This past Friday, December 29, punk-rock icon, singer-songwriter, poet, artist, and New York Times Bestselling author Patti Smith graced the stage at the Brooklyn Steel for two nights. Patti returned for her birthday show, this time commemorating turning 77. Fans from all generations came to see Patti’s incredible, lively performance at Brooklyn’s intimate, 1800-capacity venue.
Patti Smith, photographed by Sarah Hyun
Patti Smith, though raised in South Jersey, moved to NYC at the ripe age of 21 to study art and poetry. Her bestselling novel, Just Kids, which details her experience living in NYC, brought a new wave of people—especially younger ones—to Patti’s fanbase and show. Although Patti is not currently touring, she frequently returns to NYC to play with her band which consists of Lenny Kaye, Jay Dee Daugherty, Tony Shanahan, and Jackson Frederick Smith (her son!).
Patti Smith, photographed by Sarah Hyun
Patti opened the night with an extraordinary rendition of “So You Want to Be a Rock ‘n’ Roll Star.” Scaling around the stage with incredible ease and her nimble dance moves, Patti made the crowd go wild with her performance. Her silver braids almost seemed to glow under the stage lights, drawing all eyes to her throughout the whole concert. One fan screamed, “I love you Patti! I’m your number one fan!”
After playing “Free Money,” Patti stopped and began conversing with the crowd about how confusing TV remotes are. “It’s unbelievable right? You need one to put the TV on, the other for volume, and the other to get the Netflix or whatever you want on. It’s taken me hours just to get the TV on.” A fan screamed “Happy Birthday!” where Patti responded with, “Not yet! Don’t age me any faster than I am.”
Ending the night on a powerful note, Patti played “Because the Night” and “People Have the Power,” where she brought out her daughter Jesse Paris Smith and her high school friend Laura to sing. Patti Smith is truly legendary, and her show was nothing short of that.
On Thursday, Dec 28, Dogs In a Pile took center stage at Sony Hall, just a stone’s throw away from Madison Square Garden, where Phish kicked off their much anticipated four-night New Year’s Eve Run. Branded as “The Dog Pound” by the band themselves, fervent fans flocked to the venue, securing their spots before Phish even finished their encore. The eclectic crowd, covered in classic Phish donut wear, Aztec patterns, and tie-dye attire, brought an energy that permeated the air.
Having traversed the entire country on a busy fall tour, Dogs In A Pile had recently graced various New York venues, from Lafayette to Trumansburg, and Williamsburg. Smiles were seen all around as Keyboard player Jeremy Kaplan kicked off the night with a solo opening number, a classical-sounding ballad that set the tone for the night—soon joined by Jimmy Law (guitar and vocals), Joe Babick (drums and vocals), Sam Lucid (Bass), and Brian Murray (guitar and vocals).
Taking the stage shortly after midnight, fans were jumping, jiving throughout the venue from the rails to the back. Dogs In A Pile’s unique sound is a harmonious blend of the unfamiliar and the strangely familiar. Elements of funk, jazz, and classic psychedelic rock ring out, and their songs are carefully constructed, invoking a circus of sound and feeling. The show was complemented by vibrant lighting, captivating The Dog Pound until the wee hours of the morning, almost reaching 4 AM.
A special moment came when the band paid homage to the maestros themselves. The iconic notes of “Harry Hood” rang out, showcasing the band’s technical prowess and precision. With an encore of their popular song “Truck Rum”, the evening winded down and fans retreated home just before sunrise. The echoes of this night continued to reverberate. Dogs in A Pile kept the Phish party alive and elevated it to new heights- a testament to the band’s overall aura and momentum.
For fans in Saratoga Springs, Dogs In A Pile will be at Putnam Palace on 12/30 & 12/31 for what’s sure to be an incredible New Year’s Eve celebration!
Setlist: G Song, Tillie, Feel Like A Stranger, Look Johnny II, You Didn’t Hear It From Me, Let U Go, Go Set > Gumball, Spun > Drums > Harry Hood, Craig and Pat, Appleseed, Linus and Lucy
Performance Space New York has announced they are presenting artist, composer, and choreographer Richard Kennedy’s Hybrid Peasant from Jan. 11 – 13 at 8:30 p.m.
Combining opera, dance theater, poetry, sketch, and slapstick comedy to create its speculative hyper-reality, Hybrid Peasant, a three-act performance, is another explosive disruption of opera’s formalism from the interdisciplinary artist with a long history of engaging and subverting the classical. It delves deep into the landscape of the “Nightmerican dream,” experienced through the lives of “the housed citizens of Hirth.”
The story unfolds in an exaggerated past-future version of Richard Kennedy’s hometown of Middletown, Ohio. With references and points of departure ranging from Stravinsky’s Rite of Spring to SNL’sWeekend Update, the artist shapes a funhouse portrait of contemporary America’s polarized realities. A call to action, Hybrid Peasant urges us to ascend collectively by nourishing each other, forging a path toward liberation.
Richard Kennedy’s multidisciplinary practice is interested in relationships and navigating sexuality as it occurs at the intersection of class, race, and gender. Considering opera through a language of the African American experience, Kennedy disrupts the tradition of Western theatre to generate new participatory modes of viewership.
This piece is really about the hybrid; an access to high and low has produced a sense, in the opera world, of both access from my experiences and training and career, while also being treated as a peasant. I want to continue to explore opera through this hybrid balance to call more attention to the ways we troll ourselves as a society—to acknowledge the past in the present, and question if this is what we want our future to be.
Richard Kennedy
Over the last 40 years, Performance Space has been propelling cultural, theoretical, and political discourse forward. Founded in 1980, it became a haven for many queen and radical voices. Their focus has been not just on presenting boundary-breaking work but on restructuring their organization towards prioritizing equity and access. Qorks that have dissolved the borders of performance art, dance, theater, music, visual art, poetry and prose, ritual, nightlife, food, film, and technology are presented here.
The four men of Phish returned to Madison Square Garden, their live music home base, to begin another four night run to close out another successful year. It was already their eighth visit in 2023 and their nice-round-number eightieth of their career. It all started with a show almost exactly 29 years prior, with their first traditional four-nighter 25 years ago.
Needless to say, the band felt right at home on the Midtown Manhattan stage. There’s really no need to warm up to the room that plays like their living room, and their comfort was evident from note one. The final shows of the year began with “No Men in No Men’s Land,” with the nod and wink appropriate lyric, “You’re happy that we’re here.” which received a huge roar from the anticipatory crowd. The band found room to let loose as a unit right away, with Mike Gordon’s bass driving the early action.
From there the set would take a sharp nostalgic turn, diving deep into the bands early catalog. Classic Phish fare from the irreverent barbershop-esque “Halley’s Comet,” to some of their earliest “hits” like “Sample in a Jar” and “Bouncing Around the Room” provided the crowd a trip down memory lane. Solid takes on other favorites “Runaway Jim,” “Axilla Part II,” and Son Seals’ “Funky Bitch” set the table for a strong finish.
Sticking to the early material, “Bathtub Gin” would provide the first real fireworks of this New Year’s celebration. Gordon once again pushed the agenda in the early going as the rest of the band remained within “Gin’s” lines. Page McConnell flinched first, moving to his clavinet while Trey Anastatio added sustained wails on guitar. McConell dug into some of his weirder tones and the whole thing got a bit dissonant. John Fishman pushed it forward with a marching beat and eventually locked into a dark groove with Gordon. The dark turned bright in a flash as Anastatio discovered a happy rocking theme that brought the whole thing back into the “Bathtub” to wrap it up neatly.
“Ghost” would top off the set with some more interesting improvisation, all four members combining to find an interesting theme. They quickly worked it to a peak which they sustained at for an incredible high energy workout. Gordon mixed in some “No Men’s” lyrics into the chaos but it all settled back into the “Ghost” groove as the first set of the run came to a close.
“The Howling” got things started in set two, as howling sounds bounced around the room, echoing in surround sound.
“A Wave of Hope” followed, and started innocently enough. The band coasted along for a little bit until you could almost hear the safety line being cut. The whole band dropped any semblance of a connection to the source material, diving into the deep end into a slow ooze. From there they entered mind meld territory, flipping from theme to theme without cue and without hesitation, like it was scripted. The pace quickened, slowed and sped up again. Dark, bright, rocking, cosmic, it was a journey and the map was being drawn in real time. The stage was surrounded by points of white light in a spastic swirl as Anastatio carried the final segment into bliss territory. They found their way to a slick transition into “Rift,” one of a few solid segues on the night.
A quasi-classic “Mike’s Song” > “Simple” segment gave the set more solid anchors to hang some cred on. Gordon played around with the rocking groove as the lights rode the deep end waves, undulating high above. As a counterpoint to the one-ness found throughout “A Wave of Hope,” in “Mike’s” the band fractured, fragmenting and deconstructing pieces of the jam. It got heavy and industrial, but never lost the underlying groove. It roared up to an unusual “Mike’s Song” peak that had hints of “Tweezer Reprise” hidden just beneath the surface.
The ensuing “Simple” again provided a contrast, staying spacey and ambient for most of it’s runtime. And as that time ran low, it transitioned excellently into a rocking “Blaze On” set closer, which featured solid in-the-pocket jamming from the whole unit.
Between new songs, old songs, and a full smattering of influences on display, Phish was setting the table nicely as they invited their fans into their home away from home to celebrate another year in the books. But with a long four-song encore that had multiple “ok now it’s over” moments, they were the hosts who couldn’t let their guests leave without a few proper good-byes. They welcome another party in the next three nights at the Garden. Shows 81 through 83 and year 2024 await. But who’s counting?
Phish – Madison Square Garden – Thursday, December 28, 2023
Set 1: No Men In No Man’s Land, Halley’s Comet, Sample in a Jar, Runaway Jim, Bouncing Around the Room, Axilla (Part II) > Funky Bitch, Bathtub Gin > Ghost
Set 2: The Howling > A Wave of Hope -> Rift > Mike’s Song > Simple > Blaze On
Encore: mercy, The Squirming Coil, Weekapaug Groove > Say It To Me S.A.N.T.O.S.
Trey teased San-Ho Zay in No Men In No Men’s Land. Mike quoted No Men In No Men’s Land during Ghost. Mike’s Song contained sound effects used earlier in the show during The Howling.
NYC native and “troubadour piano man” Craig Greenberg has released his new soulful track “Song of December,” encompassing the feelings that come with the creative process and pushing forward.
Over the past 15+ years, Craig Greenberg has been a staple on the New York City music scene, capturing and building on the spirited ivory traditions of greats like Billy Joel, Ben Folds, and Randy Newman with sparkling, soulful new musical twists, a larger than life personality and his insightful, dramatic sense of storytelling. He has independently released five albums (his most recent EP, Between the Sea and the Sky, released in Dec 2022), and has performed upwards of 1000 shows from New York to Israel, since his start playing in bars while living in Chile, and later Spain, in the early 2000s.
He has received praise in American Songwriter, the Huffington Post, and Relix Magazine, and has been played on radio stations all around the country and internationally. In 2021, his song “Oh Caroline” was placed in the semifinals of the International Song Competition and his music video for “Between the Sea and the Sky” received a Europe Music Video Award in March 2023, and placed finalist in the Around International Film Festival (Paris) in June 2023. He has performed with esteemed musicians such as Jackson Browne, Chris Barron (Spin Doctors), Jane Wiedlin (the Go Go’s), Louise Goffin, and Jerry Joseph.
“Song of December” is a layered track that brings the listener on a journey, with his iconic piano and booming percussions. “It’s a song about the struggle of the creative process, and about finding inspiration to push through that struggle. It’s about looking back at the challenges of the year and looking toward a brighter tomorrow, so it is indeed a hopeful song,” he said. He started writing the song back in 2017 and finally finished it just in time for December.
Greenberg lays all his emotion out in this track, bringing in a multitude of instruments that play together in perfect harmony. With intricate lyrics and soulful vocals, he paints the picture of his struggles with being creative but knows, in the end, everything is going to be okay.
Jazz WaHi has announced a full day of free events in Washington Heights on New Year’s Eve and Day, featuring family-friendly events and various musicians.
Jazz WaHi is a nonprofit organization promoting jazz performance and music education in Washington Heights. Their mission is to connect jazz musicians with an audience of jazz lovers, expanding it through accessible performances and educational opportunities. Washington Heights jazz musicians/educators Louise Rogers and Mark Kross founded Jazz WaHi in 2014.
Every year, Jazz WaHi puts on several events including the Washington Heights Jazz Festival, Jazz WaHi for Kids concert, The Jazz Vocal Series, and the Weekly Jazz Jam.
New Year’s Schedule
New Year’s Eve
Noon – 2: Hot Club Jazz (a la Django Reinhardt) at La CreParis on 187 with Ollie Soikkeli and Brad Brose.
3-3:45: an interactive, participatory performance for kids, focusing on the trumpet. The event will encourage the children to sing and dance, featuring Shareef Clayton, Louise Rogers, and Mark Kross at Le Cheile Upstairs.
5:30-6:30 pm: Making Space for Serenity at St. Frances Cabrini Shrine solo piano with Alec Castro.
6-8 pm: 181 Cabrini with flutist KAT modiano and bassist Maksim Perepilca.
7-9 pm: Jazz and Blues at Kismat with John Albin, Pete Venzel, Adam Asarnow, Rick Strong, and Jeff Potter.
9:30-midnight: Latin Jazz Party at Northend Food Court on Broadway.
New Year’s Day
Noon – 2: New Year’s Day Brunch at Le Cheile with Emiko Hayashi and Steve Marks.
Recently, singer, songwriter, and multi-instrumentalist Louis Cato performed “Winter Wonderland” on a special holiday edition of The Late Show with Stephen Colbert.
Photo: Scott Kowalchyk/CBS.
GRAMMY-nominated and internationally acclaimed multi-instrumentalist Louis Cato has been keeping audiences engaged on The Late Show with Stephen Colbert since its inception in 2015, and was promoted to the bandleader of the group last summer. Since the age of two, Cato started appreciating music with the purchase of his first drumset, citing artistic influence from southern gospel from his native North Carolina. He has an undeniable talent for crafting sonic landscapes into timeless masterpieces. Releasing his first record STARTING NOW in 2017, Louis Cato produced and mixed the entire record by himself.
His newest record Reflections is slow, spirited, and heavenly, showcasing his kind and empathetic essence. Cato is not just a solo artist though, he has worked with an array of other established musicians, like Snarky Puppy, Jon Batiste, Q-Tip, A Tribe Called Quest, and many more, mixing in his artistic capabilities and talents with theirs. With the voice of an angel, melodies that pull you in, and the funk of James Brown, Cato’s sound is unmistakable.
NPR Music just named “Unsightly Room” from the LP one of the Best Songs of 2023, raving “While other artists released big studio productions, Cato’s simple guitar and haunting voice reaffirm the power of back-to-basics songcraft and storytelling. It’s a deceptively sweet song with an earworm melody, but something truly horrifying is lurking in the shadows.”
For more information about Louis Cato, visit here.
Before signing off for the holidays, David Letterman would have on two regular guests for a Christmas show to end the season.
With Paul Shaffer and the CBS Orchestra looking on, comedian Jay Thomas would regale the crowd with, as Letterman put it, “the best story I’ve ever heard,” about an encounter with Clayton Moore, the actor famous for playing The Lone Ranger. It became a holiday tradition for the 17 years until the Letterman retired in 2015.
After Thomas delivered the punchline, he and David Letterman would alternate throwing a football at the meatball on top of the Late Show Christmas tree. To wrap up the show, and the year for the Late Show, Darlene Love would put on a big production with her holiday show stopper, “Christmas (Baby Please Come Home).”
Jay Thomas passed away in 2017, but his humor lives on. Watch below to see the joke over the years.
The Ally Coalition (TAC) held its 9th Annual Talent Show last night at the Jack H. Skirball Center for the Performing Arts in New York City, welcoming once again an incredible array of talented artists and comedians, to support the LGBTQ youth community. The event raised over $430k, which will support TAC’s mission to serve LGBTQ youth through partner organizations around the country.
NEW YORK, NEW YORK – DECEMBER 19: St. Vincent performs with Bartees Strange and Bleachers during The 9th Annual Talent Show presented by The Ally Coalition at Skirball Center for the Performing Arts on December 19, 2023 in New York City. (Photo by Taylor Hill/Getty Images for The Ally Coalition)
The evening, curated and hosted by TAC Founders, Jack Antonoff and Rachel Antonoff, the night featured performances from Bleachers, St. Vincent, Bartees Strange, Jason Isbell, Claud, Clairo, Red Hearse, Andrew Dost, along with comedians Sarah Sherman, Sam Jay, Chris Larker and Jacqueline Novak.
Over the weekend prior, TAC partnered with The Lesbian, Gay, Bisexual & Transgender Community Center in Manhattan for its 2nd annual Day of Services, providing essentials and resources to over 100 unhoused LBGTQ+ youth. New York’s PIX 11 came out to capture some of the day’s proceedings.
NEW YORK, NEW YORK – DECEMBER 19: Bartees Strange, Jack Antonoff, Bobby Hawk, and Clairo perform during The 9th Annual Talent Show presented by The Ally Coalition at Skirball Center for the Performing Arts on December 19, 2023 in New York City. (Photo by Taylor Hill/Getty Images for The Ally Coalition)
Today, there are over 4 million unhoused youth in the USA – with almost 40% identifying as LGBTQ+. These youths are far more likely to be victims of depression, violence, bullying and suicide. The American Civil Liberties Union is tracking nearly 500 anti-LGBTQ bills across the U.S. Over the past decade the TAC Talent Show events have raised over $2M to support unhoused LGBTQ+ youths.
The HERE Foundation, fresh off last year’s successful music festival, announced the date and lineup for HERE for NY, taking place at The Knockdown Center on Feb. 10, 2024.
HERE for NY is the next stop in the global concert series dedicated to creating hyper-local action within cities worldwide. With a focus on supporting local organizations and nonprofits, HERE aims to empower Gen-Z individuals and businesses to impact their communities positively. The festival is the first of its kind, transcending traditional festival experiences and embracing a new era of action, empowerment, and community.
Last December, HERE for LA showcased 22 acts, engaged over 1200 attendees, and made an incredible impact on HERE’s nonprofit partners. HERE Foundation is a non-profit organization that works at the intersection of culture and cause, supporting individuals, organizations, and nonprofits with charitable events, activities, gatherings, and workshops around causes that young people are passionate about.
HERE for NY welcomes artists across genres including Eartheater, Vegyn, Liv.e, RXK Nephew, Underscores, Roy Blair, James Ivy, 454, DJ_Dave, Alice Longyu Gao, Push Ups, and MGNA Crrrta.
“We think people are going to be very surprised when they show up on February 10th,” said co-founders Ethan, Stella, and Connor. “It’s not a vast grass field with the traditional layout and nonprofit booths, we have created something uniquely different from the existing array of festivals out there today” they share.
In line with HERE Foundation’s commitment to social responsibility HERE for NY is excited to partner with Big Reuse and the Urban Justice Center for Social Equity, local nonprofit organizations dedicated to climate justice, social equality, and education. HERE For NY sponsors include Perfectly Imperfect, Dice, and more.
