The 2023 Summer Camp Music Festival lineup has been announced, including traditional sets from both host bands moe. and Umphrey’s McGee, taking place May 26-28 in Chillicothe, IL.
The Summer Camp Music Festival first took place in 2001 to about 1,000 patrons with over 15 bands on two stages during the two-day event at Three Sisters Park in Chillicothe, IL. Now, the event is celebrating its 22nd anniversary, typically attracting around 20,000 visitors, of which between 8,000 and 10,000 arrive before the gates open. The festivities take place across Memorial Day Weekend and multiple stages with different genres. On top of all the live music, festival-goers have access to on-site camping, late-night shows, musician workshops, a non-profit village, unique arts & craft vendors and tons of great food and beer.
The current lineup includes Umphrey’s McGee, moe., Willie Nelson & Family, Vulfpeck, Mastodon, Boogie T, Badflower, Keller Williams Trio ft. Tye North & Dave, Watts, Andy Frasco & The U.N., SunSquabi, The Funk Hunters, Buku, Sierra Hull, Maggie Rose, Jennifer Hartswick Band, Bella White, Circles Around The Sun, and Balkan Bump.
moe. cohosts with Umphrey’s McGee.
Other artists scheduled to play include Aqueous, DOGMA, Eggy, Joe Samba, K+ Lab, Leah Marlene, Oh He Dead, Perpetual Groove, Roots Of Creation, Southern Avenue, The Sponges, Super Future, In Alphabetical Order, Chicago Farmer & The Fieldnotes, Cody Lee’s Last Detail, G-Nome Project, Old Shoe, Organ Fairchild, Jack Cloonan, LITZ, Manthom Phenace, Modern Drugs, Squeaky Feet, Still Shine, and Zentik.
A variety of ticketing options are on sale now, including 3-Day GA Passes, Sunday 1-Day GA & VIP, Volunteer Deposits, Thursday Pre-Party Passes, VIP Upgrades, & RV / Car Camping Spots. For more information visit here.
On March 3, The Borgata in Atlantic City lit up with excitement and anticipation as the legendary Smokey Robinson took the stage for what turned out to be a night to remember. The audience knew they were in for a treat when the lights went down, and Robinson’s signature falsetto voice filled the room with his classic hit “Being With You.”
Smokey Robinson 3.3.23
Robinson, 83, took the audience on a musical journey that spanned five decades as he belted out hit after hit. From the ballads “Cruisin” and “Quiet Storm” to the upbeat “Tears of a Clown” and “I Second That Emotion,” Robinson kept the audience dancing and singing along throughout the night.
Smokey Robinson 3.3.23
Robinson’s backup singers and band were top-notch, and their chemistry with him was evident in the way they moved seamlessly through each song, taking the audience from slow romantic moments to uptempo dance numbers. Known for his smooth and soulful voice, Robinson’s performance showed that he hadn’t lost any of his vocal prowess. He effortlessly hit every note and captivated the audience with his dynamic stage presence.
Smokey Robinson 3.3.23
As the night drew to a close, Robinson finished with his timeless hit “Tracks of My Tears,” leaving the audience spellbound and begging for more. It was a concert that will undoubtedly go down in the history books as one of the best ever performed at The Borgata. Smokey Robinson proved that age is just a number as he delivered an unforgettable performance that left a lasting impression on his fans.
Setlist: Intro, Being With You, I Second That Emotion, You’ve Really Got a Hold on Me, Quiet Storm, Ooo Baby Baby, Get Ready, My Girl, The Way You Do The Things You Do, Tears of a Clown, Fly Me To The Moon, Just To See Her, I Love Your Face, La Mirada, The Tracks of My Tears, Cruisin’
Miley Cyrus released her eighth studio album, Endless Summer Vacation, on March 10. The album, which Cyrus describes as her “love letter to LA,” was preceded by two singles, “Flowers” in January, and “River” on the same day as the album’s release. The former Disney star delivers again with her newest release, reminding her fans why they love and support her so much.
A streaming special, Endless Summer Vacation (Backyard Sessions) was released in support of the album. Photo Credit: Good Morning America
Miley Cyrus was born in Nashville, Tennessee in 1992, originally as Destiny Hope Cyrus. While Cyrus has since made a new for herself in the music industry, she comes from a famous family, being the daughter of county singer Billy Ray Cyrus and his wife Tish, who has managed her daughter since the start of her career. She got her big break when she landed the starring role in Disney Channel’s Hannah Montana, which made her into a teen icon and role model for young children while the show was airing from 2006 to 2011.
In the early days of Hannah, Cyrus released her debut album, Hannah Montana 2: Meet Miley Cyrus, which doubled as the soundtrack album for the show’s second season, followed by her first solo album, Breakout, in 2011. She has since made a name for herself outside of Disney, shedding her “good girl” image as early as 2010 with her third album, Can’t Be Tamed, while still starring on Hannah Montana.
Endless Summer Vacation starts out strong, stays steady throghout, and picks up again for the last few trakcs. Highlights from the album include “Flowers, “Jaded,” “Thousand Miles,” “Muddy Feet,” “Island,” and “Wonder Woman.”
The album closes out with “Wonder Woman,” and perfectly so, reminding us exactly who Cyrus is: a modern day Wonder Woman. The singer was born to a famous father but has come to be known as much more than the daughter of Billy Ray Cyrus, and was given a platform through Disney that spearheaded her to success, yet she was still able to break free from that “Disney bubble” that so many stars find themselves in. Endless Summer Vacation is sure to guarantee Miles Cyrus an Endless career in the music industry.
Queens Public Library (QPL) has announced their commemoration of The 50th Anniversary Of Hip Hop, through an international partnership with over thirty organizations including libraries, museums, colleges, universities, and archives.
Born in the Bronx, hip hop has been making a global artistic and cultural impact on the world since August 11, 1973. In recognition of Queens role in hip hop’s ascension from a local art form to an international phenomenon, the QPL established a hip hop program in 2015.
Hip hop coordinator, Ralph McDaniels, also known as “Uncle Ralph,” constructed programming to educate the public about Hip Hop culture and its five core elements: MCing, DJing, graffiti, breakdancing, and knowledge. QPL also preserves hip hop’s legacy through its collection of artifacts such as photographs, periodicals, audio tapes, video tapes, writings, news articles, flyers, and oral histories from people involved with the genre from its origins until now.
QPL’s hip hop program has drawn people of all ages and backgrounds to our spaces and has created a unique community connected by a love for music and knowledge.
-Dennis M. Walcott, QPL President and CEO
Queens Public Library was founded in 1896 and offered free access to more than 5.4 million books in addition to materials in 200 languages, technology, and digital resources. Prior to the pandemic, the independent, non-profit organization hosted over 87,500 educational, cultural, and civic programs annually and welcomed 11.4 million visitors through its doors.
The six-month celebration “Collections of Culture: 50 Years of Hip Hop Inside Libraries, Museums and Archives” is financed through a $267,760 grant from the Institute of Museum and Library Services (IMLS). Dozens of in-persons and virtual programs including panel discussions, author talks, educational forums, and workshops will be hosted by participating institutions. The program aims to examine the history and influence of hip hop on American culture and the contributions of its musicians, DJs, dancers, MCs, graffiti artists, stylists, directors, photographers, entrepreneurs and educators.
For More Information On The Events Scheduled, Visit The QPL Website Here.
Evanescence, the iconic rock band fronted by lead vocalist and pianist Amy Lee, lead guitarist Troy McLawhorn, bassist Emma Anzai, drummer Will Hunt, and rhythm guitarist Tim McCord, brought their “The Bitter Truth” tour to the Scotiabank Arena in Toronto on March 9th, and it was a night that will not be soon forgotten.
With a setlist that included a mix of old favorites and new hits, the band showcased their incredible musical talent and emotional depth, delivering a powerful and unforgettable performance.
Will Hunt
From the moment the band took the stage, it was clear that they were there to give their all. Opening with “Broken Pieces Shine,” a haunting and emotional ballad that set the tone for the night. Evanescence launched into a setlist that showcased their versatility and their passion for music.
Emma Anzai
Throughout the night, Amy Lee’s voice was as powerful and evocative as ever. Her voice soared above the instrumentation to create a sense of drama and intensity that was felt by everyone in the arena. Her piano playing was equally impressive, adding depth and texture to the band’s sound.
Troy McLawhorn
But the rest of the band was equally impressive. Troy McLawhorn’s blistering guitar solos and Tim McCord’s rhythm guitar and backing vocals adding a layer of complexity and energy to the music. Emma Anzai’s bass and Will Hunt’s drumming provided a solid foundation for the band’s sound, driving the music forward and keeping the audience on their feet.
Amy Lee
The setlist was a mix of old favorites and new hits, with songs like “Going Under,” “Call Me When You’re Sober,” and “My Immortal” drawing huge cheers from the crowd. But it was the newer songs that really stood out, with “Better Without You” and “Blind Belief” proving that Evanescence is a band that is constantly evolving and growing.
Tim McCord
One of the highlights of the night was “Lithium,” a haunting and emotional ballad that showcased Amy Lee’s incredible vocal range and emotional depth. As she poured her heart out on stage, the audience was transfixed, hanging on every note and every word.
Overall, Evanescence’s “The Bitter Truth” tour is a testament to the band’s incredible talent and enduring popularity. With each member bringing their own unique skills and energy to the stage, it’s clear that Evanescence is a band that is at the top of their game. If you have the chance to see them live, don’t miss out – it’s an experience you’ll never forget.
Their next show will be in New York City at Madison Square Garden on March 17.
Alejandro Fernández, Mexican music icon announced his ‘Amor y Patria’ 2023 US tour. Fernández will be making a stop in Hulu Theater at Madison Square Garden in New York City.
‘Amor y Patria’ encompasses the celebration of Fernández’s love of music, family, and his native Mexico. Alex Fernández, son of Alejandro Fernández will perform alongside his father for most shows throughout the tour.
“I’m excited to return to the US to celebrate Latino culture through my music. I’ve put together a totally new show. I can’t wait to see my fans and sing all our favorite songs together. Y que viva Mexico!”
-Alejandro Fernández
Alejandro Fernández embarked 2023 with the release of “Inexperto En Olvidarte”. The single is from the first single from his upcoming album that fans have been impatient waiting on. “Inexperto En Olvidarte” was an instant hit because of its heart-wrenching lyrics. The single reached #1 on Monitor Latino in México and Colombia and currently climbing US Radio charts.
Fernández is loved by the masses because his records speak of hard emotional truths. Throughout his career Fernández surprised his fanbase with his musical versatility in different genres. He is a two-time Grammy winner with a star on the Hollywood Walk of Fame.
In 2020, Fernández launched “Vota Por Nosotros” (Vote For Us). It was a campaign that encouraged Latino voters to vote on behalf of our entire community in the November 3rd elections. After winning a Grammy Fernández dedicated the award to the victims of the recent hurricanes in southern Mexico. He donated MXN $1,000,000.00 to the Mexican Red Cross to aid with the relieving of survivors. He’s also joined Mana’s Fher Olvera as the face of the “We Are Home” campaign calling for a just immigration policy that would improve the lives of millions of Latino immigrants living in the US.
The tour kicks off on Friday, September 8 in Sacramento, California. Tickets are available here.
AMOR Y PATRIA TOUR DATES:
Fri Sep 08 – Sacramento, CA – Golden 1 Center*
Sat Sep 09 – San Jose, CA – SAP Center*
Sun Sep 10 – Anaheim, CA – Honda Center*
Fri Sep 15 – Las Vegas, NV – MGM Grand Garden Arena*
Sat Sep 16 – Las Vegas, NV – MGM Grand Garden Arena*
Sun Sep 17 – Phoenix, AZ – Arizona Financial Theatre*
Fri Sep 22 – Los Angeles, CA – The Kia Forum
Sat Sep 23 – San Diego, CA – Viejas Arena*
Sun Sep 24 – Highland, CA – Yaamava Casino
Fri Sep 29 – El Paso, TX – UTEP Don Haskins Center
Sat Sep 30 – San Antonio, TX – AT&T Center
Sun Oct 01 – Edinburg, TX – Bert Ogden Arena
Thu Oct 05 – Dallas, TX – The Pavilion at Toyota Music Factory*
Fri Oct 06 – Houston, TX – Toyota Center
Sun Oct 08 – Chicago, IL – Allstate Arena
Wed Oct 11 – Toronto, ON – Massey Hall
Fri Oct 13 – Washington, DC – The Theater at MGM National Harbor
Sat Oct 14 – New York, NY – Hulu Theater at Madison Square Garden
After three years of pandemic cancellations, Jam Cruisers were excited to sail again, and anticipation was high even before we got on board the Divina, as we met friends on land to plan our “must-see” performances while at sea on Jam Cruise.
Sunday Feb 5 – preparty show at the Citadel
The Jam Cruise preparty was at The Citadel the night before, hosted by GMP Live (founded by Gideon Plotnicki of Brooklyn Comes Alive, who recently created the Miami’s North Beach Music Festival). Karina Rykman’s power trio headlined, with Butcher Brown and Tand supporting. Rykman’s unique punk-flavored rock blew the roof off of The Citadel, preparing us for a wild week. Butcher Brown, a 70s style jazz-fusion mixture of funk and hip-hop got the crowd going, with local south Florida favorites Tand opening the night.Â
Monday Feb 6 – Embarkation
Getting on the MSC Divina was fairly easy this year, in spite of pre-boarding concerns about delayed cruise documents. While in line, I asked Reed Mathis about his Electric Beethoven plans, since his long-time cohort Brian Haas was playing his first Jam Cruise. Reed said he invited five different drummers, and was looking forward to the experiment.
On the Pool Deck, it was heart-warming to see Captain Toast, Cloud 9, and fans hoist our glasses in solidarity. Joined by Cloud 9’s Founder Mark Brown and Director of Artist Programming Annabel Lukins Stelling (along with other Cloud 9 top staff), the Sailaway Toast prepared us for the opening band, George Porter Jr. & Runnin’ Pardners. A zesty “Cissy Strut” was launched, as fans dressed up for the Three Years of Sparkles (fan-voted costume theme) erupted. Jam Cruise Lifer extraordinaire, Karl Denson, surprised us on sax for Bill Wither’s “Ain’t No Sunshine”, with an island vibe.
I left to see Jason Crosby play a breathtaking solo piano set in The Atrium (majestic 5-story central lobby of the ship boasting opulent Swarovski crystal staircase). I soaked in Crosby’s fountain of notes, then hopped over to the Black and White Lounge to catch the fun psychedelic Jersey Shore rock band, Dogs in a Pile, a fun, relatively new band.
I caught a sample of the much-talked-about Vulfpeck/Cory Wong offshoot, The Fearless Flyers, in the Pantheon Theatre, including a flawless cover of Steely Dan’s “Reelin’ in the Years”. I went topside to catch our favorite funkmasters, Lettuce, on the Pool Deck, who met gale-force winds head-on with largely old school classics, adding a handful of new masterpieces, like “Vamonos| from Unify. As the wind lashed the stage, techs frenetically gaffed down mic stands, as expert riggers took down the huge speaker banners that were now dangerously flapping in the extreme winds.
Neighbor was another new band I’ve seen recently, another fan favorite on the boat. I caught Neighbor in the Black & White Lounge, then slipped back topside for on the best performances of the week, by Toronto’s finest, The New Deal. Weeks prior, TnD tapped Scotty Zwang, a talented drummer from Dopapod, Ghost Light, & RAQ, who clicked like clockwork with their unique form of livetronica.
I swung back to the Theatre for a little SunSquabi before going topside again for The Word, a superband comprised of John Medeski, Luther & Cody Dickenson, and Robert Randolph. Medeski played fiercely, with Robert & Luther trading off slide solos with southern heat. I ducked into the Jam Room for Cool Cool Cool, with many sit-ins (Kanika Moore and dozens of others – but I could barely see, being completely packed by 3am).
Around 4 am, I took the glass elevator up to the Galaxy Disco for DJ Brownie’s first night, with a surprise sit-in on vocals by Karina Rykman. Brownie thumped the disco until almost 5:30 am, but I wasn’t sleepy, so I wandered the upper decks searching for signs of life. I heard music, where I found a fellow Jam Cruiser, Ethan Alpert, who somehow got his DJ rig on the boat to mix a surprise pop-up set on the balcony above the Pool Deck. That was one of many random pop-ups that happen on Jam Cruise. My first night ended at 7:15am.
Tuesday Feb 7 – Day at Sea – Costume Theme: Decade You Were Born
Pixie & the Partygrass Boys opened the pool deck with their infamous “Appreciate Where You Came From”, as fans yelled, “Go Vaginas!”. Afterwards, The Lil Smokies imported Montana bluegrass to the Pool Deck, who Annabel announced them as “her favorite band”, hugging the band’s dobro player, Andy Dunnigan, then dancing with fans.
Bad Boy Bingo by Little Stranger ensued in La Luna with a hilarious diversion from music. At 4pm, Amy & Dave had their wedding in the Atrium. Having met on a past Jam Cruise, they invited friends and Jam Cruisers, and Annabel announced it over the ship’s intercom. The sound crew delivered a cordless mic to the couple, whose speeches invoked tears and laughter across the Atrium. Laughter & congratulations greeted the newlyweds afterwards on the Pool Deck.
Several friends got their 4th-year Repeat Offender robes, so I joined the robe ceremony happy hours on the back of the pool deck at the Garden Bar (a smaller stage & bar next to an infinity pool). Drinks and appetizers flowed, as old friends and Lifers hugged after years of separation.
The most anticipated band, Cymande, from the UK & founded in 1971, had not played in roughly 30 years. Cymande drove classic 70s pre-hip-hop funk to our eager ears, but their set was cut short by winds, and the pool deck stage closed for the rest of the day & night. Like before, Cloud 9 staff deftly rescheduled & rearranged bands throughout the ship.
The Fearless Flyers’ pool deck set was moved to the Atrium, where fans packed the house, since some of us missed their Theatre set the first night. Doom Flamingo was a blast, another recent band many hadn’t seen until Jam Cruise. They’re fronted by the powerful vocals of Kanika Moore, who deserves the MVP award for most appearances, bringing her intense energy & poise to every performance. Doom’s bassist Ryan Stasik delivered the low end, with fans packing in the B&W Lounge as music schedules realigned.
I caught The Sweet Lillies in the Atrium, who also hosts “The Spot” (a pop-up stage started by Nathan Moore, then handed over to the Sweet Lillies as caretakers, on Promenade Deck 7). The Spot is an acoustic jam circle, assisted by fans who boisterously sing along to popular favorites and occasional originals.
Fruition in the theatre was joined by the legendary Mike Dillon, who’s performed on every Jam Cruise but one, taking every band he plays with into another dimension, with his punkadelic-driven vibraphones and manic energy. Andy Frasco & the UN in the theatre were joined by Kanika Moore on vocals and Richard James on keys from Neighbor, with the band and fans erupting at peak moments, as band members ran all around stage.
Jam Room that night was hosted by Shira Elias and Lamar Williams, Jr, with Nikki Glaspie on drums, D.J. Williams on guitar, with horns from various bands, as well as Adam Deitch on drums, among many others. My night ended with DJ AirWolf in the Disco – another fulfilling day & night of fun!
Wed Feb 8 – Puerto Plata, Dominican Republic
I brunched on the ship, then strolled off the docks to check out local port facilities, finding tiki bars, squawking parrots, mischievous monkeys, then wandering further until finding the ginormous pool with swim-up bars. I ran into D.J. Williams, Brownie, and Dan Kelly (bassist for Neighbor), along with other artists and friends.The pool party was lit, and I got invited up to dance w/ Dan & friends in the middle of the pool to cheesy DJ music, partying just enough to not drown in the pool and make it back to the boat in one piece.
The Bamboos, a funk & soul band from Australia fired up the Pool Deck stage as everyone got situated back on the boat, and we sailed away from the DR, bound for Grand Turk. Just before this, Doom Flamingo had their new album preview at the back Garden Bar & pool. I caught Chris Spies on piano in the Atrium, joined by George Porter Jr, and many others.
Karl Denson’s Tiny Universe, another one of my all-time favorite bands, fired up the Pool Deck that evening. I caught a little more New Deal in the Theatre, then set camp on the couch right next to Reed Mathis in the Atrium for the most inspiringly creative “planned improv” on the ship, Electric Beethoven. Brian Haas, a friend of Reed’s for thirty years, was elated to be on Jam Cruise for his very first time.
Five masterful drummers, including Nikki Glaspie, Mike Dillon, Dave Watts, and Stanton Moore, all joined Reed on different Beethoven songs. I was lucky to catch the full set, sitting right next to Reed, watching the magic & mystery unfold in front of me. I caught the tail end of lespecial, another recent add to Jam Cruise, and another favorite of mine who I’ve seen a few times, even recently in DC.
Trouble No More is another new superband who tore up the Pool Deck around midnight, with deftly-delivered Allman Brothers classics by the young guitar prodigy Taz & his brother on bass, Daniel Donato on guitar, Jack Ryan and Nikkie Glaspie on drums, Peter Levin on keys, and the masterful pedal steel fury of Roosevelt Collier. They were also one of the favorite bands on the boat and had a big crowd topside.
However, George Porter Jr. & Dumpstaphunk were playing a full Meters set in the Theatre, and Trouble No More also had a Theatre set on Friday, so I cut over to the Pantheon for some Meters magnificence. I zoomed all the way to the back of the ship for a little Delvon Lamarr, but came back to The Theatre for another incredible Lettuce set, with better sound (vs the wind storm topside the first night). I got to the Jam Room very late for Shawn Eckels, but being packed again, I listened from the perimeter and called it an “early” night around 4:30 am.
Thu Feb 9 – Day at Sea – Mardi Gras – Dogs in a Pile, Mihali, Fruition, Everyone Orchestra, Butcher Brown, Dumpstaphunk, Punkadelic, Peter Levin piano, Galactic Pool Deck, The Lil Smokies Theatre, Joe Marcinek’s Dead Funk Summit, Doom Flamingo Pool Deck, Neal Francis Theatre, George Porter Jr. Jam Room, DJ Brownie
Purple, Green and Gold blazed in the wonderful sun for Dogs in a Pile on the Pool Deck to kick off day 4, followed by Mihali’s band’s repertoire of reggae-flavored originals. Matt Butler’s Everyone Orchestra performed an inspired set in the theatre with a wide cast of musicians & singers, while Lebo played acoustic at the back Garden Pool.
Fruition played a lovely set in the afternoon on the pool deck, followed by Butcher Brown, with a sit-in by Nigel Hall. Inside, Eric Benny Bloom treated us to humor and music with his Really Really Tacky Show. Honey Island Swamp Band played their rescheduled “Dark Side of the Swamp” in the Pantheon Theatre during the slot destined for The Broadband (which was unfortunately canceled).
After their smoking set, Dumpstaphunk performed a Mardi Gras style second line march off the pool deck main stage, out into the crowd, then down around back into the cafeteria, much to the delight of diners. Galactic then played, followed by Doom Flamingo on the pool deck, with The Lil Smokies and Neal Francis in the theatre. I strolled over to the Black and White Lounge to catch some of Joe Marcinek’s Dead Funk Summit, with George Porter Jr. on bass & vocals, who then hosted the Jam Room after. It was super packed, so I caught some of it, then headed up to the Galaxy Disco to see DJ Brownie’s 2nd set, who met with a comically ginormous bottle of champagne that was shared by friends.
Fri Feb 10 – Grand Turk – Andy Frasco and the UN, phoffman, Trouble No More, Ivan Neville piano Atrium, Dogs in a Pile Bikini Bottom Jam, Honey Island Swamp Band, Fackin’ A, Oteil & Friends Pool Deck, Cymande Theatre, Umphrey’s McGee Pool Deck, Karl Denson’s Tiny Universe Theatre, Taz Jam Room, DJ Yesmann
A jaunt off the dock brought us to pristine beaches in Grand Turk, where we swam with tropical fish 100 yards out. Vendors sold marginally cold beers, playing Biggie Smalls and other hip-hop legends, while catamarans patrolled the shore blaring cheesy dance classics. Some cruisers took taxis to find other bars & food at the Sand Bar and other local hangs, while a family of blue whales swam near the boat.
Back on board, Andy Frasco & The U. N. kicked off more insanity on the pool deck, while another catastrophe hit the Atrium in the form of Dogs in a Pile Bikini Bottom Jam, with a mixture of stunts, songs, and random acts of humor in a spin-the-wheel game show format, with Karina Rykman playing bass on Ween’s “Ocean Man”.
Ivan Neville packed in the Atrium for heartfelt solo piano set, followed by Greensky’s Paul Hoffman and his band on the pool deck. Taz’s superband Trouble No More fired up in the Theatre, while Honey Island performed “Dark Side of the Swamp”, with Pink Floyd classics, reimagined. Lespecial joined forces with Mike Dillon for Facn’ A in the Jazz Lounge.
Oteil and Umphrey’s closed out the pool deck Friday with inspired sets, while Cymande and Karl Denson’s Tiny Universe rocked the Theatre, with Taz hosting the Jam Room, and Little Stranger on the Brews at Sea Stage.
Saturday Feb 11 – day at sea – Neighbor, Karina, Yacht Rock, Dave Watts Super Jam, Umphrey’s McGee, Oteil & Friends, Butcher Brown, Costume Contest w/ Sammi & Shira, Silent Auction, SunSquabi, Galactic, lespecial, Roosevelt Collier Jam Room
Rising at 6 am, I fueled up, strolling to the back of the boat to find Touch of Class hosting the final winner-takes-all Kickball Championship, a yearly fan ritual. The Sports Deck was empty, so I searched the Garden Bar, finding another pop-up jam, Chris Sgammato’sDisplace, a jazzy 4-piece delivering tasty funk to early-risers and up-all-nighters. After Safety gave Displace a half hour notice, we grabbed frozen drinks, heading up to the topmost deck to play kickball.
Neighbor opened the pool deck, debuting Burt Bacharach’s “What the World Needs Now Is Love”, then Karina Rykman played her best set on the final day as we soaked in the last rays of the tropical sun on board. During and after Karina, Paul Hoffman (Greensky Bluegrass) and Mihali played their own acoustic sets by the backside Garden Pool.
Dan Lebowitz’s Yacht Rock was the most fun set, playing Rupert Holmes’ “Pina Colada”, The Doobie Brothers’ “What a Fool Believes” (Jenn Hartswick), “Hey Nineteen” with Joel Cummins on lead vocals, “Somebody’s Baby” (Jackson Browne), Magic (Olivia Newton-John), Ivan Neville & Nigel Hall on George Benson’s “Give Me the Night”, “Lowdown” (Boz Scaggs) w Karl Denson on flute & vocals, with The Horn Section on all songs. Dave Watts Super Jam hosted 46 musicians, possibly a new Jam Cruise record. Judith Hill and Kanika Moore brought their vocal prowess to “Higher Ground”. Midway through, Watts’ super jam covered Led Zeppelin’s “The Ocean” (appropriately) and “Trampled Under Foot”, but “Grease” was the crowd-pleaser, with Shira Elias singing lead vocals, backed up by Sammi & Josh, Mike Dillon on percussion, Adam Deitch and Scotty Zwang, and others.
The last night, Umphrey’s McGee played another two-hour-long set on the pool deck, with irreverent humorous banter and a song for Andy Frasco’s birthday (joking that his body’s ashes we’d line up to smoke later, briefly teasing B.O.C.’s Don’t Fear the Reaper). A pinnacle of their set was Radiohead’s “Creep”, with Kanika Moore adding her mournful voice.
One of the biggest jam conflicts, Oteil and Friends played around the same time as Umphrey’s in the Theatre, treating loyal fans to the ARU staple, “Fixin’ to Die” (Bukka White), with “Blue Sky” into Franklin’s Tower, Allman Brothers covers “Dreams” and “Hot ‘Lanta”, with Vaylor Trucks joining on guitar and Karl D on sax, finishing up with The Peacemakers’ original, “Rooster”. Galactic closed out the Theatre, while SunSquabi played their hottest set to close out the Pool Deck.
Roosevelt Collier hosted the last three-plus-hour-long Jam Room with his talented friends, including Taz, Shawn Eckels, D.J. Williams on guitar, with Adam Deitch on drums & percussion, Nikki Glaspie on drums, who also flexed her rap skills, along with Shira Elias and other vocalists, The Horn Section as well as members of KDTU horns, and many others.
DJ AirWolf closed out the disco, thumping us into dawn. Over-satiated and exhausted from seven days and nights of reckless abandon, we crawled to our rooms to pack and catch a few z’s before rising at 8:30 am to amble back to the vastly overrated land society that we sometimes call “civilization”.
Each year, I exclaim that this Jam Cruise was the “best one yet”, and this year was no exception. From the superb planned performances to the surprise sit-ins and random pop-up jams, there is really nothing like it on land or sea.
Brazilian songstress Gabby Bueno, commonly recognized as Gabby B, has released her new single titled “Violins,” from her latest project, The Essentials. Emphasizing women empowerment, the uptempo R&B/pop song urges women to reclaim their rightful position after a relational woe.
Gabby was born in Goiania, Brazil to a performer mother and a father who was a professional master of martial arts. Due to her parent’s professions, Gabby was synchronized with two worlds that ignited her passion to entertain. In 2020, Gabby accumulated over 3 million followers on Tik Tok through her captivating personality and viral videos and continues to advance her career as an international pop singer with stellar music.
On February 4, Gabby B performed the National Anthem at the It’s Me Brands’ Celebrity Basketball Classic, in Las Vegas. The charity game also features Trevon Diggs, and a host of other top athletes in the league.
As a novice in the industry, Gabby made seven music videos, with six of those songs appearing on her first EP, Therapy. Following this, Gabby took to the stage at the Brazilian Festival, opening for the Brazilian sensation Iza. Not long after, Gabby toured with High School Nation during their South Florida run and performed live at Rolling Loud.
Fans can stream Violins on all streaming platforms. For more information on Gabby B please visit here.
Having never set foot on American soil until a couple of days prior in New York City, the power metal quintet Powerwolf, founded in 2003 in Saarbrücken, Germany – affectionately known as The Wolves to their diehard legion of fans – descended upon The Palladium in Worcester, Massachusetts this past Saturday night, February 25.
Touring in support of their eighth studio album, Call of the Wild (Napalm Records, 2021), Powerwolf are vocalist Karsten Brill as “Attila Dorn,” lead guitarist Benjamin Buss as “Matthew Greywolf,” studio bassist and rhythm guitarist David Vogt as “Charles Greywolf,” keyboardist Christian Jost as “Falk Maria Schlegel” and drummer Roel van Helden.
Attila Dorn | Photo by Michael Dinger
Promptly at 7:00 pm, and much to the delight of nearly 100 fans who had been huddling together in below freezing temperatures (some as early as the morning hours), doors to the historic concert hall constructed in 1928 and known for hosting a bevy of legendary heavy metal acts over the years (Rammstein, Soundgarden, Korn, Rob Zombie and Slayer, to name but a few), finally opened. Approximately 30 minutes before the night’s opening act would take the stage, and with the nearly 2,200 seat venue filling up fast, fans continued to pack the warm confines of the lobby, while also checking out the ‘merch’ tables or grabbing a drink from the array of bars strategically placed throughout.
The Worcester Palladium | Photo by Michael Dinger
Running a little behind schedule, the house lights suddenly went dark as Napalm Records label mates Seven Kingdoms took the stage at 7:45 pm. Formed in 2007 and hailing from DeLand, Florida, they are a thrash metal band comprised of frontwoman Sabrina Valentine, her husband and guitarist Camden Cruz, along with brothers Keith and Kevin Byrd, on drums and guitar, respectively.
The Floridians performed a blistering 45-minute set that kicked off with “Universal Terrestrial,” taken from their most recent of five studio albums (Zenith, 2022). Led by Valentine’s broad vocal range that injects a raw emotion into all her lyrics, Seven Kingdoms nearly performed the entirety of Zenith, albeit two original songs (“Empty Eyes” and Life Signs”). Highlights of their set included “Love Dagger,” a tune reminiscent of the 1980s hair metal scene and “A Silent Remedy,” complete with explosive, crisp guitar riffing.
Sabrina Valentine | Photo by Michael Dinger
An unexpected inclusion in their 10-song set was a cover of Don Henley’s “The Boys of Summer.” However, with each member adding their own power metal flavor for good measure, the almost 40-year old tune written by the Eagles vocalist and drummer fit right in nicely. The penultimate song of the night was the aggressive “Diamond Handed,” before “In the Walls” (Decennium, 2017), a song inspired by an H.P. Lovecraft short story, left the crowd ‘powermetalized’ and wanting more!
After a very quick turnover of the elaborate stage design by Powerwolf’s road crew, filled with dark werewolf fantasy art throughout, the moment we had all been waiting for had arrived! At 8:45 pm, the lights went down once again and one by one, beginning with the Dutch drummer van Helden, each band member took the stage and acknowledged their fans for a lasting moment before assuming their respective stage positions. Wearing meticulously-applied silver and black corpse face paint and donning industrial goth outfits, the ceremony commenced with “Faster Than the Flame,” the first of four offerings from the aforementioned Call of the Wild album – Powerwolf would go on to play “Dancing With the Dead,” “Beast of Gévaudan” and “Blood for Blood (Faoladh)” later in the night. As the song concluded, the fans erupted in applause, a whirling mosh pit suddenly formed in the center of the General Admission floor and repeated chants of “Powerwolf” began in unison, the first of many that fans would bestow upon its metal heroes.
Matthew Greywolf | Photo by Michael DingerRoel van Helden | Photo by Michael DingerCharles Greywolf | Photo by Michael DingerFalk Maria Schlegel | Photo by Michael Dinger
Attila then addressed the congregation before him for the first of many times. “Good evening Worcester, it’s wonderful to be here! Welcome to the one and only holy heavy metal mass in the world!” “Incense & Iron” was up next, a track from Powerwolf’s seventh studio album (The Sacrament of Sin) released in 2018, which showcased Matthew Greywolf’s powerfully precise guitar craftmanship. Before launching into “Army of the Night” (Blessed & Possessed, 2015), Attila again acknowledged the faithful patrons of their music. “Thank you very much, you are very awesome my friends. Tonight is a very special night for us because we are playing here for the first time. It is a really amazing atmosphere here.”
Although Powerwolf would not present any songs from their debut album (2005’s Return in Bloodred) or their second album (2007’s Lupus Dei), there was plenty of other righteous material to keep their pilgrims satisfied, including “Amen & Attack” (Preachers of the Night, 2013) and “Armata Strigoi,” another gift from their sixth studio album Blessed & Possessed. In advance of the later piece, Attila humorously coached the audience to croon the anthemic (and rather complicated I might add) four-part chorus until we got it right, which we all did.
Attila Dorn | Photo by Michael Dinger
The subsequent quartet of songs were all selected from The Sacrament of Sin and included “Stossgebet,” “Demons Are a Girl’s Best Friend,” “Fire and Forgive” and Powerwolf’s first ever power ballad, “Where the Wild Wolves Have Gone.” While the fantastic audience continued to perform just as well as their Deutschland brethren, belting out lyrics in all the right places, our minds were officially blown when Powerwolf bestowed upon us the lead single to their ninth studio album (Interludium), set for release this Good Friday, April 7.
As the epic 18-song set entered the final stages, an encore was preceded by a glorious grouping of career-spanning tracks, including fan favorite and the third gift imparted from Blessed & Possessed, “Let There Be Night.” After Powerwolf exited the stage to quickly recharge their batteries, I was surprised to notice a throng of fans (albeit small) in the upper balcony heading for the exits – big mistake! Why you ask? Because an unforgettable, three song encore for the ages followed next, including back-to-back tracks from Powerwolf’s fourth studio album (Blood of the Saints), “Sanctified With Dynamite” and “We Drink Your Blood.” Sandwiched between these songs, Attila shared “This night showed me one thing my friends. All of you here are possessed with heavy metal! And I think I speak for everyone here in this venue, heavy metal, this music, gives us a lot of power and energy! And you my friends give us this energy back, and I appreciate that. In Germany, we say ‘vielen danke schön.’”
The Worcester Palladium | Photo by Michael Dinger
After splitting the crowd up the middle for a cheering match between each side of the stage (Matthew Greywolf versus Charles Greywolf), Attila promised us that they’d return and thanked their “best crew in the world.” As the night neared 10:30 pm, the religious experience was capped by 2009’s “Werewolves of Armenia” in grand fashion.
If you are able to join the pack, Powerwolf’s “North American Crusade” tour will resume in Dallas on March 20, followed by shows in Denver (March 22), San Francisco (March 24) and Los Angeles (March 25). On April 6, an exclusive “Interludium Release Show” will be performed at Palladium in Cologne, Germany. And to all the wolves out there, Metal is Religion!
Seven Kingdoms Setlist: Universal Terrestrial > Chasing the Mirage > The Water Dance > Valonqar > Love Dagger > Magic in the Mist > A Silent Remedy > The Boys of Summer (Don Henley cover) > Diamond Handed > In the Walls
Powerwolf Setlist: Faster Than the Flame > Incense & Iron > Army of the Night > Amen & Attack > Dancing With the Dead > Armata Strigoi > Beast of Gévaudan > Stossgebet > Demons Are a Girl’s Best Friend > Fire and Forgive > Where the Wild Wolves Have Gone > Sainted by the Storm > Resurrection by Erection > Blood for Blood (Faoladh) > Let There Be Night Encore: Sanctified With Dynamite > We Drink Your Blood > Werewolves of Armenia
The infamous singer of “Peace Train,” “Father & Son,” and “Wild World,” Yusuf / Cat Stevens has shared an endearing cover of “Here Comes The Sun” in tribute to George Harrison. With a gorgeous cover art designed by Yusuf’s eight-year-old granddaughter, the release marks the anniversary of what would have been George Harrison’s 80th birthday this week.
Speaking about George Harrison’s profound influence on his own musical and spiritual journey, Yusuf says, “George Harrison was beginning to explore Eastern mysticism around the time I was hospitalized with TB, in 1968. Lying in bed, I had a lot of time on my hands and ended up reading a Buddhist book called The Secret Path. That was the beginning of my own search for the light.
While most of my generation were just into the music, I was a bit like George, where music became the key to something much higher. Following the rages of the 60’s, his consciousness was awakened, and George transcended to levels not many people ever get to experience. You can hear it in his lyrics, and see it in the way he lived and dealt with the material world – looking for a way out. George was one of the first to put on a charity concert for the poor, at the time millions of Bangladeshis were fleeing from conflict and becoming refugees. It was a brave thing to do, and against all establishment rules. I’m happy to sing one of his songs, especially as it represents the returning of light and hope to a seriously dark and broken world.”
Cat Stevens is one of the most influential musical artists of all time. His signature, era-defining sound places him amongst a golden generation of British singer-songwriters whose music continues to resonate and inspire to this day. Yusuf’s line of hits include “Peace Train,” “Father & Son,” “Where Do The Children Play?,” “Wild World” and many more.
Yusuf’s music reflects a quest for spiritual enlightenment, inner development and a passion for the natural world that continues to resonate with fans globally. Alongside his music career, Yusuf / Cat Stevens dedicates his energy to philanthropy and education. “Here Comes The Sun” is the latest in a new lineage of cover versions and closely follows Tea For The Tillerman, which saw the classic album re-imagined for a new age.
Looking forward on new music, Yusuf / Cat Stevens continues to use his unique gift for songwriting to build cross-cultural bridges and spread his message of peace. Currently, he lives in Dubai, where he continues to record music and coordinate a charitable initiative called Peace Train.
To listen to “Here Comes The Sun,” click the link here.
