The Soul Rebels are set to perform for four nights at the Blue Note Jazz Club from Sept. 21 through Sept. 24. The group will also be accompanied by a slew of special guests including Rakim & Big Daddy Kane. Comedian Tony Woods, New York icon Ja Rule, and rapper G-Eazy are all scheduled to host a different night.
A product of New Orleans’ rich musical history, The Soul Rebels is an eight-piece brass ensemble. The band has long been admired for its ability to fuse together elements of jazz, soul, hip-hop, pop, and rock. An artistic Swiss Army knife, The Soul Rebels have performed with the likes of Nas, Rakim, Katy Perry, Portugal. The Man, and even Metallica.
The eight-member collective has appeared on multiple major releases including G-Eazy’s “When You’re Gone” ft. Lil Wayne and Dave East and Nas’ “Godfather 4.” The ensemble’s 2019 album Poetry in Motion impressed listeners and spawned appearances on The Late Show and NPR’s Tiny Desk.
Performing a Blue Note Jazz Club residency is the holy grail of artistic experiences for our band. This opportunity brings together our favorite artists including our long-time friends and collaborators Rakim and G-Eazy and marks our debut performances with Big Daddy Kane and Ja Rule. This Blue Note engagement is truly monumental within our career and in culture. We are going big this year for the 50th anniversary of hip hop.
Drummer and co-founder, Lumar Leblanc.
The Blue Note Jazz Club continues to attract artists from a multitude of musical backgrounds. A Manhattan staple, the institution has been up and running since 1981. The Soul Rebels will be joined onstage by an all-star cast of jazz musicians. Louis Cato, Ray Angry, Elena Pinderhughes, and James Carter are all scheduled to be part of the band’s four-night run of performances.
Blue Note owns and operates New York’s Blue Note Jazz Club, Sony Hall, and Arthur’s Tavern; D.C.’s The Howard Theatre; and Blue Note Jazz Clubs Worldwide, which includes venues in Milan, Italy; Honolulu, HI; Beijing and Shanghai, China; Tokyo and Nagoya, Japan; Napa, CA; and Rio de Janeiro and São Paulo, Brazil.
Here for tickets and more information about the performances.
Barracoon: The Story of the Last “Black Cargo” is a book that I will never forget. The heart-wrenching narrative of Cudjo Lewis, the only living survivor of the transatlantic slave trade at the time of its writing in 1931, offered a glimpse into an important, yet widely unheard narrative. The story, told through three months of conversations between Zora Neale Hurston and Lewis, sheds light on the narrow binaries associated with understandings of the transatlantic slave trade.
Zora Neale Hurston, the author of Barracoon, crafted a raw, engaging masterpiece simply by giving Lewis a platform to tell his story, while preserving his essence within it – written in the vernacular, I felt as if I could hear Lewis’ voice as he spoke of unimaginable horrors. Hurston’s dedication to providing platforms for black voices and perspectives was not limited to Baracoon. Hurston’s spirit, themes of race, gender, and identity, and efforts to preserve and celebrate African American folklore and traditions was present in all her works, hence her influence in the Harlem Renaissance.
The Harlem Renaissance
The Harlem Renaissance, a cultural, social, and artistic movement that took place in early 20th century Harlem, a hub for African American culture and creativity, marked a significant upsurge in African American literature, music, art, theater, and intellectual thought. Hurston is often regarded as an embodiment of the Harlem Renaissance due to her significant contributions to various artistic and intellectual aspects of the movement. Her literary contributions captured the essence of African American culture and experience. Hurston’s anthropological fieldwork was dedicated to collecting stories, songs, and rituals from African American communities as her individualistic, independent spirit sought to break away from traditional constraints. She collaborated with other notable minds of the Harlem Renaissance, and above all else, was dedicated to providing a platform for black voices and perspectives.
Hurston truly embodied the essence of the Harlem Renaissance through her literary, cultural, and intellectual contributions. To understand Zora Neale Hurston as an integral figure of the Harlem Renaissance, it is important to first understand her origins and experiences that would influence her role in the movement.
Early Life
While Hurston was born on January 7, 1891 in Notasulga, Alabama, her childhood centered around her home in Eatonville, Florida, after her family moved there when she was a young girl. Eatonville, a rural community near Orlando, was established in 1887 as the nation’s first incorporated black township by 27 African American men.
Growing up in an incorporated black township, Hurston possessed a unique background that would separate her from the vast majority of African Americans who were subject to the country’s notions of inferiority. Hurston was constantly surrounded by black excellence and achievement – black men were lawmakers with the town hall run by black men, including her father, John Hurston. Black women, like her mother Lucy Pots Hurston, were also in leadership roles, directing the Christian curricula at Sunday School. Everywhere Hurston looked, black excellence was reflected, even in the village store, or on porches full of black men and women engaged in conversation, sharing stories and knowledge.
It was through this experience that Zora’s childhood was relatively happy, with more examples of black excellence and power in her small village than many other young black girls across the South could fathom. However, this happy childhood came to an abrupt end when her mother died in 1904, when Hurston only 13 years old. Hurston’s once close, family unit quickly dispersed – her father’s grieving period was short, marrying a younger woman very quickly after the death of his late wife. Hurston’s father never seemed to have time for his family or children after this new marriage, leaving Hurston isolated and lonely, her once idyllic childhood from a different lifetime gone entirely. Hurston would soon be forced to pack her bags and leave her home, wandering from one family member to another.
The following years were full of their own trials. Once Hurston moved to Jacksonville to live with her brother and sister, she quickly realized the harsh realities of the American South as an African American outside of her township. As a black girl, she was not able to get much education, her only prospects in the eyes of society to work as a maid. Hurston worked a series of jobs to get by, and struggled to complete her schooling. Her brother Robert became a practicing physician and invited her to care for his children. While he provided a roof over her head, he did not encourage her to complete her schooling. Hurston soon ran off with the Gilbert & Sullivan traveling troupe as a maid to the lead singer.
As dismal as this period was, Hurston’s immersion in the world of theater would influence her future role in the Harlem Renaissance, as drama would become a great passion in her life. It is widely thought that Hurston, though she grew popular through her novel writing, would have loved to become a dramatist. However, Hurston’s connection with the theater company ended in 1916 in Baltimore. Fortunately for Hurston, her sister Sarah resided in Baltimore and welcomed her into her home.
In 1917, a 26 year old Hurston had yet to complete high school. It would soon become clear that living in Baltimore with her sister would change Hurston’s life for the better. She was finally able to attend high school and enrolled at Morgan Academy. She famously presented herself as a teenager to qualify for Baltimore’s tuition-free public education system, deliberately representing herself a decade younger with a birth year of 1901, at the age of 16. This was not a temporary measure – Hurston would forever present herself as 10 years younger than she actually was.
Joining the Movement
After graduating highschool in 1918, Hurston enrolled at Howard University. This marked a significant turning point in her life, as she was now able to fully harness her potential and engage likeminded peers. Hurston’s fierry intellect, and infectious sense of humor amongst many other talents worked to her advantage, allowing her to elbow her way into the Harlem Renaissance of the 1920s.
Hurston took full advantage of the opportunities presented to her at Howard University. Lorenzo Dow Turner, the author of Africanisms in the Gullah Dialect, taught her African words, Montgomery Gregory directed her as a member of the Howard Players, and Hurston joined a literary club sponsored by Alain Locke who, recognizing her talent, strongly encouraged her to publish works in the Howard University journals. Through this, she met many other writers, including Bruce Nugent, Jean Toomer, Alice Dunbar-Nelson, and Jessie Fauset, all of whom would become part of the core of the Harlem Renaissance.
By submitting her work to journals, Hurston jump started her writing career and would soon be recognized for her talent. In 1924, she sent a short story titled Drenched in Light to Charles S. Johnson, the editor of the Urban League’s publication, Opportunity. In addition to being published, her story earned second prize in the Opportunity’s annual literary contest. Drenched in Light took place in Eatonville, her home town, taking her personal experiences and making them into a work of art. Recognizing her potential, Johnson urged Hurston to move to New York City to join the creative minds behind the ever growing Harlem Renaissance. Soon enough, Hurston found herself in Harlem.
In 1925, at the next Opportunity awards banquet, Hurston won several more prizes for her work, and also met notable Harlem Renaissance influences including Langston Hughes, Countee Cullen, Carl Van Vechten, Fannie Hurst, and Annie Nathan Meyer, people who would prove to support her time in New York. It was Meyer, one of the founders of Barnard College, who would help Zora get accepted and awarded a scholarship in 1925. Hurston began to study anthropology under Franz Boas, considered the father of modern anthropology.
Hurston’s time at Barnard would prove to have a notable impact on her life and career. Studying under Boas, she learned a great deal about his beliefs in the distinctive culture of African Americans. Boas urged Hurston to do fieldwork in her hometown of Eatonville to preserve her heritage and illuminate black voices and experiences, a practice that would soon become a theme throughout her works. Hurston’s field work, along with her passion and talent for writing, merged. With personal knowledge of her home community and its members, she was able to further richen her stories, creating compelling, masterful pieces. At this time, Hurston truly devoted herself to promoting and studying black culture.
Despite Hurston’s passion and skill, she was constantly weighed down by financial insecurity. In 1927, Hurston had no choice by to accept the aid of Charlotte Osgood Mason, a wealthy white woman who took an interest in Hurston. Mason was willing to fund Hurston’s folklore field studies among African Americans in the South. However, there was a catch. Mason would fund these expeditions as long as she retained control over how the material was utilized.
The decision to accept Mason’s offer did not come without consequences. Hurston would eventually break her academic ties with her professors at Barnard, and would grow more and more worn down by Mason’s controlling nature.
Despite how difficult her arrangement with Mason was, some good came out of it. Hurston found her own style once freed from academic method, writing about her own unique interests without restraint. Hurston would further explore African American culture, finding herself intrigued by hoodoo. She traveled to New Orleans to learn more about the practice and study the life of priests there. In her eyes, hoodoo was a practice in which women were allowed to play a prominent role in its rituals, an uncommon occurrence in Hurston’s time. Perhaps this served as a reminder of the black women in leadership roles from her childhood.
After graduating from Barnard in 1928, she pursued graduate studies in anthropology at Colombia University. Hurston continued her field work during this time, and would soon find herself at the forefront of the Harlem Renaissance.
Renaissance Works
In 1930, Hurston collaborated with her friend and fellow Harlem Renaissance figure Langston Hughes on a play titled Mule Bone: A Comedy of Negro Life in Three Acts. Throughout her career, Hurston’s works largely reflected her upbringing and passion to illuminate black voices. In 1934, Hurston published her first full novel, titled Jonah’s Gourd Vine, a work which was well received by critics for its accurate, genuine portrayal of African American life.
Hurston’s newfound success was paired with newfound stresses. In the early 1930s, as the country was heading towards the Great Depression, Hurston’s relationship with Mason came to a breaking point, leaving Hurston without any income. Hurston put her talents to use, producing a folk musical based on her memories from her childhood in Eatonville. The play, titled The Great Day, debuted in 1931, but was forced to close. Despite this, Hurston continued on with her theater work in the south at Florida’s Rollins College in Winter Park. Her two productions in 1933 and 1934 featured many people from her hometown as actors.
Hurston’s theater productions at Winter Park proved to be even more important than Hurston could have imagined. The theater director Robert Wunsch read Hurston’s short story, The Gilded Two Bits, and sent it to Story Magazine to be published. This publication caught the attention of publisher Betram Lippincott, who asked Hurston if she would submit a novel to him for publication. In 1934, Hurston wrote Jonah’s Gourd Vine, a novel that was published months later. Lippincott would also publish another notable work of hers, Mules and Men in 1935, a study of the folkways among the African American population of Florida.
Hurston would find that the late 1930s and early 1940s would mark the peak of her career, combining her interests in drama, fiction, and anthropology. Following the success of her novels published under Lippincott, Hurston was awarded a Guggenheim Fellowship in 1936, allowing her to continue her field work beyond the American South into Jamaica and Haiti. It was here that she would write another novel, Their Eyes Were Watching God , which would be published in 1937, along with Tell My Horse in 1938, both of which blended her travel writing and anthropology studies based on her investigation of Caribbean voodoo practices. By her 1939 publication Man of the Mountain, Zora had officially established herself as a major author, the works in the late 1930s considered masterpieces.
Later Life and Legacy
Following her peak, Hurston was on the faculty of North Carolina College for Negroes (now North Carolina Central University) for many years, along with serving as a member of the Library of Congress staff.
While Hurston held considerable promise early in her career, her period of success would come to pass. Hurston once again found herself struggling for survival. She worked at the Works Progress Administration in 1938, and despite her desperate situation, found ways to continue on with her mission. She submitted interviews with former slaves to The Florida Negro, interviews which would only be published years later. When the WPA dismantled, an unemployed Hurston found her relevancy had diminished, her novels no longer approved for publication.
Luckily, Lippincott encouraged Hurston to write an autobiography. Dust Tracks on a Road, published in 1942, worked as a saving grace for Hurston. Suddenly, her desperate situation had been transformed into a revival. Her autobiography earned several awards and recognition and her career would further succeed following her collaboration with Maxwell Perkins, the Scribner’s editor of Ernest Hemingway, F. Scott Fitzgerald, and Thomas Wolfe. The project came to an abrupt end when Perkins passed away. The work that Hurston did publish was unlike any of her previous works as her and Scribner’s 1948 work featured an all-white cast of characters, nothing like the characters inspired from her hometown.
Once again, Hurston’s recognition would fade, as she was barely remembered by readers by the time of her death. The next decade of her life largely reflected her earlier years, working as a maid while selling articles to magazines. She struggled financially until her death in 1960.
While the last chapter of Hurston’s life is hardly a reflection of her influence, her works live on today due to a resurgence of interest in her work in the late 20th century. This newfound interest in her works would lead to several collections being published posthumously, including Mule Bone, Spunk: The Selected Stories (1985), The Complete Stories (1995), and Every Tongue Got to Confess (2001), a collection of folktales from the American South.
The Library of America recognized her role in the Harlem Renaissance, in 1995 they published a two-volume set of her work. Even in recent years her work continues to circulate when Baracoon was published as late as 2018. While the story was originally written and completed in 1931, publishers at the time rejected the work die to its use of vernacular, a trait which only makes the work more raw, showcasing itself as a rich piece of history.
While Hurston never received the funds for her efforts, she continued to write books that would ultimately become valuable pieces of history. Hurston’s spirit, themes of race, gender, and identity, and her efforts to preserve and celebrate African American folklore and traditions make her a true embodiment of the Harlem Renaissance.
To learn more about Zora Neale Hurston’s works, find her books here.
On the summer evening of Tuesday, Aug. 15, Shakey Graves pulled a crowd of friends, strangers, and lovers to the rooftop of New York City’s Pier 17. On their “Movie Of The Week Tour,” Shakey Graves is celebrating the release of their newest EP, Big In The World. New York City was lucky enough to be a stop on Shakey Graves’s map, for the performance was unlike anything else the rooftop has seen before. As the unique sunset of pearly pink tufts and layers of soft yellow fortified, the perfect evening settled and waited for the show to begin.
Photograph by Emma Dowd.
Lucius, the opener, put on a riveting show of their own. The Brooklyn-born indie-pop band successfully combined the subgenre of alt-pop with disco tech, which called for a dancey audience. The crowd sang along with the instruction of lead singers, Jess Wolfe and Holly Laessig. Their matching hot pink blazers couldn’t be missed, neither could their impressive lyricism and captivating stage presence.
The duo left the stage, while the band held the set with an instrumental serenade. After a brief interlude, Wolfe and Laessig returned in disco-tile mini dresses. They made their way to the center of the audience, and the entire venue took a seat to listen and admire. At the center of gracious applause, Lucius closed out their performance.
Photograph by Emma Dowd.
In between Lucius’s and Shakey Graves’s set, the rooftop filled up with fans. A vital cooling August breeze rolled off the East River and sewed its way between the bodies of the crowd. With the wind came a threatening sheet of gray clouds holding in their bellies of rain, but the crowd stood unwavering, true to Pier 17’s rain-or-shine nature. Thankfully the weather prevailed, and the night remained nothing short of perfect.
As the sun finally set vocalist of Shakey Graves, Alejandro Rose-Garcia, made his way onto stage dressed in all black, from his cowboy hat down to his boots. It was just him on the stage for the first two songs. During that time he introduced himself with his guitar and established his tuneful and guttural vocals. He spoke about the theme of his show before singing his song “Late July,” saying “The running theme of tonight’s music is that time flies by.” In New York City fashion, time whirred around and above the audience, across the Brooklyn Bridge, and in the flickering seconds of the downtown skyline. Though, time moved slowly on the rooftop, for the audience swallowed every guitar strum and studied the lyrics like a hymn.
Photograph by Emma Dowd.
The rest of his six man-band joined him for the third song of the set. Cameron Neal, Patrick O’Connor, and Taylor Craft owned the strings. Matt Pence conducted the versatile percussion, and Dancey Jenkins commanded the keys. The sound was immediately elevated, and the smokey influences of blues, folk, country, and psychedelic rock could be heard clearly and with intent.
Photograph by Emma Dowd.
The music became something tangible through the physical effect it had on the audience. It became elusive as it settled as personal emotion in everyone’s gut. Pockets of people danced barefoot on the concrete, piling up their shoes, tossing their bags, and stomping on the rooftop. There was something about Shakey Graves’ music that was so raw, so human, that it elicited movement. Music can do that, it makes the body want to feel the ground connect with its soles, meet skin with every beat, and allow the passage of the body to really feel the relationship between sound and soul.
Photograph by Emma Dowd.Photograph by Emma Dowd.
The band paused their performance for Rose-Garcia to make a toast. “I want to congratulate all of you on making it through some crazy shit… I have a lot of things I love that I need to be more grateful for, family and friends… to you and yours, may you live forever. Cheers.” A roar of gratitude washed from the crowd onto Shakey Graves. Audience members embraced each other and smiled endearingly at their best friends and lovers, daughters and sons, mothers and fathers. Bodies held each other a bit tighter, and stood a bit closer, as the rest of the show unfolded.
Photograph by Emma Dowd.
Shakey Graves’s music spotlights the romance, the pain, the peace, that comes with falling in and out of love with people, places, and moments in time. It’s the moments of transition, realization, and reckoning that live in their lyrics. People sang their songs like they would solidify a promise, so faithful and sure. The rest of the evening consisted of songs of old and new. Rose-Garcia spoke on his relationship with New York City, one he created when he was young and “flat broke,” which landed relatable to the crowd of New Yorkers. He told the birth story of his hit single, “Tomorrow” (released in 2016), and how he wrote it during his time in the city.
The band left the stage, but the crowd remained in hungry anticipation of an encore. Sure enough, the band met the audience’s needs and returned to the stage for a branding final performance. People towards the spacious back end of the crowd let loose, dancing with their entire bodies and singing with their hands clasped to their chests. The band expressed their gratitude once more, and Rose-Garcia introduced his band members. When it came time for Shakey Graves to leave and the lights to turn on, everyone remembered it was a Tuesday night. Time sure had flown by, just as the band promised it would.
World Music Institute recently announced that Arooj Aftab, Vijay Iyer, and Shahzad Ismaily will be stopping at The Town Hall in Manhattan on September 14. The event will be a performance of the group’s self-titled 2023 album titled Love In Exile. Together, the trio concoct mesmerizing music by incorporating sonic elements from around the world.
Brooklyn-based vocalist Arooj Aftab burst onto the scene with her captivating debut project Bird Under Water in 2015. Since then, the Pakistan-born artist has been making waves for her alluring voice and varied musical range. With Love In Exile, Aftab partnered with esteemed pianist Vijay Iyer and instrumentalist Shahzad Ismaily to create a project unlike many others.
Jazz and South Asian traditions help to influence the sound of Love In Exile. Despite the album’s footing, it is a swirling and genreless piece of music. The project is as eerie as it is entrancing, and is truly a unique listening experience. As a group Love In Exile aims to deliver a spellbinding live show. The trio dips into the improvisatory soul of jazz and the Urdu poetic tradition to create a performance full of “timeless beauty and sudden surprise”.
What Is World Music Institute?
World Music Institute was founded in 1985 and has long stood as one of the pillars of American music and dance. The non-profit looks to bring the best music from around the world to venues throughout New York City. WMI attempts to foster awareness and appreciation for the cultural traditions of people across the globe through performances and conversations. The New York State Council on the Arts and the New York City Department of Cultural Affairs partially support the program.
Kalia Vandever, a Brooklyn trombonist and composer, will open the show. Vanderver’s nuanced approach to the trombone is distinctive and defined by her resounding tone and lyrical improvisational voice. We Fell In Turn, her debut solo album, released back in March and featured works for trombone, voice, and electronics.
Here for tickets and more information about Love in Exile.
Mexican music icon Alejandro Fernández has pledged support for the New York Immigration Coalition, announcing that he will donate portions of proceeds from his upcoming performance at Hulu Theater at MSG to the organization.
“To our Latino community and families in New York, my heart is with you…you are a part of all of us. I can only imagine how hard these times are as you seek a safe place for you and your families in a foreign land. You have my support wherever you are.” says Fernández.
New York has seen the arrival of over a 100,000 asylum seekers and migrants in search of safety and opportunity in 2023. While some have been able to start their lives, many more are struggling with housing shelter challenges that include inadequate facilities or food, and the difficulties of working. The New York Immigration Coalition has been chosen as the recipient of these funds given their long-standing role advocating on behalf of immigrant New Yorkers and their response efforts to help welcome these families.
Alejandro Fernández, son of the legendary Vicente Fernández, rose to global fame with his unique take on Mexican music. He is known for his records that speak of hard emotional truths. surprising his fanbase with his musical versatility in different genres. He is a 2x Latin GRAMMY winner and has a star on the Hollywood Walk of Fame. He has a long history of helping others through his music and shows. In 2023, he pledged his support for the “Friends of the Latino Museum” and their efforts to secure a spot on the National Mall in Washington D.C. for the planned National Museum of the American Latino. His 2021 US tour raised over $100,000 for “Families Belong Together” to unite immigrant parents and children separated at the US border.
In 2020, he launched (along with a coalition of artists) the “Vota Por Nosotros” (Vote For Us) get-out-the-vote campaign, encouraging Latino voters to vote. The same year, he joined Mana’s Fher Olvera as the face of the “We Are Home” campaign calling for a fair and dignified immigration policy for the millions of Latino immigrants living in the US and again with Dr. Anthony Fauci in a call for the US Latino population to get vaccinated against the COVID-19 virus.
Photo credit Chino Lemus.
Murad Awawdeh, Executive Director, New York Immigration Coalition said, “We are immensely grateful to Alejandro Fernández for his generosity in uplifting the needs of New York’s newest arrivals to a global audience. His humanitarian action unites Latinos across continents, as well as recognizes the challenges faced by all those fleeing violence and persecution in search of safety. His support and the matching contribution from Live Nation will ensure that the New York Immigration Coalition can continue to advocate for and serve the needs of asylum seekers and all immigrants in New York City and across the state.”
Live Nation will matchFernández’s donation when he performs at The Hulu Theater at Madison Square Garden on Oct. 14, 2023 on his Amor y Patria tour. Tickets are available here.
Here Lies Love, the groundbreaking new musical from David Byrne and Fatboy Slim, is pleased to announce a one-night-only post-show DJ set from Fatboy Slim immediately following the Thursday, August 31st performance at the Broadway Theatre (1681 Broadway at 53rd Street). Every audience member who purchases a ticket to that evening’s performance of Here Lies Love can remain for the post-show set; seated and standing patrons will remain in their ticketed locations, but everyone is invited to stand up and dance.
David Byrne said, “Working with Norm on Here Lies Love was a joy. This night will be something I can’t even imagine. If you’ve never seen his videos, watch them, the best ever.”
Here Lies Love co-producer DJ CherishTheLuv said, “This rare night on Broadway with Fatboy Slim is for the true party rockers and tastemakers. Whether I’m DJing for MTV or Fashion Week, it is the savviest folks in the crowd who tear up the floor when I drop Fatboy’s “Right Here, Right Now” and then request “that Christopher Walken song.” I’m excited to be transported back to some good times, REALLY good times, and make amazing new memories on a special night at Here Lies Love!”
Here Lies Love began previews Saturday, June 17 and opened to rave reviews on Thursday, July 20, 2023.
From David Byrne Academy Award®, Grammy® Award, and Tony Award® winner) and Fatboy Slim (Grammy Award winner), Here Lies Love is “a truly fabulous piece of visual theater with a soundscape more beautiful, more exciting and more surprising than any score on Broadway” (Chicago Tribune). This revolutionary new musical about former Filipina First Lady Imelda Marcos’ astonishing rise to power and subsequent fall at the hands of the Philippine People Power Revolution, has been hailed as “a political chiller that’s also a red-hot adrenaline rush” (Ben Brantley) “that makes you believe you could dance all night” (The Washington Post).
From its world premiere at The Public Theater in 2013, Here Lies Love has enjoyed popular and critical acclaim. The show returned to The Public in 2014-2015, debuted at London’s Royal National Theatre in 2014, and most recently opened at Seattle Repertory Theatre in 2017.
Developed and directed by Alex Timbers (Tony Award winner) and choreographed by Annie-B Parson (Olivier Award nominee), Here Lies Love is a “roof-raising, disco-infused extravaganza that turns the theatre into a dance floor with thrilling results” (The Guardian). Following sold-out, critically acclaimed runs at The Public Theater, London’s National Theatre, and Seattle Rep, “Here Lies love is the most entertaining new show on Broadway right now” (ABC7). Ticket buyers can experience this “undeniably enjoyable show” (New York Post) in two ways: seated or standing immersed within the action.
The show features the first all-Filipino cast to perform on Broadway: Arielle Jacobs (In The Heights, Aladdin, Between The Lines) as “Imelda Marcos,” Jose Llana (The King and I, The 25th Annual Putnam Country Spelling Bee) as “Ferdinand Marcos,” Conrad Ricamora (“How to Get Away with Murder,” The King and I, Soft Power – Grammy nominations) as “Ninoy Aquino,” Melody Butiu, Moses Villarama, Jasmine Forsberg, Reanne Acasio, Jaygee Macapugay, Julia Abueva, Renée Albulario, Aaron Alcaraz, Carol Angeli, Nathan Angelo, Kristina Doucette, Roy Flores, Timothy Matthew Flores, Sarah Kay, Jeigh Madjus, Aaron “AJ” Mercado, Geena Quintos, Shea Renne, and Angelo Soriano.
Tony and Olivier Award winner Lea Salonga, a global Filipina legend, will also join the cast for a special guest engagement this summer, performing for five weeks from Tuesday, July 11 through Sunday, August 13.
Creative Team
Here Lies Love is produced by Hal Luftig/Kevin Connor, Patrick Catullo, Clint Ramos, Jose Antonio Vargas, and Diana DiMenna and Plate Spinner Productions, with Aaron Lustbader serving as Executive Producer.
The creative team for Here Lies Love on Broadway includes three-time Tony Award® nominee David Korins (scenic design), Tony Award® winner Clint Ramos (costume design), Tony Award® winner Justin Townsend (lighting design), M.L. Dogg & Cody Spencer (sound design), and three-time Tony Award® nominee Peter Nigrini (projection design), with casting by Tara Rubin CSA, Xavier Rubiano CSA, Gail Quintos and general management by Foresight Theatrical. Additional creative team members include ATW Jonathan Larson Grant recipient J. Oconer Navarro (music director), Billy Bustamante (assistant director), Renée Albulario (assistant choreographer), Bobby Garcia (casting consultant/Philippines), Gregory T. Livoti (production stage manager), and Ryan Gohsman and Sheryl Polancos (assistant stage managers). Giselle “G” Töngi is the show’s Cultural and Community Liaison.
They are joined by Lea Salonga, H.E.R., Jo Koy, Apl.de.Ap/Tala Creative Live, Rob Laqui, Giselle “G” Töngi, Adam Hyndman, Eva LaBadie, Georgina Pazcoguin, Marikit Ventures/Miranda Gohh, DJ CherishTheLuv/Garcia At Rodis, Don Michael H. Mendoza/Lora Nicholas Olaes, Celia Kaleialoha Kenney/Jeremiah Abraham, No Guarantees, Yasuhiro Kawana, Elise K. Haas, Len Blavatnik, Warner Music Entertainment, Shira Friedman, James L. Nederlander/Independent Presenters Network, LaChanze, Wendy Federman/Suzanne Niedland, Katler-Solomon/Charlotte Cohn, Cathy Dantchik, Elizabeth Armstrong, John Gore Organization, The Shubert Organization, Hunter Arnold, Creative Partners Productions, Eastern Standard Time, Global Creatures, The Public Theater, Triptyk Studios, Iris Smith, Michael Robin Productions/Anastasia Muravyeva, Alexi Melvin/Beesham A. Seecharan, Andrew Diamond/Patrick Trettenero, Buzzy Geduld/Gilad Rogowsky, Craig Balsam/David Brendel, Sok Sabai Productions/Ride or Die Productions, Marco Santarelli/Das Ellman & Howe, Linden Delaney/Smigelrutter Fitviavi, and Laura Ivey/Janet Brenner.
Ticketing Information
Tickets are on sale now at Telecharge.com, by phone at 212-239-6200, or at the Broadway Theatre box office (1681 Broadway at 53rd Street).
For information on groups of 10+, contact Broadway Inbound at broadwayinbound.com or call 866-302-0995.
Rush tickets are available in-person at the Broadway Theatre box office on the day of the performance for $35 each. Tickets are limited to a maximum of 2 per person and are subject to availability.
Digital lottery entrants can register for the chance to purchase up to 2 tickets at $39 each. Entries for the Here Lies Love digital lottery start at 12 AM, one day before the performance, and winners are drawn the same day at 10 AM and 3 PM. Visit rush.telecharge.com for more information and to register. Drawings only appear when they are open for entries.
Irving Plaza was set ablaze on Aug. 11 as the vibrant indie-pop sensation, Tessa Violet, took the stage, with the equally captivating Frances Forever opening the night. The air was charged with excitement as fans streamed into the venue, anticipating a musical experience that promised to be nothing short of unforgettable.
With Tessa Violet’s reputation for infectious energy and Frances Forever’s rising popularity, the anticipation was palpable. As the lights dimmed and the first chords reverberated through the air, it was clear that this concert would be a convergence of artistic talent and a celebration of the profound connection between musicians and their devoted followers.
Frances Forever (photograph by Chinaza Ajuonuma)
Frances Forever, the burgeoning indie-pop sensation, is carving a unique path with their music that resonates deeply with audiences across the globe. Born from a rich tapestry of influences spanning from folk to lo-fi bedroom pop, Frances Forever delivers an unmistakable sound that stands out in today’s music landscape. With introspective lyrics and melodies that effortlessly navigate themes of love, identity, and the rollercoaster of emotions that come with growing up, Frances Forever has captured the hearts of listeners seeking authenticity and reliability.
Their breakout hit “space girl” and the subsequent releases have showcased a rare combination of vulnerability and catchy hooks, solidifying their place as a rising star in the indie scene. With an ever-growing fan base and a distinctive musical style, Frances Forever is undoubtedly an artist to watch as they continue to craft music that leaves an indelible mark on listeners and charts a fresh course in the world of indie-pop.
Frances Forever (photograph by Chinaza Ajuonuma)
Frances Forever’s opening performance was an absolute whirlwind of emotions and musical prowess. Kicking off with a powerful mashup of “depression” and “cry inside my car,” they immediately set the tone for an intimate and emotionally charged set. The audience was captivated by the seamless transitions between songs and the raw authenticity that Frances Forever brought to the stage. Tracks like “Mr. Man” and “Frankenstein Wannabe” showcased their ability to blend introspective lyrics with energetic melodies, creating a dynamic and engaging atmosphere.
The standout moment of the night was the live performance of “Monica Gives Me Lockjaw,” an unreleased gem that resonated deeply with the crowd. The unrestrained emotion and vulnerability in their delivery left an indelible mark, reaffirming their status as a rising indie sensation. The juxtaposition of heartfelt tracks like “my condolences to myself” with the infectious energy of “paranoia party” demonstrated Frances Forever’s versatility and the range of emotions they can evoke through their music.
“Space Girl” served as a fitting conclusion to their set, leaving the audience with an anthemic chorus echoing in their minds. Frances Forever’s performance was a journey through introspection, heartache, and catharsis, all expertly woven into a mosaic of indie pop brilliance. Their ability to connect with the audience on such a personal level while delivering a polished and energetic performance is a testament to their burgeoning talent. As they left the stage, the crowd was left buzzing with excitement, fully immersed in the emotional rollercoaster that Frances Forever had taken them on.
Frances Forever Setlist: depression / cry inside my car (Mashup), Mr. Man, fuck u, Frankenstein Wannabe, treehouse, Stuck, my condolences to myself, Monica Gives Me Lockjaw (Unreleased), paranoia party, space girl
Tessa Violet (photograph by Chinaza Ajuonuma)
Tessa Violet, an emerging luminary in the indie-pop realm, is captivating audiences with her distinctive blend of introspection, vulnerability, and clever lyricism. From an eclectic musical background that spans genres, Tessa Violet has cultivated a sound that effortlessly weaves together catchy melodies and deeply relatable narratives. Her breakout tracks, such as “Crush” and “Bad Ideas,” have resonated deeply with listeners for their unfiltered portrayal of emotions and self-discovery.
With an innate ability to craft songs that explore the highs and lows of relationships and personal growth, Violet has firmly established herself as a rising star in the music scene. Beyond her music, her engaging presence and relatable charm have endeared her to fans around the world. As she continues to evolve as an artist and explore new musical territories, Tessa Violet’s journey promises to be a captivating one, leaving an indelible mark on the indie-pop landscape.
Tessa Violet (photograph by Chinaza Ajuonuma)
Tessa Violet’s electrifying performance was a showcase of her artistry, vulnerability, and boundless energy. The night held a series of delightful surprises, starting with Frances Forever joining Tessa on stage during “Play with Fire,” adding an extra layer of charm to an already captivating song. Violet’s interaction with the crowd brought a personal touch to the show, prompting them to share their gratitude, leading to a delightful chant about dopamine. As she ventured into deeper conversations, she hopped off the stage to engage with fans, leading to a heartfelt exchange of dreams and desires.
A poignant moment followed as Tessa introduced “I Don’t Know Who I Am Without You,” drawing from personal loss and connecting with the audience through a powerful and heartfelt performance. Throughout the show, her dynamic outfit changes, from the golden goddess dress to the iconic pink armor, added to the visual spectacle of the night.
Her connection with her band members was evident, particularly with her fiancé Dante Cimadamore on guitar and Mike McKerracher on drums, who joined her on stage for an intimate dance during “I Don’t Know Who I Am Without You.” The live rendition of “When the Curtain Falls” was introduced with Tessa’s characteristic witty banter, giving a glimpse into the theme of her introspective and multi-dimensional album MY GOD!
The set design, featuring a painting depicting Violet’s different personas, was a visually striking representation of her evolving artistry. Her acoustic take on “Bad Ideas,” with the crowd enthusiastically contributing to the ad-libs, showcased her effortless ability to engage and uplift the audience. Her candid speech on confidence, positive affirmations, and self-love resonated deeply, and the collective affirmation exercise led seamlessly into her empowering anthem “Bad Bitch.”
Tessa Violet (photograph by Chinaza Ajuonuma)
The show’s high-energy climax during “Crush” saw her stepping off the stage, mingling with the crowd, and sharing the microphone, creating an unforgettable moment of connection. The evening wrapped up with an encore featuring Frances Forever and their band, dancing, celebrating, and line dancing along with her during a spirited rendition of “Born This Way.” Tessa Violet’s performance was more than just a concert; it was an immersive journey through her music, emotions, and empowering spirit, leaving the audience inspired and invigorated.
Tessa Violet Setlist: YES MOM, Breakdown, Play With Fire, Again Again, Good Things Go Bad, Haze / Wishful Drinking (entitled on the setlist, Hazeful Drinking), I Like (the Idea of) You, I Don’t Know Who I Am Without You, When The Curtain Falls, song without a title, Games, Bad Ideas + Liability by Lorde (Mashup), Honest, BAD BITCH, Kitchen Song (voice memo), Kitchen Song, MY GOD!, You Are Not My Friend, Crush
Encore: Born This Way (Lady Gaga Cover)
Tessa Violet (photograph by Chinaza Ajuonuma)
In terms of upcoming shows, “MY GOD! The Tour” will be wrapping up on Sept. 7 in San Diego. If you find yourself in the UK later in September, you can also catch Tessa at Bittersweet Daze!
Updates for any future Tessa Violet shows can be found on socials, and her website. The same goes for Frances Forever, and you can find their socials and website linked here.
There is perhaps nothing more synonymous with hip-hop than New York City. The genre was birthed, nourished, and has continuously evolved thanks to the five boroughs. From hip-hop’s Jamaican influence to its eventual inception on the streets of the Bronx, NYC has helped to propel hip-hop into the mainstream giant that it is today.
New York City has produced an endless list of iconic and influential hip-hop figures, from the all important Grandmaster Flash, to The Notorious B.I.G, and even to groups like Wu-Tang. The city has been a hotbed for rappers and hip-hop artists throughout much of the genre’s history. Acts like Nas, Jay-Z, 50 Cent, and Nicki Minaj have not just become rap superstars, but have elevated to some of the biggest names in all of music.
NYC Rapper Nas performing
NYC DOMINANCE
Part of the aura and mythos surrounding New York is not just the artists that are associated with the region, but also the way that the city itself has influenced the music. Having originated in the Big Apple, hip-hop was inherently New York. From its embryonic stages in the ’70s to its “gangsta” personality in the ’90s, the genre’s identity has been linked to NYC for much of its lifespan.
For close to 30 years the “sound” of hip-hop was the “sound” of New York. Characterized by confident flows, lyrical versatility, classic samples, and an atmosphere of authenticity, “East Coast Rap” was the ultimate standard.
Historically, hip-hop acts from the city have dominated, whether it be commercially or critically. Seven of the top 25 highest selling hip-hop albums belong to New York artists, a mark higher than any other city . Additionally, of the twelve rappers/hip-hop artists currently in, or scheduled to be inducted into the Rock & Roll Hall of Fame, seven come from NYC, with two more representing Long Island.
Hip-hop pioneer Grandmaster Flash
The popularity and success of hip-hop in NYC led to the genre’s diaspora throughout much of the United States. By the mid to late ’90s Los Angeles, Chicago, and Atlanta were all major players in the scene. Artists like Tupac, Snoop Dogg, Outkast, Lil Wayne, Common, etc. all had tremendous success being outside of NYC, however up until the last 10-15 years it was still the Empire City that really moved the needle.
A CRUMBLING EMPIRE
Despite NYC’s hip-hop pedigree, the “East Coast” sound that made it so influential has become quieter and quieter in recent years. Instead, influences of trap, drill, cloud rap, and even reggaeton have filtered into the city to create a diverse, intricate, and hard to pin down sound from many NYC artists. Even with the likes of rappers like Joey Badass, Fabolous, and Roc Marciano, the often grimy, word play heavy, and sample laden sounds of the ’80s through early 2000s East Coast rap has largely dissipated from the city.
As NYC has lost its sound, other cities have refined theirs. Today, avid hip-hop fans will easily be able to identify where certain artists are from within seconds of hitting the play button. Acts like 21 Savage, Lil Baby, and Migos all have a distinct sound and atmosphere that connects them with Atlanta. Other artists like GloRilla, Moneybagg Yo, Key Glock, and the late Young Dolph boast specific features and elements that represent Memphis.
On Complex’s 2023 list of “The Best Rap Cities Right Now”, NYC sat at #2, yet there was no city with more of a musical or even social disconnect between its most prominent artists. In terms of musicality, and apart from maybe an accent, there is very little that artists like Ice Spice, A$AP Rocky, Fivio Foreign, and Nicki Minaj have in common.
Nicki Minaj
“As a whole town we’re losing… I’m talking about the new New York, who do they have to look up to? We’re losing identity and it’s crazy because we was the treadsetters,” Queens legend N.O.R.E. said in a 2013 interview with DJ Vlad.
Not only has there become a stylistic schism in NYC but there has been a long standing adversarial attitude amongst many of its biggest artists. Of course there’s the well publicized beef between Jay-Z and Nas, then there’s 50 Cent taking on all of NYC, and in the 2010s it was Nicki Minaj and Cardi B. While other places were fostering and supporting new sounds, promoting upcoming artists, and building together, many New Yorkers were divided.
“The older rappers that were already situated in the city didn’t pay up-and-comers no mind if they didn’t sound like the old sound. Bobby Shmurda was the first one with a newer sound, a different sound, that was accepted by New York City hip-hop culture,” Jamel Robinson, the host of Brooklyn rap Youtube Channel Melz TV said in an interview with Complex.
The mention of Shmurda’s name also shines a light on another troubling aspect of NYC’s identity crisis. Controversy and tragedy have plagued the city’s biggest and brightest stars. Shmurda burst onto the national stage after the release of his mega-hit “Hot N*gga” in 2014. Proudly repping NYC, the then 19-year-old became an internet star, spawning viral trends and memes all around social media. Just two years later however, Shmurda would be sentenced to seven years in prison after facing conspiracy and weapons charges. The rapper helped to pave the way toward a renewed New York sound and image, but his untimely removal from the game left NYC without another trailblazer for years.
Bobby Shmurda
Unfortunately, the artist that would garner the same kind of attention as Bobby would also have a short run at the top. Fellow Brooklyn rapper Pop Smoke took hip-hop by storm in 2019. Blending Chicago and UK Drill with a distinctly New York attitude, the artist was hailed as one of the next Brooklyn legends. But, while renting a house in LA in February of 2020, Pop Smoke was tragically shot and killed during a botched home robbery. Once again the city was left without an artistic talisman.
Warning signs of NYC’s eventual fall from hip-hop have been there for years. Even New York’s own have referenced the influence of other locations and subgenres. In A$AP Rocky’s 2011 song “Palace”, he sings “Harlem N*ggas gon’ be feelin’ this, East Coast n*gga but how trill is this?” alluding to the Houston slang term “trill”. Rocky goes onto praise the Texas city later in the track rapping “Influenced by Houston hear it in my music, a trill n*gga to the truest, show you how to do this”.
The Harlem’ native’s love for Southern sounds helps to demonstrate the way in which New York artists have grown to accept and incorporate other attributes of hip-hop. While New York’s current sound may represent the diversity within music and the area’s population as a whole, it diverges from the hip-hop legacy that was crafted there. Without identifiable qualities and features, it makes it hard to discern a “New York City” artist from any other act.
Perhaps New York’s current lack of identity is due to the natural evolution of genres, especially in a place that has such deep roots in one specific kind of music. It may be the normal progression of any artistic originator to eventually move on from the elements and features that made it so special to begin with.
Whether it be because of a natural artistic change, tension between artists, or even just “bad luck”, New York City’s reputation in hip-hop has faded over the last 10-15 years.
Pop Smoke
UPSTATE IS THE NEW “EAST COAST”
But, as the longstanding “East Coast” sound has begun to leave the blocks of New York City, a refurbished sound has traveled upstate, seeping into cities like Albany, Rochester, Syracuse, and most notably Buffalo. These cities have partially curated their own subgenre of hip-hop, characterized by many of the same ideas, trends, and themes that helped to establish NYC as a mecca.
The most notable of these artists hail from Buffalo and are a part of the “Griselda” collective. Spearheaded by Benny the Butcher, Conway the Machine, and Westside Gunn, the three have helped to carry the torch for the “new wave” of hip-hop coming out of Upstate New York.
While they all certainly have their own individual characteristics, like Westside’s unique flow or Benny’s confident delivery, their music all shares similar themes and perhaps most apparent, a certain atmosphere. Defined by lyrics about drug dealing, street smarts, high fashion and systematic failures, their content is the musical offspring of acts like Wu-Tang, Mobb Deep, Onyx, and even early Jay-Z.
“I just do me and if you like it, you like it, if you don’t, you don’t… me being a real individual, people love that. It’s enough to build a cult following. It’s not a gimmick, this is just what we do for real, ” Westside Gunn said in an interview with Complex.
Westside Gunn
Conway’s authenticity and edge mirrors much of the sentiment that ’90s and traditional East Coast rappers were known for. The success of Griselda has helped to provide sustenance for a section of hip-hop fans who have been starving for a more gritty and dark sound.
It’s all the way left [west] from the City but the mindset is similar, very similar
It’s not just the lyrics and attitude of Griselda that calls back to the boom-bap era of East Coast rap, it’s also their production. For years the trio has enlisted the help of the producer Daringer, who has seemingly managed to hold onto all the unused samples, sounds, and techniques that legends like DJ Premier and RZA would’ve craved for.
In an era where hip-hop production is full of cheap snares, 808s, synths, overdone bass, and half-baked samples, Griselda and Daringer combine to create beautifully violent, vivid and foreboding records. Even lacking drums at times, their tracks provide a listening experience unlike anything in contemporary hip-hop.
Streaming apps like Spotify and Apple Music can easily expose lovers of Griselda to other similar artists. And after some quick research it’s clear to see that a lot of these “similar artists” come from Upstate New York.
Whether it’s Syracuse’s Stove God Cooks, Rochester’s 38 Spesh, or the plethora of other Buffalo artists, there is a blossoming of rap talent in Upstate New York. While this vibrant and nostalgic subgenre has been making waves in and amongst hip-hop heads for years, it has yet to make a big splash in the mainstream.
“It’s more about being creative, making dope music, and just solidifying my name. I don’t give a fuck about none of the other shit,” Stove Good Cooks told Peter Rosenberg in a conversation with Hot 97.
Despite the individual success of some artists in the subgenre, there has yet to be a track or album that has crossed over into popular music. Benny The Butcher gained notoriety for having J.Cole on “Johnny P’s Caddy” while Conway and Westside appeared on Ye’s Donda. With that being said there is still a disconnect between mainstream hip-hop lyricists like Cole, Kendrick, Cordae, JID and many acts from the grimier subgenre.
Buffalo rapper Che Noir
Although widespread commercial success has evaded the subgenre as a whole, the influence and inspiration that it has supplied cannot be ignored. Back in 2021 Tyler, The Creator credited Westside Gunn for “making me want to rap again”. Additionally, legendary comedian Dave Chappelle has gone on stage to shout out Griselda.
Thanks to the ground covered by some of the larger acts in the subgenre, rappers like Rome Streetz, Che Noir, Mach-Hommy, plus producers like Conductor Williams have all been able to shine. Even without large-scale commercial backing, the subgenre has provided some of the most talented and innovative artists in contemporary hip-hop.
As hip-hop celebrates its 50th anniversary, the genre has never been more accessible, popular, or accepted. While the future trends and sounds that will define New York hip-hop are unknown, it seems all but certain that artists outside of the traditional NYC metro will have an impact. Amongst a flurry of sonic changes and social media fads, there’s something refreshingly nostalgic about the style of hip-hop emanating from Upstate. Although NYC has relinquished its throne as the genre’s king, the state of New York is still an important thread in hip-hop’s cultural and musical web.
Former bassist and singer of Deep PurpleGlenn Hughes, known to millions as the ‘Voice of Rock,’ a Rock and Roll Hall of Fame inductee, and the front man for rock super group Black Country Communion, has just announced a tour devoted to celebrating music from BURN and other classic hits from Deep Purple’s rich back catalog – during a tour that will mostly see Hughes co-headlining with notable guitarist Yngqie Malmsteen. The tour across the U.S. will stop in several cities across New York, including Hudson Falls, Poughkeepsie, and New York City.
Billed as “Glenn Hughes Performs The 50th Anniversary of Deep Purple’s BURN Live”, Hughes will perform classic hits from the legendary album, and the addition of Deep Purple MKIII and MKIV songs. Glenn’s band will feature Soren Andersen (guitar), Ash Sheehan (drums) and Ed Roth (keyboards).
“It was 50 years ago, in the summer of 1973, that the BURN album by Deep Purple was written at Clearwell castle in Gloucestershire UK,” reminisces Hughes. “It was recorded in October in Montreux, Switzerland.”
Continues Hughes, “We all became one in this centuries old castle in the UK countryside, it felt like Deep were a new band, with David (Coverdale) and I as new members, we couldn’t wait to start working on new song. The atmosphere was electric, in such amazing surroundings.”
“All the songs on Burn were written in the crypt/dungeon, underneath the great hall. We worked on a new song every day, and we were in the flow. Musically we would play, and work out ideas, and David and I would come up with vocal melodies that would later have lyrics. I remember it like it was yesterday.”
“As you could imagine, Ritchie Blackmore was in full prankster mode, Jon had warned me, and he rigged my room one night with a speaker that was hidden, and had ghostly voices delivered to my bedside.”
“The title track was the last song to be written. We came back from the pub, and went down into the crypt, and magic happened.”
Concludes Hughes, “It’s time to celebrate BURN, and I’m really looking forward to seeing you!”
Glenn Hughes Biography
Glenn Hughes is an inductee into the Rock and Roll Hall of Fame as part of the MK 3 line up of Deep Purple. He spent the formative years of his career as the beloved bassist and vocalist of the group and performed on the classic albums Burn (1974), Stormbringer (1974) and Come Taste The Band (1975).
The vocalist/bass guitarist/songwriter is a true original. No other rock musician has carved such a distinctive style blending the finest elements of hard rock, soul and funk. Stevie Wonder once called Hughes his favorite white singer. The first important band Hughes was a member of that achieved notable success was Trapeze.
In 1973, Hughes joined Deep Purple. The trailblazing hard-rock legends had just weathered the departure of vocalist Ian Gillan and bass guitarist Roger Glover, but guitarist Ritchie Blackmore, keyboardist Jon Lord and drummer Ian Paice continued with the addition of Hughes and David Coverdale.
Since 1992, Hughes has toured extensively in Europe, Japan, and South America in support of solo albums. He’s recorded four studio albums with the multi-award-winning supergroup Black Country Communion featuring guitarist Joe Bonamassa, keyboardist Derek Sherinian (Dream Theater) and drummer Jason Bonham, son of the late Led Zeppelin legend John Bonham.
In 2016 he released his critically acclaimed solo album Resonate featuring the rock radio hit “Heavy” and in 2017 he released Black Country Communion’s fourth studio album BCCIV to ecstatic reviews.
In 2019, Glenn joined the Dead Daises as their lead singer and bass guitarist, recorded two albums, HolyGround (2021) and Radiance (2022) and toured the world.
Jonathan Wilson released his latest single, “The Village is Dead,” ahead of the release of his upcoming album, Eat the Worm.
Wilson, a North Carolina native, moved to Los Angeles 15 years ago. There, he became an integral part of the music community as a respected artist and producer. Also in Los Angeles, Wilson recorded his previous albums Gentle Spirit (2011), Fanfare (2013), and Rare Birds (2018).
Just prior to the pandemic, Wilson went to Nashville to record what would become Dixie Blur (2020). These were a collection of songs that harkened back to his Southern roots, both musically and personally. Dixie Blur found Wilson reaching back to the musical foundation of his upbringing while simultaneously moving forward by infusing the music with modern textures and aesthetic soundscapes
Wilson also has his own Fivestar Studios in Topanga Canyon, CA. This allowed him to devote as much time as he wanted to fine-tune the tracks.
“There are a lot of details to the songs,” Wilson said. “There’s a lot of experimentation, and almost none of the songs started as me with a guitar. I really wanted something that sounded fresh and new.”
In “The Village is Dead,” Wilson laments the evolution of New York’s Greenwich Village. While folk clubs once reigned supreme in the 1960s, the area is now gentrified and more upscale.
It’s my homage to the one-time folk revival of the ‘60s in Greenwich Village, with visions of Moondog and Dave Van Ronk crawling down MacDougal Street. But I’ve set it in 2021, where all you find is a few dozen vape shops, karaoke at the Gaslight, beer pong at the Cafe Wah, and wealthy young college boys strutting around NYU’s corner of Manhattan. At the end of the song, just as the strings rise and the music reaches a climax, two young Zoomers set fire in my narrative to Jimi Hendrix’s old guitar, at which point I throw in the towel, stating officially that ‘The Village is Dead.’
Jonathan Wilson
You can listen to Jonathan Wilson’s new song on all streaming services.
