NYS Music 2023

Category: NYC Metro

  • The Birth And Evolution Of Soca Music

    Soca music, otherwise known as “The soul of Calypso’’ is a genre of upbeat music that was created in the West Indian Island of Trinidad & Tobago. The alluring rhythmic energy of soca can be enjoyed at carnivals, fetes, parades, and even at home. The lively tempo gives its audience no choice but to dance and be swept away by the vibrant music. 

    soca
    Trinidad and Tobago flag. Waving flag of Trinidad and Tobago 3d illustration. Port of Spain

    On September 4th, Soca music can be enjoyed at the West Indian Labor Day Parade in Crown Heights, Brooklyn. 

    westindianparade
    photo @newyorkcarnival

    Soca music is a combination of Calypso and Indian music. Ras Shorty I, a Trinidadian musician sought to fuse the genres after the realization that calypso was becoming threatened by reggae music. Shorty created an energetic hybrid genre called solka, which later became known as soca. In 1973, the musician introduced soca to the world through his song, “Indrani.” Shorty established two different types of soca music known as Power and Groovy soca. 

    Power soca music is fast with tempos around 160 beats per minute. This upbeat soca encourages people to dance as a response to artists giving dancing instructions through their music. Groovy soca is slower paced with tempos around 115 beats per minute. Songs such as “Turn Me On” by Kevin Lyttle and “Tempted To Touch” by Rupee demonstrate this type of soca.

    The creation of soca gave Caribbean Islanders numerous hits by popular artists such as Machel Montano, Destra, Alison Hinds, Atlantik, KMC, and Bunji Garlin, among others.

    Montano, also recognized as the “King Of Soca” celebrated 40 years in the industry in September 2022. Montano was the first Trinidadian and youngest performer to win the Caribbean song festival in 1987. Additionally, the musician won the Young Kings Competition in 1991, the Party Vocalist Competition in 1995, and the Road March King Competition of Trinidad and Tobago in 1997.  At the age of nine, Montano exposed the world to soca with his performance with the Mighty Sparrow, at Madison Square Garden. He is most known for his songs “Fast Wine”, “Like Ah Boss” “Vibes Cyah Done” and “Soca Kingdom.”

    As soca became more renowned and spread to other Caribbean Islands such as Jamaica, Guyana, Barbados, Grenada, more sub genres were created. Other variations include ragga, Chutney soca, Raga soca, Afrosoca, Steelband soca, Parang soca, Bouyon soca, and Bashment soca. Chutney soca is directly connected to East Indian culture with lyrics featuring both English and Hindi. Raga soca fuses traditional soca with Jamaican dancehall beats and instruments any you will most likely hear the presence of electric bass and electronic drums in this subgenre. Like Raga soca, Afrosoca is also influenced by Jamaican dancehall beats, an intermixture of dancehall and Nigerian beats. 

    Steelpan soca is characterized by its heavy usage of steel pans. Unlike the other subgenres, Parang soca is the only subgenre to incorporate Spanish into its lyrics. Bouyon soca is influenced by rhythms of Dominica. Besides Trinidad, many Bouyon soca artists are from St. Lucia, Antigua, and Martinique. Finally, Bashment soca is a contemporary form of soca and based in Barbados. 

    Although in many soca songs, human vocals are the only melodic instrument, often you will hear electric bass, keyboard synthesizers, cowbells, and machine drums. Larger soca bands are more likely to have a brass section featuring the trumpet, trombone, and the saxophone in their productions.

    Soca has transformed throughout the years and has become a genre that not only represents Trinidad but the Caribbean as a whole, loved internationally and has inspired music from Western culture. Artists such as Drake, Nicki Minaj, Chris Brown, Busta Rhymes have multiple top charted songs influenced by soca.

  • Brooklyn-Based Tim Atlas Drops New EP ‘Le Soir’

    Brooklyn-based singer, songwriter, and producer Tim Atlas drops his new EP Le Soir, part one of a larger body of work. Tim Atlas floods a nocturnal hybrid of R&B, neo-soul, alternative, and pop with unrestrained emotion on this latest project. Gathering hundreds of millions of streams and inciting the applause of Complex, Earmilk, The Line of Best Fit, Spin, and many more, he opens up like never before on his 2023 EP, Le Soir.

    “This E.P. is the first chapter of three. It’s a collection of songs that I wrote as a result of moving to NYC, a place that has always allowed you to fully be yourself. I never defined myself as one thing, so this record is a testament to that,” says Tim Atlas. He introduced Le Soir with the entrancing and electrifying “Knockin.” The EP also features recent releases “Attractive” and “See Thru.” 

    Standout release day track “Sushi in Wyoming” is fueled by a slick drum pattern and glitchy synths. Tim states, “Driving cross country from LA to NY, we literally stopped in Wyoming for a night. At that point of the road trip, I couldn’t stomach another burger or gas station staple, so I opted for sushi. Sometimes the worst version of something you crave is better than the alternative. I wrote the title in my notes app so I wouldn’t forget that moment. It actually wasn’t bad.”

    Tim is slated for a headline US tour that kicks off in September, with Bay Area band Pink Skies. For ticket information, visit here.

    TIM ATLAS AND PINK SKIES TOUR DATES

    9/15 Mercury Lounge New York, NY

    9/16 Songbyrd Washington, D.C., DC

    9/19 The Fillmore Philadelphia Philadelphia, PA

    9/21 The Basement Columbus, OH

    9/22 Beat Kitchen Chicago, IL

    9/23 Rose Bowl Tavern Urbana, IL

    9/25 Dada Dallas Dallas, TX

    9/26 Antone’s Austin, TX

    9/30 The Moroccan Lounge Los Angeles, CA

    10/06 Brick & Mortar Music Hall San Francisco, CA

    https://youtu.be/CXVAT1EhJmg?feature=shared

  • BRIC Celebrate Brooklyn! Host The Head And The Heart

    The annual BRIC Celebrate Brooklyn! Festival in Prospect Park brought their ceremonies to a close with a performance from The Head And The Heart on the evening of Aug. 24.

    Brooklyn Celebrates! is one of New York City’s most beloved musical experiences. At the outdoor setting of the Bandshell stage, free admission and delicious locally sourced foods made city goers flock to the park for one last summer hoorah. The Head And The Heart’s long-standing luminary folk sound pulled in one of the largest crowds to ever attend the festival.

    Photograph by Erin Reid Coker

    One of August’s faltering days where rain overtakes the forecast to hint at autumn’s approach took place. The grass turned to mud, people huddled under trees dense with leaves for shelter, and umbrellas sprouted and flowered above heads in the crowd like colorful flower buds. Despite the wet chill in the air, people spent their entire days in the park in a slow burn of anticipation. A Brooklyn crowd cannot be beaten, for the kindest people mingled and introduced themselves over the common ground of an affinity for music.

    Photograph by Erin Reid Coker

    Between the spouts of drizzling rain the opener, Izzy Heltai, took the stage. The alternative folk singer provided a great introduction, for his sound was unique and the crowd received him warmly. Izzy’s lyrics were humanly raw with an unwavering braveness to them, braveness through vulnerability. The queer singer sang passionately about the cruciality of mental health and its interconnection with the queer community. He sang of relationships, places, and seasons from a very personal perspective. Though, it’s wondrous how the most personal ideas can be so universal, for each song was lifted up and represented by the audience. Heltai expressed his gratitude for the platform he commanded that evening, and for the opportunity to share the same stage as The Head And The Heart.

    Photograph by Erin Reid Coker

    After a brief intermission between sets and another rain shower, The Head And The Heart finally made their way onto the Bandshell stage. The murmurs of conversations abruptly shifted into eager cheers, and the tungsten lights turned blue in solidarity with The Head And The Heart’s most recent record Every Shade Of Blue. The sextet took their places behind their instruments and mics to begin the show.

    Photograph by Erin Reid Coker

    The Head And The Heart is an esteemed band in the music industry, having released their first record in 2011. They moved into a particular corner of folk music and consistently paid rent, delivering five total records of great esteem. Lead singer, Josiah Johnson, reminisced on the last time the band was at Celebrate Brooklyn! back in 2012. He spoke lightly about the band’s origin and journey since then and thanked everyone in the audience for supporting them all these years. Johnson introduced the rest of his band members; the impressive multi-instrumentalist and vocalist Charity Rose Thielen, guitarist Johnathan Russel, bassist Chris Zasche, drummer Tyler Williams, and pianist Kenny Hensely.

    Photograph by Erin Reid Coker

    Each of the members’ contributions to The Head And The Heart’s sound proved vital and intentional. They have a raw sound cultivated in production that isn’t lost but tastefully added to during their live sets. Dominant, messy, tuneful piano notes mixed with crisp and punctual percussion, all led by the melody of Rose’s violin strings, made for a distinct foundation for their collective musicality. If the emotional sensation of longing could be a sound, it would be The Head And The Heart song.

    Photograph by Erin Reid Coker

    Their song “Lost In My Mind” from their first self-titled album made a lasting impression on the show. Each band member’s stage presence was electrified, and the high-energy crowd fed off of it. Pockets of fans linked arms to spin and skip. Arms flung up towards the sky in praise. One audience member even lifted their head-phoned baby above the crowd, gently bouncing him to the beat of the music. Johnson shouted out the young fan between choruses to acknowledge, “baby’s first concert!” Even the trees that swallowed the stage seemed to dance.

    As the sun set behind the gray sheet of rain, nature’s lights dimmed. The stage glowed through the light fog settling over the audience. Russel smiled up at the darkening clouds, “I swear it always rains when we come to New York.” The audience laughed at their state, soaked and content. For their last song on stage, Josiah made his way into the pit and through the audience. The Head And The Heart’s fans are very gracious. They made way for him and respected his space while he roamed.

    Photograph by Erin Reid Coker

    The band abruptly left the stage, but the audience would not accept a goodbye. There were too many songs people desperately needed to hear. Voices called out pleading for an encore. Shortly after their departure, the band returned.

    They put on a three-song encore, the first of three being “The Orchid.” Lyrically, the song was a meditation on isolation and glimmers of hope that can only be spotted during dark stillness. It was so quiet in the audience that for the first time all evening, one could hear the wind brushing the trees. The last two songs were “Living Mirage,” and their most iconic song, “Rivers And Roads.” In a collective voice, the audience sang the song back to The Head And The Heart. The slow and drawn-out pounds of the drum counted out the remainder of the night. True to their sound, The Head And The Heart left Brooklyn longing for more.

  • PRONOUN Returns With Style On New Single “SLAP ME IN THE FACE”

    PRONOUN is back; the moniker of Brooklyn-based Alyse Vellturo released a new single and video for “SLAP ME IN THE FACE.” It’s her first release in over two years, following the 2021 release of her OMG I MADE IT EP.

    PRONOUN is Alyse Vellturo

    “SLAP ME IN THE FACE” is an upbeat alt-pop single with a distinct diction and vocal style that adds flair to a tried-and-true pop rhythm. Contrasting an optimistic sound with rueful, gloomy lyrics, the single carries a captivating, earworm guitar track that shows Vellturo’s technical skill in the realm of simple, but effective. Evoking images of 2000s coming-of-age cinema, the single sets a strong tone for PRONOUN’s upcoming era.

    “SLAP ME IN THE FACE is about a crazy night in with someone that turned into an internal joke of what if the world was literally fucking you. It’s about wanting a better situation but giving in and getting stuck in a moment where everything doesn’t feel horrible. This song poured out of me in one sitting; written, recorded, and produced in one day. The songs I feel the most about, always seem to come this way.”

    The accompanying video shows Vellturo being absolutely pelted by dodgeballs coming at her from every angle.

    Given the title, I always imagined getting somehow slapped in the face in slow motion. When putting a mood board together for the new PRONOUN era I was reminded of one of my favorite scenes in a movie. I Heart Huckabees is a film I could watch everyday until the end of time and discover a new easter egg. At one point Mark Wahlberg and Jason Schwartzmen end up on a log in the park together taking turns thwacking each other in the face with a red rubber ball until they feel a moment of nothingness. They call it ‘the ball thing.’ It fit how I was feeling perfectly when making this song. From that moment I knew it needed to be me standing in a studio getting absolutely destroyed with red dodgeballs.

    PRONOUN

    PRONOUN recently announced upcoming both headline shows and dates supporting SLOTHRUST. The tour boasts five shows across New York State, including Rochester, Albany, New York City, Syracuse, and Jameston. Tickets are on sale now.

    UPCOMING TOUR DATES

    * PRONOUN Headline

    ^ supporting Slothrust

    August 20 – Keene, NH – Nova Arts ^

    August 22 – Boston, MA – Deep Cuts *

    August 23 – Rochester, NY – Montage Music Hall ^

    August 24 – Albany, NY – Empire Underground ^

    August 25 – Burlington, VT – Higher Ground ^

    August 26 – Portland, ME – Portland House of Music ^

    August 29 – New York, NY – Heaven Can Wait *

    November 12 – Syracuse, NY – Song & Dance ^

    November 13 – Jamestown, NY – Skatepark ^

    November 16 – Columbia, MO – Rose Music Hall ^

    November 17 – Omaha, NE – Reverb ^

    November 18 – Wichita, KS – Wave ^

    November 19 – Colorado Springs, CO – Black Sheep ^

  • HOKO Live On Tour At The Bowery Ballroom

    The Bowery Ballroom hosted the Brooklyn-born band, HOKO, on the evening of Wednesday, August 23rd. On tour in support of almost monday and the WEATHERS, HOKO branded their name into the minds of their modest but curious New York City audience. This fifteen stop USA tour is HOKO’s first tour debut, and they are making sure to impress along the way. Through the vehicle of their experimental style, they are refreshing the palettes of listeners with a sound unlike anything they’ve ever heard.

    Photograph by Sophie Gurwitz

    Bodies trickled into the ballroom as time climbed towards HOKO’s set. Conversation vibrated across the floor, people expressing their excitement about the headliners and a few eager to watch HOKO’s set, while others volleyed HOKO’s name around with intrigue. 

    When the lights dimmed, everyone’s attention was pulled towards the darkness resting on stage. Blue light hues swirled across faces of the crowd while the band presented themselves on stage. Bass came through the floor, tugging at peoples’ bones, demanding their presence. After a minute long introduction of pure sensation, the first guitar riff electrified the atmosphere to kick-off a night of music.

    Photograph by Sophie Gurwitz

    HOKO opened with their song “Pretender.” Dense guitar riffs and confident vocality drew the audience into captivation. Their sound projected something heavier than the typical pop-rock song. The tones and intensity of the instrumentals almost felt dark – not in a dangerous way but in an enticing manner.

    It was impossible to name a comparable sound to them, they felt fresh. Listeners bounced around artist names, “COIN,” “Bleachers,” “B-52’s,” “Zeppelin.” That vast of a name pool proved testament to their individuality.

    Photograph by Sophie Gurwitz

    It’s difficult to be truly unique in the music industry, to not fall into the coddle of a niche, to not be a genre artist. HOKO has taken the liberty of demolishing musical barriers, and redefining flexibility in relation to their production. Their sound cannot be labeled, for they are rock, they are electric, they are pop, they are psychedelic. They are ever-evolving. As the night progressed, it became evident that something of impressive massivity is to come from HOKO.

    Photograph by Sophie Gurwtiz

    Lead singer, Nathaniel Hoho, absorbed the ballroom’s energy and gave a rockstar level performance. He got in the crowd to mosh with the audience. He climbed atop speakers, and entertained the cameras. He engaged with fans in between songs. Half way into their set, it became hard to believe HOKO had never toured prior to this, for their presence suggested years of being fluid and daring on the stage. Their performance felt too big for a stage the size of Bowery’s.

    Photograph by Sophie Gurwitz

    One of HOKO’s most popular songs, “Candy Eyes,” gripped the evening when it made its way through the setlist. Guitarist and esteemed string player, Jesse Kotansky, brought out his violin for the song. To hear the harmony of the violin with Hoho’s powerful voice was a beautiful display of musical juxtaposition. Versatility receives respect from concert goers. Though a handful of the audience didn’t know of HOKO before the show, they were sure to remember them after the night the band gave them.

    Photograph by Sophie Gurwitz

    Their production value implied experimentation and play as a priority. The boldness, the confidence, the yearn to perform created a high that everyone suspended in. People finally began to move their bodies and sing along with the band, as if they developed a sort of trust with HOKO’s sound. A sureness between the classicality of rock and the future of pop.

    Photograph by Sophie Gurwitz

    Unfortunately, HOKO’s set was merely a half hour long. The show could have carried into the next set and closed out the night, alas Weathers and almost monday had shows of their own to put on. Hoho brought the evening to a clean close when he jumped down into the crowd, parted the mass of bodies in half, and disappeared through the back of the crowd. 

  • Gaye Su Akyol Performing at Bryant Park Picnic

    Bryant Park Picnic Performances season of free, live performances, continues on Saturday, September 9 with the US debut of Turkish musician Gaye Su Akyol, as well as opening act The Secret Trio, presented by Drom. 

    This concert celebrates the music of Anatolia and marks the centenary of the founding of the Turkish Republic.

    Gaye Su Akyol is an Istanbul-based musician and artist, born in 1985. In her work, she redefines the concepts of power, desire, change and rebellion. She creates a universe of imagination, in which she constructs her own “counter-reality” — a world without oppression or injustice. Without alienating from the land she was born into, she questions its representations, defines new symbols, and chases after the practice of transforming a conservative world through collective dreaming.

    Gaye Su Akyol has created her own unique language, taking the contrasts of traditional Anatolian music, Classical Turkish music, psychedelia, surf rock and post-punk, and combining them with her futuristic approach. Akyol, who, in 2014, released her first album Develerle Yaşıyorum (“I Live With Camels”) in 2014, written and composed entirely by herself, defines her music as “universal in concept, local in spirit.” She expanded her audience through numerous concerts and festivals in Turkey, Europe, Middle East and the Far East, with the release of her first international album, Hologram İmparatorluğu (“Hologram Empire”) in 2016.

    The Secret Trio, the opening band for Gaye Su Akyol, is made up of three astounding musicians who came together to create a new type of chamber music with new and interesting approaches to their instruments. Immerse yourself in the captivating melodies and stunning virtuosity of Ara Dinkjian, Ismail Lumanovski, and Tamer Pinarbasi.

    Founded by two immigrant business entrepreneurs, Drom’s mission is to celebrate cultural diversity in the performing arts field. They have provided a physical space for artists from around the world to present their music, art and creative experiments. Drom live by the motto, #DromIsHome. From downtown Manhattan, they bring together a local and global community of like-minded individuals to share art and culture that transcend genre, class, race, and geography. Drom’s programs span diverse artistic forms including music, dance, theater, comedy and its stage is open to the next generation, as well as established performers.

    REMAINING SCHEDULE AT BRYANT PARK

    August 25 – Accordions Around the World: Diana Burco, Suistamon Sähkö, Ragini Ensemble

    August 26 – Roulette Intermedium: Immanuel Wilkins, 75 Dollar Bill, Ka Baird

    August 31 – The Town Hall: Martha Redbone Roots Project

    September 01 – The Classical Theatre of Harlem: Young, Gifted and Black

    September 07 – American Symphony Orchestra: American Expressions

    September 08 – New York City Opera: Romeo and Juliet

    September 09 – Drom: Gaye Su Akyol (U.S. Debut)

    September 14 – Harlem Stage: 40th Anniversary Celebration

    Attendees to Bryant Park Picnic Performances may bring their own food or purchase from on-site food and beverage vendors. At all performances, attendees can discover new dishes and celebrate classics from the five boroughs with a rotating line-up of local artisanal vendors curated by Hester Street Fair.

    For the most current information about Bryant Park, please visit bryantpark.org/picnics. 

  • Caribbean Music Awards announces star-studded lineup

    The Caribbean Music Awards announced a star-studded lineup of live performances for the upcoming event on August 31, boasting many artists of the genre’s biggest names.

    The awards will take place at the Kings Theatre in Brooklyn, with performances by Alison Hinds, Jada Kingdom, Dexta Daps, Kranium, Nailah Blackman, Ding Dong, Rupee and Romain Virgo, as well as others to be announced.

    Last month, The Caribbean Music Awards announced Grammy Award-winner and Haitian-born Newark artist Wyclef Jean as the host for the event. Along with a full range of live performances, the night of celebration for Caribbean Music will feature appearances from Spice, Baby Cham, Toni-Ann Singh, and more.

    Awards span across in 26 categories in many genres, including Reggae, Dancehall, Soca, Kompa, and Zou. Trinidadian group Kes leads with five nominations, including Performer of the Year, Video of the Year, and Artist of the Decade. Following with four nominations are Masicka, Ding Dong, Machel Montano, and Shenseea.

    Trinidadian singer, songwriter, and producer Machel Montano will accept the Lifetime Achievement Award for his contributions as a leader of the sound and style of Soca music worldwide. In addition, reggae legend Beres Hammond will accept the Elite Icon Award. The esteemed award commemorates Hammond for his contributions in elevating and enriching the face of Reggae music for decades.

    The Caribbean Music Awards will take place on August 31, 2023 at 8pm EST at the Kings Theatre in Brooklyn, and will be streaming worldwide on YouTube.

    For the latest updates and information, visit the official website CaribMusicAwards.com or follow on IG @CaribMusicAwards. Get ready to experience the best that Caribbean music has to offer at the Caribbean Music Awards.

  • High Time Over the City: Billy and the Kids at Pier 17 Rooftop

    Grateful Dead drummer Billy Kreutzman, along with a cast of “kids” played a quick two show tour including one night at the scenic Pier 17 rooftop.

    Along for the ride were “new kids” like Daniel Donato and Sierra Hull but also some “kids” who’ve been around the block with Billy like Tom Hamilton and Aron Magner.

    The first set opened up with “China Cat Sunflower” and included crowd favorites like “Truckin” & “Cumberland Blues” closing with “Built to Last.”

    In Grateful Dead fashion the second set was opened up with “Drums”. The band joined the two drummers to play an unexpected Bob Marley cover of “Could You be Loved”. The second set included a Talking Heads cover “Take Me to the River” as well as deadhead favorites like “Bird Song”, “Wharf Rat”, & “Unlce John’s Band,” closing the second set with “Franklins Tower”.

    The crowd roared and cheered for this incredible band. They come back up to play an encore of “Wake up Little Susie” and “We Bid You Goodnight”. 

  • John Cale Brings New Energy to Classics at Celebrate Brooklyn!

    John Cale, one of the true OGs of the international art rock underground, gave a masterclass in performance and reinvention before a packed house at BRIC Celebrate Brooklyn! Festival in Prospect Park on August 19.

    At 81, Cale is still a striking and potent musical force, a true creator who is forever seeking new artistic horizons. He’s a man whose catalog has spanned everything from the proto-punk of the Velvet Underground to classical minimalism, gorgeous orch-pop balladry, the fiercest (and drunkenly deranged) hard rock rants to, on his first new studio album in a decade Mercy, shades of beat-driven hallucinatory electronica and experimental pop.  This new collection finds the adventurous Welshman in the company of youthful collaborators like Weyes Blood, Laurel Halo, Sylvan Esso and Actress.

    Belying his age, Cale was a most commanding force on stage – in fine voice, a sharp black Italian suit and dramatically spikey white hair, playing both keys and guitar for a 14-song, career-spanning set.

    In a nod to his new album, many of the songs were kicked off with a rhythm machine like “Moonstruck (Nico’s Song),” his tribute to the Velvet Underground chanteuse whose best solo albums, like 1968’s The Marble Index, Cale produced.  Another standout from the new album is “Night Crawling,” the first single which recalls his adventures with pal David Bowie in the New York City downtown of the 1970s. 

    Two of the most interesting and atmospheric numbers were “Rose Garden of Future Sores” and “Half Past France.”  Both featured orchestral backgrounds, disorienting chords and spacey electronic effects.  The latter was a 180-degree spins on one of the serene ballads from Cale’s acclaimed 1973 orch-pop masterpiece, Paris 1919.  Its calm was transformed into a sinister ambient Krautrock noise nightmare.  Its queasy string drone foundation was punctuated with bowed electric bass and an eerily harmonizer-effected vocal on the outro line: “We’re so far away, floating into space.”  The same sonics were present for his funereal take on Elvis’ “Heartbreak Hotel,” a highlight from his 1975 album, Slow Dazzle.

    Sonic dread never sounded so good.

    Cale picked up the guitar and rocked strong and hard on old favorites like “Guts,” “Helen of Troy” and “Cable Hogue.”  He returned to the keys to revisit a Velvet Underground staple to the delight of the crowd,  Lou Reed’s junkie opus, “I’m Waiting for the Man.”  Here, he perhaps deferred to the P.C. police by injecting the line “Hey buddy” for Lou’s “Hey White Boy.”

    Another fantastic rearrangement was in store with another Paris 1919 ballad, “Hanky Panky Nohow.”  Cale and his wonderfully tasty three-piece backing band made this already gorgeous song even more beautiful and relaxed – with a rhythm machine underpinning, a glacial pacing and an added sample of an operatic soprano female soloing on the song’s long coda.  This and all tracks performed were complemented with video projections that made their atmospheric sounds even more so.

    Cale’s set concluded with a raucous version of “Barracuda,” another punchy rocker from his album Fear featuring some very fine psychobilly guitar soloing.

    The surprise of the evening was the set by the show opener Tomberlin, the nom de sound of contemporary folk artist/singer-songwriter Sarah Beth Tomberlin. 

    Now living and working out of Brooklyn, this Kentucky-born performer played a well-paced set of gentle tunes from her two Saddle Creek Records’ albums, the most recent of which, 2022’s I Don’t Know Who Needs to Hear This…, was recorded a few blocks away from Prospect Park at Figure 8 Studios. 

    Tomberlin is a confident performer with the kind of droll between song banter that easily won over the crowd, one that was surely there, in very large part, to catch a glimpse of Cale. 

    The most striking element is her voice.  It has both a breathy quality that reminds me of another buzzworthy young performer, Snail Mail, and all power and range needed to bring across one of her dramatic lyrical twists. Her three-piece backing band provided sensitive accompaniment to all her songs, many that we’re mere whisps.  Airy Frisell-like guitaring, lots of shimmering brush work on the drums and lush yet minimalist keys perfectly adorned her intimate story songs and their poetic lyrical turns.

    Standout tracks in her set were the evocative “Sunstruck,” “Stoned,” “Memory” and the set closer, the sprawling psychedelic “Happy Accident.”

  • Curtain Up! Broadway Festival Announces Lineup For Finale Show

    Playbill, The Broadway League, and the Times Square Alliance have announced the lineup of Broadway shows to be included in the Curtain Up! LIVE from Broadway finale concert, concluding the third-annual Curtain Up Broadway Festival.

    The Curtain Up! LIVE from Broadway finale concert will be a grand, outdoor event taking place rain or shine on Sunday, Sept. 10 from 11:00 AM – 12:30 PM in Duffy Square. This free outdoor concert spotlights marquee talent, showcases current Broadway musicals and plays, and will be aired live on WABC TV.  

    Participating shows include & Juliet; A Beautiful Noise, The Neil Diamond Musical; Aladdin; Back to the Future: The Musical; The Book of Mormon; Chicago; The Cottage; Hadestown; Harmony; How to Dance in Ohio; Jaja’s African Hair Braiding; Kimberly Akimbo; The Lion King; Moulin Rouge! The Musical; The Shark Is Broken; Shucked; SIX; Some Like It Hot; Spamalot; Wicked; and more are to be announced. 

    From Friday, Sept. 8 to Sunday, Sept. 10 the Curtain Up Broadway Festival brings Broadway to the streets, in the heart of New York City. Stretching between 45th and 47th Streets, the festival will include interactive events and performances that are all live, free, and open to the public. It kicks off with guest speakers from Playbill, The Broadway League, Times Square Alliance, & Prudential Financial, with Broadway guest hosts, special performances, and special guests from The NYC Mayor’s Office of Media and Entertainment (MOME), Hotel Edison, Open Jar Studios, The Entertainment Community Fund, and more.

    What better way to kick off a new Broadway season than to celebrate the Curtain Up Broadway Festival in Times Square. This incredible three-day festival will host special concerts, sing-alongs, and workshops, just to name a few of the many exciting events planned. Last season, Broadway had a total attendance of 12.3 million indicating just how much live theatre means to so many and its pivotal role in NYC’s economic development. We’ll wrap up the weekend with the Curtain Up! LIVE from Broadway finale concert on Sunday, September 10th and thank WABC for returning to live broadcast the star-studded show.

    Charlotte St. Martin, President of The Broadway League.

    The Prudential Stages on Broadway Brought to You by Playbill contest hosted by Brittney Johnson, an acclaimed Broadway star who made history playing the title role of Glinda in the smash-hit musical Wicked, will take place on September 9 and gives aspiring and emerging artists across the country the opportunity to capitalize on their “Now What?” moment. The winning artists will have the chance to network with theatre professionals – like host Johnson and contest judges Tara Rubin and Allen René Louis – and could walk away with a monetary prize of up to $10,000 plus an opportunity for financial advice from a Prudential Advisor.

    Additional events include ¡Viva! Broadway® Hispanic Heritage Month Celebration, Broadway Sing-Alongs throughout the festival on the ‘Belt It Out On Broadway’ stage, Curtain Up After Dark events featuring Broadway Sings and Rockers On Broadway, Ailey’s Revelations dance workshop, multiple Dueling Piano events at the ‘Belt It Out on Broadway’ stage, Broadway Block Parties presented by the NYC Mayor’s Office of Media and Entertainment (MOME), and more to be announced. 

    For more information and a full lineup, visit here.