is only there for a few seconds, but it is a nice detail.
The next two songs, “We’ll Never Go To Heaven” and “Anastasia” pick up the pace quite a bit from “Tell Me A Story.” While they do not fit as well as other songs in River Gone, but they are a welcome addition. “Anastasia” in particular is a personal favorite, echoing tunes somewhat similar to Elton John. After the halfway point, the electric guitar (Colin Summers) and the piano do their own version of a call and response, their notes bouncing off of each other and occasionally joining together in a dance-like fashion.
Following these, the LP returns to its dreamy theme for the most part. The next song of note is “Spectators,” which feels like a very personal song with no other part credited in the piece. Betterley’s warm vocals and the soft tunes of an acoustic guitar dominates the song, though some strings near the end begins to elevate the piece back to that ethereal realm. The guitar closes off the song alone, the very slight creaks of wood at the end adding a special charm.
“We Talk About Everything” goes back to the quick pace of “We’ll Never Go To Heaven” and “Anastasia,” but this is done in a slow increase throughout the piece. It rises from more mumbled vocals and few instruments to the upbeat and instrument-filled conclusion.
The titular song, “River Gone” starts with something no other song seems to do, a rise from the last note of the previous song, “Only Me” to the pace and the pitch of “River Gone.” Betterley and Lees perform a beautiful call and response for this song, with Lees’s chorus having nearly every word punctuated by a note from the piano. There’s a notable exception around 2:05 where most of the instruments cut suddenly, letting Lees’s vocals stand out.
The “River Gone” from Alec Betterley is available on Bandcamp and on Spotify. For more information on the artist, be sure to check out his website.
The Binghamton Philharmonic Orchestra has announced its first annual “Bing, Bing, Swing,” event, a live swing orchestra gala that will take place on August 12 at The Binghamton Club.
In addition to the live swing orchestra, complimentary cocktails, non-alcoholic beverages, food options, a live auction, and dance instruction by Vince Brust Dance Studios bring even more excitement to the event.
Regarding the artists, Maestro Daniel Hege will be alongside Boston-based vocalist/jazz musician Amanda Carr for an unforgettable kick-off performance.
Carr began her career in specifically rock and pop, playing in Boston area nightclubs across her teenage years, before eventually shifting to jazz and band shows.
Maestro Daniel Hege has been the music director for the Binghamton Philharmonic Orchestra since 2018, and will happily enjoy sharing the stage with Carr for “Bing, Bing, Swing.”
For the event’s details, “Bing, Bing, Swing” will take place August 12 at The Binghamton Club from 6:30 pm to 9:00 pm. Tickets are $100 per person and $180 per couple with a black tie dress code ideal for the occasion.
For tickets and more information on the evening, contact the Binghamton Philharmonic box office at 607-723-3931 or click here.
Amanda Carr performing “Century Of Sinatra” for Boston Swing
From the coffeehouses of Greenwich Village to the stage at Woodstock, folksingers were a powerful force shaping the culture and attitudes of the 1960s. Marrying music and politics, tradition and innovation, romance and righteousness, these were singular tunesmiths of the most literate and informed order – a coterie of chordal preachers who put a mirror to the political upheavals and spiritual awakenings of this halcyon era. Richie Havens, Peter, Paul & Mary, John Sebastian, Phil Ochs, Roger McGuinn, Melanie, Janis Ian, Leonard Cohen, Peter Tork and later arrivals, like The Roches and Suzanne Vega, all cut their teeth and catapulted to stardom from a handful of clubs in the narrow streets of NYC’s West Village.
The life and times of 19 of the most impactful artists who emerged from New York City’s folk scene are profiled in The Bleecker Street Tapes (Trouser Press), the latest from veteran music journalist Bruce Pollock.
As stated in the introduction, Pollock was an eyewitness who became a chronicler of many of the most important names in folk in writings for outlets like The New York Post and Entertainment Weekly. Pollock lived in four apartments in Greenwich Village from 1966 – 1975 and had been frequented clubs like the legendary Gaslight nightly since the early 1960s.
Pollock’s book is interesting because of the timing of the interviews. Most of the quotes in these profiles come from the mid ‘70s – mid ‘80s when the commercial fervor for folk was waning. In many, it shows artists in reduced financial and professional circumstances stubbornly plugging away before modest cult audiences. Many are pondering the failures of the Age of Aquarius and its idealism as American approaches the conservative swing to the Reagan era.
Pollock’s begins with Dave Von Ronk, the bearish man who ruled the roost at the Gaslight Café’s open mics, an early champion and inspiration for Dylan and many who came after.
Von Ronk is captured heading to a scarcely attended club gig in 1982. He reflects on his “few good earning years” and how he always seemed “on the brink” of something bigger. He tells how he passed up the opportunity to be the “Paul” in the folk mega group, Peter, Paul & Mary (that went to Noel Stookey, a Village comedian whose act ended with him imitating a toilet flushing!), and of his failed audition for Dylan’s manager-to-be Albert Grossman. This was after a winter hitchhike to his club in Chicago, something borrowed for the Coen Brothers’ wonderful folk music film, Inside Llewelyn Davis.
In his interview with Phil Ochs, we learn that his decision to become a songwriter came while in jail for vagrancy in Florida. Ochs’ political powered anthems were an outgrowth of his first desired career – journalism. Phil was writing about Vietnam in 1962, way before any songwriter was penning war protest songs. And, contrary to popular belief, he shares that he didn’t think less of his longtime rival Bob Dylan’s decision to stop writing about politics and social causes. He also reveals, perhaps in jest, that his favorite cover of one of his songs was former beauty queen and anti-gay activist Anita Bryant’s of “Power & Glory.”
One of the more interesting profiles, one that truly captures the low-rent, pre-Gentrification splendor of the era, is that of Tuli Kupferberg of the infamous The Fugs. Tuli was in his mid-40s and divorced when he teamed with writer Ed Sanders to marry rock music, poetry and racy lyrics in a group named after a Norman Mailer term for intercourse. Gentrification be damned, as Tuli relates renting a six-room apartment of Avenue D for $12 a month in 1965. It was all about fun, poetry, revolutionary theatre and orgies. “We weren’t worried about writing for the ages,” he declares.
Buffy St. Marie relates how her writing of classics like “Universal Soldier” was the product of “channeling words and music that come at once, like a radio station.” The most romantic folk star of the Gaslight era, Eric Andersen, believes his songs survived because he didn’t get too political. Don McLean tells of the impact of Pete Seeger on his work and personal life, namely his adventures as a part of the original crew of Seeger’s ecological boat, The Clearwater, in 1969. Also, how his mega-hit, “American Pie,” ruined his career by branding him a “sellout” and how the fortunes from it bought him a Mercedes Benz and not a Chevy he would drive to the levy. Both Loudon Wainwright III and Leonard Cohen reveal they turned to songwriting because it was easier than writing novels.
Pollock calls folkie-turned-Monkee Peter Tork “a rock-n-roll Maynard G. Krebs.” He captures Tork in 1981 when he had lost all his Monkees’ money but is content in his move back to the East Coast and playing gigs that provide him and his daughter with “three hots and a cot.” His 1982 interview with Roger McGuinn provides a pocket history of folk and country rock, two genres birthed by his band, The Byrds. McGuinn also reveals how he was the catalyst for Beatle George’s interest in both Ravi Shankar and Eastern Religion.
The most interesting and lengthiest profile is that of Lovin’ Spoonful singer/songwriter John Sebastian.
Unlike anyone else here, aside from his early bandmate/friend Maria Muldaur, Sebastian was born and raised in Greenwich Village. He was raised on Bank Street in a family headed by a renowned classic harmonica virtuoso father who would have friends like Woody Guthrie and Burl Ives drop by. Sebastian traces his woodshedding days, playing as a teenager with Lightnin’ Hopkins, doing sessions with Bob Dylan and Tom Rush, his time in the Even Dozen Jug Band before forming the Lovin’ Spoonful. Their lengthy residency at The Night Owl Café was the event that ushered in a bit of rock raucous to the high-minded acoustic scene.
Sebastian recounts the Spoonful’s run of huge hits and their eventually breakup in the wake of a drug bust, the fits and starts of his solo career and disillusionment with the business. Sebastian would move to L.A. and live in a tent for two years before remarrying, having a son and moving into, then flipping, a couple of houses. “I would make as much from real estate as songs in the early ‘70s,” he says. Of course, there’s talk of his unscheduled performance at Woodstock, something done with a borrowed guitar and on a “triple acid trip,” and how it both helped and hurt his career. Some other interesting bits – a cameo by the real-life Frank Serpico of movie fame who would revive drug O.D.s among the scene . There’s also discussion of the invitation to join Crosby, Stills & Nash as their drummer in the early days when they were getting their act together out at Sebastian’s place in Sag Harbor.
Sebastian credits some of his longevity to seeing his dad hustle a career in the not so lucrative world of classical music. “He wasn’t afraid to get his tux dirty,” quips Sebastian. Shortly before this 1982 interview, Sebastian would find himself back on top with a number one hit he wrote on order and almost forget. It was the theme to the TV series, “Welcome Back Kotter.” For the past few decades, he’s been living a happy and unironic life in Woodstock.
Pollock’s book concludes with a playlist featuring the works of 70 artists who influenced or emerged from Greenwich Village’s folk scene.
Alternative indie band Young The Giant performed in both rain and shine at Artpark on June 13. The group has been off the road for the past four years and finally decided to come back to tour life this Summer.
Photo credit: Maddie McCafferty
Indie artist Talk kicked off the rainy night in Lewiston and had people crowded around to hear his hit “Run Away to Mars.” German rock duo Milky Chance followed up their set just as skies began to clear. Starting as high school friends, Clemens Rehbein and Philipp Dausch have been making music together for years. They create this infectious energy on stage by constantly moving and switching instruments. They are able to liven up a crowd effortlessly as shown when they performed “Stolen Dance.”
Photo credit: Maddie McCafferty
Later on in the evening Young the Giant took the stage. The band consists of Sameer Gadhia, Jacob Tilley, Eric Cannata, Payam Doostzadeh, and Francois Comtois. The group finally got to play tracks off of their 2022 album American Bollywood live for the first time. An album that explores the preservation of cultural identity while simultaneously assimilating to a new country.
Photo credit: Maddie McCafferty
Frontman Sameer utilizes dreamlike lighting matched with cinematic visuals to take the audience through the journey of the human experience. Throughout their set the band would take a break to show optimistic and storytelling displays. This made the Young The Giant show feel like a journey the audience got to endure.
Photo credit: Maddie McCafferty
With five studio albums under their belt Young The Giant has plenty of music in the discography to perform. However, they don’t shy away from playing their oldies such as “Cough Syrup” and “Mind Over Matter.” One song in particular that really wooed the crowd was their closing performance of “My Body.” This age-old hit has broken records for a reason because people have no choice but to dance. This was no exception either at that night in Buffalo.
Photo credit: Maddie McCafferty
This Summer concert series at Artpark is something you don’t want to miss. Michael Franti & Spearhead will be there June 21 and My Morning Jacket performs June 26. Get tickets here.
Photo credit: Maddie McCafferty
Setlist: American Bollywood, Wake Up, Something to Believe In, Cough Syrup, My Way, Apartment, Nothing’s Over, The Walk Home, Dollar $tore, Cult of Personality, Heat of the Summer, Tonight, Mind Over Matter, Dancing In The Rain,
Encore: Metropolis, Superposition, Tightrope, Silvertongue, My Body
Thursdays on the Village Green is returning this July 2023, holding free activities for kids and concerts for all ages in downtown Hamilton.
Kicking off on July 13 and closing on August 10, artists of various genres, including rock and folk, will occupy the Green. For every show, concerts will start at 7:00 pm, while the kids’ activities occur around 5:00 or 5:30 pm.
The full concert list, activity itinerary, and food truck lineup have all been announced, as the Village Green event is shaping up to be a piece of an amazing Summer for Hamilton and the Central New York region. Last year’s series additionally served as their 120th Summer performing these concerts, leading into yet another great experience.
Concert/Activity Schedule
July 13
Syracuse rock band Transient Kicks take the stage with special guests Jes Sheldon and Mike Davis. Blending storytelling with musical improvisation and sound exploration, the Transient Kicks combine funk, jazz, bluegrass, folk, R&B, psychedelic groove, soul, and blues into their talents.
Leading up to the performance, Courtney Wells & Friends host an illusion show at 5:00 pm. Drew’s Balloons will also be on-site joining the festivities at the same time.
The Transient Kicks’ song “Don’t Come Save Me” off of their album “The Clock Has Problems.”
July 20
Mark Shiner and the National Endowment join special guest Dave Montanye for the second show, additionally having the children’s activity, Move Entertainment’s Sammy’s Family Dance Party from 5:00 pm to 6:30.
July 27
Highlighting some of the women involved in local folk music, Alyssa Rose and Liz Fiddle bring their acoustic-folk abilities to the Hamilton stage, somewhere Rose is quite familiar with.
Rose grew up in Sherrill, a short journey from Hamilton where she actually performed her first concert in 2016. Ranging from Taylor Swift to Bruce Springsteen to Justin Bieber covers, Rose, will deliver a wide array of songs, while Fiddle plans to showcase her violin and vocal skills.
For the kids in attendance, The Friends of Rogers presents Rogers Environmental Education Center: Past, Present, and Future from 5:30 to 6:30 pm.
August 3
Performing original Americana music written by Susan Coleman and Mike Gridley, also including a strong foundation James DaRin and Taylor Bucci on the banjo, Harmonic Dirt will take the stage on August 3.
The Henry Howard Family Music Show starts prior to the Harmoic Dirt, beginning at 5:30 pm and concluding at 6:30.
August 10
Mark Sherwood and The Skeleton Crew, a Grateful Dead & Jerry Garcia Band experience, close out the concert series bringing to life some of their covers for Hamilton.
Before the music, Alex Perrine’s Bodies of Waste Sculpture Exhibit and Workshop with Found Material starts at 5 pm. Drew’s Balloons will also be on-site.
Food Truck List and Tickets
The food trucks that will be on the Village Green include: Brake From The Grind, Motley Chew, Oh Crepe, Oscar’s, Ray Brothers Barbeque, Rio Grande, Squeezers Lemonade, TacoCat, and Gilligan’s Ice Cream.
For more information on the Thursdays on the Village Green event , please visit @thursdaysonthevillagegreen on Facebook and Instagram or head to their website here.
The promo video for the 2019 Thursdays on the Village Green concert series.
Ten years ago in 2013, Kendrick Lamar made his way to Randall’s Island for a late afternoon set on the smaller of the Governors Ball stages. It was only a few months after the release of good kid, m.A.A.d. city as Kendrick’s meteoric rise was just underway. Fast forward to 2023; Governors Ball finds itself in a new (and hopefully, permanent) home in Flushing Meadows Corona Park and Kendrick Lamar is closing out the festival unopposed and under the fireworks. This past weekend, Governors Ball proved once again why it is New York City’s favorite music festival.
Kendrick Lamar at Governors Ball 2023. Photo by Lucas Kurzweil
After spending many years on Randall’s Island followed by a two year rental of the Citi Field Parking lot, Governors Ball finally made its long desired move to Flushing Meadows Corona Park. The vast park in central Queens has been woefully underused by the city for decades; a trend that will hopefully be reversed after the success of this year’s festival. The park was designed and built with large-scale events in mind, hosting two World’s Fairs in 1939 and 1964. Flushing Meadows sits on the intersection of two major highways, is adjacent to a subway line with access to Manhattan, and has ample parking lots from the numerous stadiums in the vicinity.
Governors Ball organizers did an incredible job of laying out the festival to take advantage of all of these features, creating a wide open festival experience that never felt too crowded at any point during the weekend. Three stages occupied the larger fields while the vendors and centralized area of the festival was nestled under large trees providing ample shade and character to the grounds. The towering Unisphere greeted fans at the entrance while the main stage was set up right in front of the New York State Pavilion, giving an iconic backdrop to the festival.
The lineup for the 2023 edition of Governors Ball attempted to model the diversity of Queens, the World’s Borough, as well as the eclectic music tastes of New Yorkers. There was a heavy lean towards rap and hip-hop overall, but festival organizers did sprinkle in rock, pop, indie and EDM throughout the weekend. International artists graced the stages as well including Korean pop superstars Aespa, Puerto Rican rapper Eladio Carrión and Japanese singer/dancer Rina Sawayama. Indie and rock was represented by Girl in Red, Black Midi, KennyHoopla, and Haim while Odesza was the lone EDM act for the weekend.
Kendrick Lamar Trades The Production For a Microphone
Kendrick’s latest album Mr. Morale and the Big Steppers was released a little over a year ago, but its relevance lived on with his Governors Ball performance. Although the stage production did not include the same amount of intricate detail that the “Mr. Morale and the Big Steppers” tour held, the set had a simplistic yet empowering feel. The only additions to Kendrick on the GovBall NYC stage were some lights on either side, large Henry Taylor backdrops, a couple of flares, and a few dancers. Kendrick proved that he does not need the fancy add-ons to pump up a crowd. He had all of Flushing Meadows screaming the words to his songs like they were the national anthem at a playoff sporting event.
Kendrick did the majority of the set solo, running through tracks like “King Kunta” and “LOVE.” and even his iconic feature on Pusha T’s track “Nosetalgia” (sadly, no Pusha T appearance even though he performed on the adjacent stage before Kendrick). Near the end of his captivating performance, Kendrick brought out his cousin and protegé, Baby Keem, to perform their RIAA Platinum song “Family Ties.” Through his crowd control and high energy performance, Kendrick Lamar further established himself as the best of the best in the rap game.
Lizzo And Odesza Headline With All The Fanfare
Lizzo was the Friday night headliner and she did not disappoint. Her band and numerous dancers lined the stage as the lights went out, leading up to a grand entrance to “Cuz I Love You”, the opening track of her 2019 sophomore LP of the same name. Lizzo’s thunderous voice reverberated throughout the festival grounds, especially when she dropped into her mega hit song “Juice” which sent the crowd into a dance frenzy. The glamorous staging featured retro big band style decor and backdrops, with sultry visuals playing along on the giant LED screen on the stage. Lizzo ran through her setlist with a powerful grace, performing her signature flute solo leading into “Truth Hurts” along with a fan favorite cover of Chaka Khan’s legendary “I’m Every Woman”; a song and a sentiment that has become a mantra behind Lizzo’s approach to music writing and performance.
Odesza fulfilled headlining duties on Saturday, with their larger than life EDM show filled with lasers, flaming pyro, guest vocalists, and a fireworks finale fit for a music festival. The duo took to the stage and started their set off with a bang with “This Version of You” and “Behind The Sun”. There was no shortage of pyro, as large fireballs erupted behind the DJs throughout the show, sending waves of heat into the crowd. Lasers fanned out over the crowd to interact with the tall trees in the back of the field, with house beats driving the dance floor until curfew. Odesza sprinkled in a Pretty Lights cover in “One Day They’ll Know” as well as a “TENSE” and “KEEP MOVING” from their BRONSON collaborative project with Golden Features. They closed out their set with a huge fireworks display over the stage while 2022’s “The Last Goodbye” pulsed through the night.
Filling Out The Days
Lil Uzi Vert was the perfect addition to the rap-filled GoPuff stage. Their Friday night performance had fans in awe. They came down from the stage to rock out with the fans on the barricade, and made sure fans that fell over were able to get up and continue jamming. They brought out rappers Ken Carson and Destroy Lonely, and got the crowd going with songs like “Do What I Want” and “Money Longer.” They left fans with a feeling of anticipation for what is to come in the following weeks by announcing that they have a new album releasing this month.
While rock and indie were not as prevalent on the lineup this year, the biggest draw in the category was certainly Haim on the GovBall NYC stage. The three sisters burst onto the scene in 2013 with their debut record Days Are Gone featuring the utterly infectious song “The Wire”. Throughout the set, the three sisters alternate vocal roles and instruments while also engaging heavily with the fans. Their dynamic performance style creates a light and fun atmosphere that is perfect for the summer festival stages.
On Saturday, KennyHoopla and Snail Mail kept the rock vibes going on the GoPuff stage. KennyHoopla’s vigorous post-punk dominated the crowd first, bouncing all over the stage while delivering a rambunctious vocal performance over heavy guitars. Snail Mail came up next, keeping the punk rock going, featuring a set full of songs from their two excellent LPs: 2018’s Lush and 2021’s Valentine.
Governors Ball Artists March On
In the wake of Governors Ball, many of the artists who played use the opportunity to announce new projects and tours. Many of the artists are on their own headlining tours and mix in the festival appearances. Right before Governors Ball weekend began, Metro Boomin released his highly anticipated soundtrack to the movie Spider-Man: Across The Spider-Verse. Just after the weekend, Eladio Carrión announced a North American tour with a stop at The Theater at MSG in October. Philadelphia’s major music festival, Made in America, announced their lineup with Lizzo making another headlining appearance along with Ice Spice, and Metro Boomin. Joey Bada$$ is running through the festival circuit with a dozen appearances including Glastonbury, Rolling Loud, and Lollapalooza.
Kendrick Lamar, fresh off the epic Big Steppers World Tour, is also hitting the summer festivals, taking his minimal yet relentlessly in your face festival show to the biggest stages in the world including Bonnaroo, Lollapalooza, Rokslide, Austin City Limits, and Summer Sonic in Japan. If any of those festivals are within reach, it is worth the opportunity to catch a generational talent at his very best.
The Future Of New York City’s Premier Music Festival
By all accounts, the first edition of Governors Ball in Flushing Meadows was a major success. The layout of the venue was nearly perfect, transit in and out of the festival went smoothly, and three days of music went on without skipping a beat. Governors Ball has been at it for many years and are no strangers to throwing such a large party in NYC, but expectations were sky high this year. One could have argued that the very future of the festival rested with this weekend going off without a hitch. The cost of putting on these events has never been higher, and fans have so many choices of shows these days that it was unclear if Governors Ball could even draw a large enough crowd. Last weekend in Queens put all of the chatter to bed. With the Canadian wildfire smoke clearing out just in the nick of time, a glorious weekend of sunshine and music ensued. There is no doubt Governors Ball will be back at it in 2024; now we can all start dreaming of our ideal lineup we would want to see grace the stages in Flushing Meadows.
