The second day of the hotly anticipated Re:Set Concert Series brought Boygenius, Clairo, Dijon, and Bartees Strange to Forest Hills Stadium in Queens on Saturday, June 17. Fans lined up early ahead of the sold-out show, hoping to grab a GA floor wristband before they were all gone. Beautiful weather rolled in and the stadium filled up quickly for the great day of music ahead.
Boygenius, Re:SET Forest Hills, 6/17/2023. Photo by David Reichmann
When Boygenius announced they were forming, they instantly became one of the hottest groups in the scene. Individually, Phoebe Bridgers, Lucy Dacus, and Julien Baker were already enormously popular artists fresh off some of the best LPs and tours of their careers. Together, they feed off each other’s personality and energy to create an engaging and wildly fun performance. A packed house of 13,000 fans filled Forest Hills Stadium, screaming and crying along to every song. The lengthy setlist on Saturday night featured three acts and an encore, including the live debut of “Boyfriends” and covers of each other’s solo songs.
Re:SET Forest Hills, 6/17/2023. Photo by David Reichmann
Check out our photo gallery of Boygenius at Re:SET from David Reichmann below and stay tuned for our coverage of the closing night of Re:SET at Forest Hills. Revisit our coverage of the opening night of Re:SET featuring LCD Soundsystem.
Morrissey announced that he will return to New York for a four-night run at the historic and magnificent United Palace in Washington Heights from Oct. 21-25.
Regarded as one of the most iconic and influential artists of all time, Morrissey emerged as the lead singer of the British band The Smiths, one of the most influential alternative rock bands of the 1980s. Since their break up, he embarked on a successful solo career, featuring thought-provoking lyricism, heartfelt melodies, and his distinctive vocal style. His solo debut, Viva Hate (1988), was critically acclaimed, setting the stage for a series of highly regarded albums such as Vauxhall and I (1994) and You Are the Quarry (2004).
The United Palace, recently in the spotlight as the host venue for the Tony Awards, has received praise for its grandiose architecture and inviting atmosphere. The New York Times described it as a “dream world” where the performing arts flourish, providing an ideal setting for Morrissey’s performances. Each night of the four-night run features his timeless repertoire, from his early days with The Smiths to his prolific solo career.
For more information about Morrissey’s four night fun, visit here.
Morrissey at the United Palace Saturday, October 21 Sunday, October 22 Tuesday, October 24 Wednesday, October 25
Nevāda Nevada, a rock band based in Brooklyn, has recently released their single “CHARGE!” which is a part of their upcoming debut LP Past Life. The piece is a rallying cry for activism, a song of unity in a time of crisis.
The band’s four main members are Kathryn Musilek (of Burn Disco Burn and Deathships), Andrew Gerhan (of Our Lady of the Highway, Adam Arcuragi, and The Animals), David Olson (of The Poison Control Center, and The Wheelers), and Alicia Berbenick. The four are also joined by, Isiah Gage (cello) and Anya Combs (saxophone).
The name of the band, Nevāda Nevada, originates from frontperson Musilek’s hometown of Nevada, Iowa. Olson is also from Iowa, with Gerhan and Berbenick both being New Yorkers. The band is currently working with Rocks In Your Head Records, founded by Sonny Smith of Sonny and the Sunsets.
The Past Life LP is said to be “about time and activism, love and rage, and being stuck while still building something,” with figurative and feminist lyrics by Musilek. This is clear in “CHARGE!,” with the first line being “Good news, you cannot save the world.” The song itself is a question of who is in charge, who is responsible for the world, and who can do things beyond the human scale.
The vocals and the message of the song feel like the focus, but this is mixed up through gaps in the lyrics that let the instruments get their chance to shine. There is a repeated sequence throughout the piece that fills this hole at around 0:55. At 2:35, an electric guitar cuts through this sequence, a good addition.
A nice touch that starts at 3:00 is the echoing effect on the line “we’re callin’” which makes it seem as though the call is traveling through space. This is helped by the relatively long delay between the line itself and the echo, which is in itself distorted.
“CHARGE!,” will be followed by another single “The One About the Sky” on June 23, with the full Past Life LP to come out on July 21. For more information on the band and links to their music, check out their website.
Partnering organizations, the Shubert Foundation and Music Theatre International have recently announced the return of their annual Broadway Junior Student Finale. The 18th celebration will commence on June 22 at 11:15 a.m. at Broadway’s Ambassador Theatre located in Midtown Manhattan.
Throughout the past four years, since the COVID-19 pandemic wreaked havoc on human normality, the Broadway Student Finale has looked much different than previous years as schools all across the world and Broadway itself was shut down. Now, the students have returned to the stage to bask in the blinding spotlights provided by a real theater and not a computer screen.
The Shubert Foundation and MTI Broadway Junior partnership founded the musical theatre mentorship program to help public schools create change in their community’s social culture through building sustainable theatre education programs. The Shubert Foundation is the largest institutional funder of theatre education programs throughout NYC public schools and has provided nearly $8 million for Theatre and Arts programs in NYC.
Its partner in Broadway Junior, Music Theatre International, is one of the world’s leading theatrical licensing agencies, granting theatres from around the world, including schools, the right to perform the greatest selection of musicals from Broadway and beyond. The organization’s initiative has had substantial widespread involvement as 167 schools and more than 24,500 students have participated in Broadway Junior while over 100 schools are currently in the program.
The Broadway Junior process is vast as it spans multiple years of involvement with students, teachers, and public schools. In the first year of the program, teachers and students are guided step-by-step through the process of producing a first-ever musical in their schools. In the second year, teachers and students continue to receive support and encouragement on their second musical but take ownership of their productions. In the third year and beyond, schools present a musical independently and serve as inspiration for other schools involved in earlier cycles of the program. The program utilizes master teachers and expert production advisers from educational theatre organizations, iTheatrics, Broadway Bound Kids, and ArtsConnection.
Hundreds of these participating students from Brooklyn to Staten Island will share musical numbers from their fully produced school shows at the Finale. The Broadway shows being represented include Roald Dahl’s Matilda The Musical JR., Disney’s Aladdin JR., Into the Woods JR., Dear Edwina JR., Disney’s High School Musical JR., Legally Blonde The Musical JR., Disney’s The Lion King JR., Once on This Island JR., Shrek The Musical JR., and Roald Dahl’s Willy Wonka JR.
Not only will students get the chance to perform on such an iconic stage at the 18th Broadway Junior Finale, but various Broadway professionals will be in attendance including the two hosts Jeanna de Waal and Uma Paranjpe. Also in attendance will be The Shubert Foundation President Diana Philips along with prominent members of the event’s other sponsors.
“The success of the program since 2005 has demonstrated that theater enhances young performers’ ability to collaborate, follow directions, practice self-discipline and work ethics, and use their imaginations while honing their verbal communication skills and developing social skills which will serve them well in navigating life,” said Drew Cohen, President, and CEO of Music Theatre International. “We are grateful to the students, of course, and also to the teachers, teaching artists, and parents who make this opportunity a reality for the students.”
The 18th Broadway Junior Student Finale performances from middle school groups participating in the second year of the program:
Brooklyn Environmental Exploration School
The Emerson School (Queens)
I.S. 136 Charles O. Dewey (Brooklyn)
Isaac Newton Middle School for Math and Science (Manhattan)
Manhattan School for Career Development
Marsh Avenue Expeditionary Learning School (Staten Island)
M.S. 935 (Brooklyn)
M.S. 158Q Marie Curie Middle School (Queens)
Pelham Gardens Middle School (Bronx)
P.S. 177Q The Robin Sue Ward School of Excellence (Queens)
Pugsley Preparatory Academy (Bronx)
Stephen Decatur Middle School 35 (Brooklyn)
The William W. Niles School – JHS 118 (Bronx)
Year Three and Graduated Schools participating in the Shubert/ MTI Musical Ensembles:
Accion Academy (Bronx)
Collaborative Arts Middle School (Queens)
Corona Arts and Sciences Academy (Queens)
Evergreen Middle School (Brooklyn)
I.S. 96 Seth Low (Brooklyn)
I.S. 131 The Albert Einstein Intermediate School (Bronx)
I.S. 217 School of Performing Arts (Bronx)
I.S. 392 (Brooklyn)
JHS 185 Edward Bleeker (Queens)
Lafayette Academy (Manhattan)
M. S. 101 The Edward R. Byrne School (Bronx)
M.S. 129 Academy for Independent Learning & Leadership(Bronx)
M.S. 331 Bronx School of Young Leaders (Bronx)
M.S. 915 (Brooklyn)
New Preparatory Middle School (Queens)
P.S./M.S. 4 Crotona Park West (Bronx)
P.S./I.S. 30 Mary White Ovington School (Brooklyn)
Nearing the end of a 29-date tour of North America that kicked off on May 6 in Canada, Dermot Kennedy visited Madison Square Garden – “The World’s Most Famous Arena” – on Wednesday, June 14. In the span of a just a few years, the crooner of his own emotionally charged folk-pop anthems has gone from busking on Grafton Street in his native Dublin to selling out arena after arena on The Sonder Tour. His second studio album of the same name, released in November of last year, has been described by Kennedy as “the realisation that each random passerby is living life as vivid and complex as your own.”
In a world where we are all connected by social media, it often seems like we have never been more separated from one another. But for at least two hours on a weeknight in Midtown Manhattan, we were 20,000 strong as his music united us all under one roof.
On a gorgeous late-spring evening, the first of two female opening acts was Laila Mach, a pop singer and local native from New Paltz. Best known for her Season 19 appearance as a 16-year old contestant on American Idol (2002), Mach released her first music in 2020 via a six-song EP dubbed Lessons Learned. The following year, the singer/songwriter who also plays the piano and guitar released her debut studio album, Stuck on You.
Also providing support for Kennedy was Sasha Alex Sloan, born in Russia and who was discovered at the age of 18 when one of her Reddit posts went viral. Having moved to Los Angeles the following year, working at a coffee ship to support her music aspirations, it was not long before Sloan was penning lyrics for major pop artists such as Dua Lipa and Charli XCX. Her debut album released in October 2020, Only Child, was met with critical acclaim. Sloan released her sophomore studio album, Blame the World, in May 2022.
At 8:40 pm, the house lights went down and Kennedy’s set commenced with the large black screen at center stage suddenly appearing with a series of white handwritten text penned by Kennedy himself. The messages read as follows:
I know that you can feel it, magic hangs in the air. I’ve heard if you can make it here, you’ll make it anywhere. I had a dream, and it came true, so will you celebrate with me? Guide me home, keep me warm, hold me tight New York City.
Suddenly, appearing in the dark shadows of the stage were the backing quintet of Elize Kellman (backup vocals), James Bradshaw (backup vocals, keyboards), Benjamin Keys (keyboards), Kieran Jones (guitar) and Micheál Quinn (drums). The sell-out crowd, already at a fervent pitch, somehow took it up another level when Kennedy finally arrived on stage, opening with “Blossom” (Sonder, 2022). “Power Over Me” (Without Fear, 2019) came next, Kennedy’s second single from his debut studio album that essentially launched him into stardom and winning him the world’s collective ear.
A quartet of tunes (“One Life,” An Evening I Will Not Forget,” “Lost” and “Young & Free”) composed over the span of five years by the Irish singer-songwriter subsequently transpired. The chorus refrain of each one of these songs was belted out by Kennedy’s faithful fans, filling up the iconic venue to its rafters where only the retired jerseys of past NY Knicks and Rangers legends have dared to soar. Next, the romantic folk rocker whose tracks often include a collision with the rap genre performed a sublime rendition of “Dreamer,” another gem taken from Sonder. As the song neared its climax, it segued into a speech by Michael D. Higgins, the President of Ireland, encouraging everyone to pursue their dream of creating art.
“Moments Passed” and “Glory,” each presented by Kennedy from his self-titled compilation album released in 2019, were succeeded by him taking a seat at his piano stage left for solo, heartfelt deliveries of “Rome” (Without Fear) and “Innocence and Sadness” (Sonder). Speaking of the heart, in between these songs – when a pin could be heard dropping – a young woman exclaimed “I LOVE YOU!” from the top of her lungs, immediately after which the entire arena erupted into laughter and applause.
Well into the second half of his 19-song set, Dermot Kennedy bestowed upon his legion of enthusiastic supporters a few more numbers dating to 2019, including fan favorite “Outnumbered,” “After Rain” and “Without Fear.” As the epic night entered its home stretch, the roof of The Garden was officially torn off with a goose bump inducing assemblage of five selections from Sonder – all of which are deemed classics despite their infancy – comprised of “Better Days,” “Don’t Forget Me,” “Homeward,” “Kiss Me” and “Something to Someone.” The last of which, accompanied by blasting canons that filled the sky with confetti bombs, was a fitting conclusion to the highly emotional show for everyone who bore witness. The night’s crowning moment saw Kennedy repeatedly serenading his fans with the chorus, and vice versa, “Once upon a time, I was something to someone.”
The excitement did not end when the house lights came back up at MSG. Immediately following his first ever headlining show in The Big Apple, Kennedy made a short trip downtown to the Swift Hibernian Lounge (his favorite Irish pub in Gotham) where he climbed atop the bar to thrill the punters with an acoustic rendition of “The Parting Glass,” a traditional ditty often sung at the end of a gathering of friends.
With a belly full of Guinness, Dermot Kennedy headed to Boston for a pair of dateson June 16 and 17, before moving onward to Saratoga Springs for an outdoor gig slated for June 19. The North American leg of The Sonder Tour culminates at Freedom Mortgage Pavilion in Camden, New Jersey on June 20, after which Kennedy will fly back home for a pair of outdoor shows at Marlay Park in Dublin on June 23 and 24. Ensuing the Emerald Isle performances will be an appearance on the main stage at Rock Werchter (Belgium) on July 2.
Setlist: Blossom > Power Over Me > One Life > An Evening I Will Not Forget > Lost > Young & Free > Dreamer > Moments Passed > Glory > Rome > Innocence and Sadness > Outnumbered > After Rain > Without Fear > Better Days > Don’t Forget Me > Homeward > Kiss Me > Something to Someone
Re:SET Concert Series kicked off its three day run at Forest Hill Tennis Stadium this past Friday, June 16th. The traveling mini festival is in their inaugural year, taking a stacked lineup on the road and commandeering local venues for a long weekend of music. The opening night of Re:SET Queens featured legendary NYC natives LCD Soundsystem supported by Jamie XX, IDLES, and fellow New Yorker L’Rain. Each band brings a distinct style of the music to the stage, creating a truly unique night of music you can’t get at a normal concert.
LCD Soundsystem, Re:SET Forest Hills 6/16/23. Photo by Joseph Buscarello
The atmosphere was electric from the beginning. General admission floor wristbands were given out on a first come first served basis, drawing a large crowd for the early start time. A brief thunderstorm pushed doors back an hour, but those first fans in the door were greeted to the amazing L’Rain welcoming them from the stage. Her uniquely experimental pop and R&B filled the stadium with dense layers of vocal loops and instrumentation. L’Rain finds herself on many bills throughout the city opening for all sorts of artists, keeping it fresh by bringing something new every time.
IDLES were up next, who brought a drastic shift in energy with their classic, in-your-face punk rock. The band boasts an extremely loyal and engaged fan base that made it out to Forest Hills in droves. IDLES have been pretty active since their excellent 2017 debut Brutalism, releasing four LPs in that time span and embarking on countless tours. Over the course of their one hour set, IDLES hit each of their four LPs including crowd favorites “Crawl!” from 2021’s CRAWLER and “Never Fight a Man With a Perm” from their sophomore LP Joy as an Act of Resistance.
The band loves to be engaged with the crowd, crowd surfing while singing and even jumping into the mosh pit and playing guitar while mixing it up with the kids. Before closing the set with “Rottweiler”, vocalist Joe Talbot thanked the fans for coming out, saying “the only reason we exist as a band is because of the love and passion you bring to the shows, so thank you.”
After the punk infused mosh pits cleared off the tennis courts, UK garage and house infusion was up next courtesy of Jamie XX. One half of The XX, Jamie XX blends the classic garage sound with old school house and rhythm and blues beats to create a unique style of dance music. Parked in front of a giant disco ball projecting rays onto the crowd, Jamie XX played a rather deep setlist littered with snippets of some of his bigger hits hidden in the layers. He opened the set with “KILL DEM”, a one-off single from 2022 that features a vibrant, glitchy vocal array over a very tribal garage beat. Jamie XX followed that up with “Idontknow”, another single that mixes scattered percussions with trippy vocal loops.
Jamie XX took a 5-song setlist and fleshed it out for his hour-long set by mixing his songs in and out of curious beats and musical tangents, without skipping a beat or allowing a second of dead space. He rolled on with the fun and vibrant duo of “I’ll Take Care of You” followed by “LET’S DO IT AGAIN” before ending things off with a funky edit of “Gosh”, the opening track from his stellar 2015 LP In Colour. The audience on the floor and in the stadium seats were dancing from the moment he took the stage
LCD Soundsystem always draw quite a bit of hype when they are in town, regardless of the countless residencies they perform in the city. A staple in the city’s thriving music scene since their inception in 2002, the band is beloved in New York and can bring a tiny dive bar or an entire arena to its knees with their infectious dance rock. Forest Hills Stadium was packed to the upper deck before the band took the stage to an enormous reception on a gorgeous night in Queens.
LCD Soundsystem, Re:SET Forest Hills 6/16/23. Photo by Joseph Buscarello
James Murphy and company started things off with a bang with the driving drum beats of “Get Innocuous!”, the opening track from 2007’s Sound of Silver. The beat sent the audience into a dance groove that did not let up until curfew. The song continued to swell until a sudden transition to “I Can Change” instigated a loud sing along from the 13,000 fans in attendance. The set rolled along with endless crowd favorites, leading up to a climactic three song finale. “New York I Love You But You’re Bringing Me Down” always comes with a vocal outburst from the crowd, which was followed up by the thunderous jam “Dance Yrself Clean”. The band fleshed this song out a bit for the live show, sending an already amped crowd up into another gear. All good things must come to an end, with LCD Soundsystem ending the night with “All My Friends”. A truly joyous ending to day one Re:SET.
LCD Soundsystem, Re:SET Forest Hills 6/16/23. Photo by Joseph Buscarello
Re:SET has certainly established itself as one of the more unique traveling festivals in only its first year. Each day features a bill of four bands that could all headline shows on their own; many who just completed or are in the middle of their own tours. Each band brings something new to the stage when it’s their turn to play, drawing the interest of the fans who came out, and the other bands themselves. During the earlier acts for Re:SET, James Murphy and others from LCD Soundsystem were in VIP checking out the music, rocking along to IDLES and dancing to Jamie XX. During the headline set, many of the band members from the earlier acts made their way into the crowd to witness the legends themselves. It’s truly a great festival for fans who enjoy a wide array of music.
LCD Soundsystem, Re:SET Forest Hills 6/16/23. Photo by Joseph Buscarello
The final public piece of the reconstruction of the World Trade Center, the Perelman Performing Arts Center (PAC), will be opening in September 2023. Executive Director Khady Kamara and Artistic Director Bill Rauch announced recently that the facility would be opening after 20 years of labor to create a new heart of culture in lower Manhattan.
Perelman Performing Arts Center exterior at day. Credit: Field Condition
The vision for the PAC began almost 20 years ago as a part of the original master plan for reconstructing the World Trade Center during Michael Bloomberg’s time as mayor of NYC. Bloomberg currently acts as the chair for the project. Named after Ronald O. Perelman, a businessman, philanthropist, and benefactor, the building was designed by the architecture firm REX, with many interior spaces being designed by Rockwell Group.
According to a recent article by the New York Times, the building has gone through a lot of changes over its 20-year development. Even without formally changing the name of the building, the institution has switched from calling it “the Perelman” to “the PAC.” Though the namesake of the PAC, Ronald Perelman, has his name on the building, former mayor Bloomberg has now contributed more capital, totaling at $130 million.
Our goal in developing the artistic program is to innovate – providing exciting new ways for artists to create, collaborate, and share their work with a broad public – while representing and celebrating the humanity of our city in all its fullness. Whoever you are, wherever you come from, we want you to be able to find yourself in the PAC and find your connection to everyone else who shares in the work we do.
Artistic Director of PAC Bill Rauch
A defining feature of the building’s façade are the 5,000 panels of bookmatched marble. They allow for light to cast an amber glow into the building in the day and for the building to produce an amber glow at night. The panels were quarried and cut in Portugal, fabricated with glass in France, and assembled into panels in Germany.
Perimeter interior of the PAC, with marble panels visible. Credit: Laurian Ghinitoiu
The interior design is also unique, with three modular stages that can quickly merge or separate depending on the venue’s requirements. Independently, the three stages include: the John E. Zuccotti Theater, which seats up to 450; the Mike Nichols Theater, which seats up to 250; and the Doris Duke Theater, which seats up to 99. Altogether, their capacities range from 99 to 950 people.
A render of a theater in PAC. Credit: REX
The interior of the eight-story structure is divided into three main sections. The “public” level includes the John C. Whitehead Lobby, which features a stage for free performances, a restaurant, a bar, and the Dalio Family Terrace. The “artist” level has the necessary support spaces for artists at the center, whereas the top level, the “play” level has the three theaters and a rehearsal space.
Render of the restaurant on the “public” level. Credit: Rockwell Group
Leading PAC is Executive Director Khady Kamara, who has more than 24 years of theater management experience. Prior to being executive director at PAC, Kamara was executive director for Second Stage in NYC. She would go on to win a Tony Award in 2022 as a member of the leadership team for “Take Me Out.” As a part of her extensive non-profit background, Kamara had a 20-year career with Arena Stage in Washington DC.
Responding to the sanctity of the World Trade Center site and the humanistic aspirations of the PAC’s mission, our design empowers artistic teams to imagine and create a vast range of performances and audience experiences, within a building that addresses its setting with respect and warmth.
Joshua Ramus, founding principal of REX
Bill Rauch acts as PAC’s artistic director, and has worked as a theater director in venues ranging from small community centers to the largest in the country. He has been a part of productions of the Tony Award-winning “All The Way” and its sequel “The Great Society,” as well as directed seven world premieres of plays.
While details for the opening Fall shows have yet to be announced, more information and updates can be found on the PAC’s website.
Held annually on June 21, the summer solstice, Make Music Day is a daylong, musical free-for-all that celebrates music in all its forms. All across the world, free music events will take place, with a great deal of events held across New York State.
Make Music Day began in France in 1982 as the Fête de la Musique and now spans over 1,000 cities in 120 countries in 2023. Make Music Concerts, unlike conventional music festivals, encourage performances by anyone who wants to participate. In the same way, performances are enjoyed by everyone who wants to attend. Ranging from classical to folk, hip hop to opera, latin jazz to punk rock, live music of all kinds can be enjoyed on Make Music Day.
Make Music Troy
The first annual Make Music Troy, a wonderful mix of free, public musical events, will debut on Wednesday, June 21. This summer, over 100 U.S. cities will join the world’s largest annual music event, with thousands of Make Music performances nationwide. Participating organizations include Troy Public Library, Troy City School District, Oakwood Community Center, The Ruck, Song City, Troy Savings Bank Music Hall, and more. Anyone and everyone is welcome to participate, regardless of musical expertise or age.
Make Music Troy will feature a variety of musical performances and activities throughout the day. Some highlights of Make Music Troy will include:
Year End Celebration at Tenth Street Garden – Children’s Songs & Sing Along – 2:30pm – 3:15pm
Color Run Music Celebration at School 19 – Performances by HEARD – Time TBD
Drum Making Kits at the Troy Public Library – All Day
Under the Mural Community Drum Circle at the Troy Saving Bank Musical Hall Parking Lot – Performance by Zorkie Nelson – 6:00pm-7:00pm
For those interested in participating, you can sign up here. Artists and performers sign up to note their interest. Businesses, buildings, schools, churches, and other institutions interested in hosting performances can visit the website to match with local performers.
A full schedule of events will be available and posted here.
Make Music New York
Returning for its 15th year, Make Music New York will feature an exciting roster of activations. During the week leading up to the 21st, there will be events on June 17 and 18, like Porch Stomp!, the tenth annual edition of NYC’s Americana and folk music festival featuring over one hundred musicians performing on Governors Island. Additionally, the Southeast Queens Gospelfest – an amazing lineup of gospel musicians headlined by award-winning songwriter Rich Tolvert Jr presented in partnership with NYC Dept. of Parks & Recreation At Baisley Pond Par, Queens. It will also be the 15th year of the annual DIY Punk Festival, Punk Island, at the American Veterans Memorial Pier in Shore Road Park, Bay Ridge, Brooklyn.
Highlights for June 21 include:
Pueblo Harlem – the Afro Larin Jazz Alliance’s (ALJA) annual celebration of Hispanic heritage and cluture, which has taken place since 2014, including performances by the multi-Grammy-Award winning Afro Latin Jazz Orchestra, the Fat Cats, ALJA’s pre-professional youth ensemble, and special guests from ALJA’s family of performing and traching artists – at Johnny Hartman Plaza in Hamilton Heights. Presented in partnership with the NYC Department of Transportation and The Brotherhood Sister Sol.
Street Studios: From 12-4 pm in front of the Harman / JBL store at 19 E Houston Street in Soho. A small mobile recording studio will be set up on the shop’s sidewalk. Gust producers will invite the public and passerby to contribute original audio (by singing, rapping, playing an instrument) which they then record, mix, and loop and play back to create spontaneous, collaborative productions. This season’s producers are The Beatbox House, a NYC-based collective of World Champion Beatboxers comprised of five core members: Gene Shinozaki, Kenny Urban, NaPoM, Amit and Chris Celiz.
Paul’s Pianopalooza: From 3-7 pm at Madison Square Park in the Flatiron District, the New York State Music Teachers Association, District 1 Manhattan-Bronx, will kick off with a piano-based marathon and a 90th birthfay celebration for beloved NYC composer and educator Paul Sheftel. Pianists of all ages and levels will perform a program of Paul’s works, including a visit from the maestro himself, to be followed with “Made in New York,” piano music by NYC composers of all stripes. Presented in partnership with the Madison Square Park Conservancy.
Mass Appeal Guitars: Hosted by NYC Guitar School, from 4:30-7 pm at Union Square Park’s south plaza. You can bring your guitar to the park and join hundreds of guitarists of all levels in Union Square, for a massive guitar strum-along of beginner friendly songs like “Redemption Song” by Bob Marley, “Seven Bridges Road” by The Eagles, and more. Free guitar lessons from twenty guitar teachers from 4:30-6:30pm, the play-along is at 6:30pm, and then stick around at 7 pm for live rock music.
Yonkers
At Riverfront Auditorium, 6pm: Library Jazz Band – Stevie Wonder’s Innervisions – 50th anniversary!
The Library Jazz Band, a new 17-piece jazz orchestra, shares originals of every track of the landmark album.
Auburn, New York, will have live piano music at Café 108 (owned and operated by Auburn Public Theater) from 11:00am to 2:30. They will also have live music in Stage Right at Auburn Public Theater from 4:00pm to 9:00pm.
Albany
The Eggwill celebrate international‘Make Music Day’on Wednesday, June 21st at 12:00 pmwith afree outdoor concert by the group Heard.
Heard is a collective of musicians that brings their skills and passion for world music, jazz and improvising together to create irresistible grooves from West Africa, Brazil, the Caribbean and beyond, set in a unique sonic tapestry. For this special ‘Make Music Day’ concert, they will invite the audience to sing, stomp and shake along with them, with free egg shakers for the first 100 people who arrive for the show!
In the event of inclement weather, the concert will take place on the South Concourse at the Empire State Plaza. The event is presented in cooperation with the NYS Office of General Services Special Events with support from M&T Bank.
From the coffeehouses of Greenwich Village to the stage at Woodstock, folksingers were a powerful force shaping the culture and attitudes of the 1960s. Marrying music and politics, tradition and innovation, romance and righteousness, these were singular tunesmiths of the most literate and informed order – a coterie of chordal preachers who put a mirror to the political upheavals and spiritual awakenings of this halcyon era. Richie Havens, Peter, Paul & Mary, John Sebastian, Phil Ochs, Roger McGuinn, Melanie, Janis Ian, Leonard Cohen, Peter Tork and later arrivals, like The Roches and Suzanne Vega, all cut their teeth and catapulted to stardom from a handful of clubs in the narrow streets of NYC’s West Village.
The life and times of 19 of the most impactful artists who emerged from New York City’s folk scene are profiled in The Bleecker Street Tapes (Trouser Press), the latest from veteran music journalist Bruce Pollock.
As stated in the introduction, Pollock was an eyewitness who became a chronicler of many of the most important names in folk in writings for outlets like The New York Post and Entertainment Weekly. Pollock lived in four apartments in Greenwich Village from 1966 – 1975 and had been frequented clubs like the legendary Gaslight nightly since the early 1960s.
Pollock’s book is interesting because of the timing of the interviews. Most of the quotes in these profiles come from the mid ‘70s – mid ‘80s when the commercial fervor for folk was waning. In many, it shows artists in reduced financial and professional circumstances stubbornly plugging away before modest cult audiences. Many are pondering the failures of the Age of Aquarius and its idealism as American approaches the conservative swing to the Reagan era.
Pollock’s begins with Dave Von Ronk, the bearish man who ruled the roost at the Gaslight Café’s open mics, an early champion and inspiration for Dylan and many who came after.
Von Ronk is captured heading to a scarcely attended club gig in 1982. He reflects on his “few good earning years” and how he always seemed “on the brink” of something bigger. He tells how he passed up the opportunity to be the “Paul” in the folk mega group, Peter, Paul & Mary (that went to Noel Stookey, a Village comedian whose act ended with him imitating a toilet flushing!), and of his failed audition for Dylan’s manager-to-be Albert Grossman. This was after a winter hitchhike to his club in Chicago, something borrowed for the Coen Brothers’ wonderful folk music film, Inside Llewelyn Davis.
In his interview with Phil Ochs, we learn that his decision to become a songwriter came while in jail for vagrancy in Florida. Ochs’ political powered anthems were an outgrowth of his first desired career – journalism. Phil was writing about Vietnam in 1962, way before any songwriter was penning war protest songs. And, contrary to popular belief, he shares that he didn’t think less of his longtime rival Bob Dylan’s decision to stop writing about politics and social causes. He also reveals, perhaps in jest, that his favorite cover of one of his songs was former beauty queen and anti-gay activist Anita Bryant’s of “Power & Glory.”
One of the more interesting profiles, one that truly captures the low-rent, pre-Gentrification splendor of the era, is that of Tuli Kupferberg of the infamous The Fugs. Tuli was in his mid-40s and divorced when he teamed with writer Ed Sanders to marry rock music, poetry and racy lyrics in a group named after a Norman Mailer term for intercourse. Gentrification be damned, as Tuli relates renting a six-room apartment of Avenue D for $12 a month in 1965. It was all about fun, poetry, revolutionary theatre and orgies. “We weren’t worried about writing for the ages,” he declares.
Buffy St. Marie relates how her writing of classics like “Universal Soldier” was the product of “channeling words and music that come at once, like a radio station.” The most romantic folk star of the Gaslight era, Eric Andersen, believes his songs survived because he didn’t get too political. Don McLean tells of the impact of Pete Seeger on his work and personal life, namely his adventures as a part of the original crew of Seeger’s ecological boat, The Clearwater, in 1969. Also, how his mega-hit, “American Pie,” ruined his career by branding him a “sellout” and how the fortunes from it bought him a Mercedes Benz and not a Chevy he would drive to the levy. Both Loudon Wainwright III and Leonard Cohen reveal they turned to songwriting because it was easier than writing novels.
Pollock calls folkie-turned-Monkee Peter Tork “a rock-n-roll Maynard G. Krebs.” He captures Tork in 1981 when he had lost all his Monkees’ money but is content in his move back to the East Coast and playing gigs that provide him and his daughter with “three hots and a cot.” His 1982 interview with Roger McGuinn provides a pocket history of folk and country rock, two genres birthed by his band, The Byrds. McGuinn also reveals how he was the catalyst for Beatle George’s interest in both Ravi Shankar and Eastern Religion.
The most interesting and lengthiest profile is that of Lovin’ Spoonful singer/songwriter John Sebastian.
Unlike anyone else here, aside from his early bandmate/friend Maria Muldaur, Sebastian was born and raised in Greenwich Village. He was raised on Bank Street in a family headed by a renowned classic harmonica virtuoso father who would have friends like Woody Guthrie and Burl Ives drop by. Sebastian traces his woodshedding days, playing as a teenager with Lightnin’ Hopkins, doing sessions with Bob Dylan and Tom Rush, his time in the Even Dozen Jug Band before forming the Lovin’ Spoonful. Their lengthy residency at The Night Owl Café was the event that ushered in a bit of rock raucous to the high-minded acoustic scene.
Sebastian recounts the Spoonful’s run of huge hits and their eventually breakup in the wake of a drug bust, the fits and starts of his solo career and disillusionment with the business. Sebastian would move to L.A. and live in a tent for two years before remarrying, having a son and moving into, then flipping, a couple of houses. “I would make as much from real estate as songs in the early ‘70s,” he says. Of course, there’s talk of his unscheduled performance at Woodstock, something done with a borrowed guitar and on a “triple acid trip,” and how it both helped and hurt his career. Some other interesting bits – a cameo by the real-life Frank Serpico of movie fame who would revive drug O.D.s among the scene . There’s also discussion of the invitation to join Crosby, Stills & Nash as their drummer in the early days when they were getting their act together out at Sebastian’s place in Sag Harbor.
Sebastian credits some of his longevity to seeing his dad hustle a career in the not so lucrative world of classical music. “He wasn’t afraid to get his tux dirty,” quips Sebastian. Shortly before this 1982 interview, Sebastian would find himself back on top with a number one hit he wrote on order and almost forget. It was the theme to the TV series, “Welcome Back Kotter.” For the past few decades, he’s been living a happy and unironic life in Woodstock.
Pollock’s book concludes with a playlist featuring the works of 70 artists who influenced or emerged from Greenwich Village’s folk scene.
Ten years ago in 2013, Kendrick Lamar made his way to Randall’s Island for a late afternoon set on the smaller of the Governors Ball stages. It was only a few months after the release of good kid, m.A.A.d. city as Kendrick’s meteoric rise was just underway. Fast forward to 2023; Governors Ball finds itself in a new (and hopefully, permanent) home in Flushing Meadows Corona Park and Kendrick Lamar is closing out the festival unopposed and under the fireworks. This past weekend, Governors Ball proved once again why it is New York City’s favorite music festival.
Kendrick Lamar at Governors Ball 2023. Photo by Lucas Kurzweil
After spending many years on Randall’s Island followed by a two year rental of the Citi Field Parking lot, Governors Ball finally made its long desired move to Flushing Meadows Corona Park. The vast park in central Queens has been woefully underused by the city for decades; a trend that will hopefully be reversed after the success of this year’s festival. The park was designed and built with large-scale events in mind, hosting two World’s Fairs in 1939 and 1964. Flushing Meadows sits on the intersection of two major highways, is adjacent to a subway line with access to Manhattan, and has ample parking lots from the numerous stadiums in the vicinity.
Governors Ball organizers did an incredible job of laying out the festival to take advantage of all of these features, creating a wide open festival experience that never felt too crowded at any point during the weekend. Three stages occupied the larger fields while the vendors and centralized area of the festival was nestled under large trees providing ample shade and character to the grounds. The towering Unisphere greeted fans at the entrance while the main stage was set up right in front of the New York State Pavilion, giving an iconic backdrop to the festival.
The lineup for the 2023 edition of Governors Ball attempted to model the diversity of Queens, the World’s Borough, as well as the eclectic music tastes of New Yorkers. There was a heavy lean towards rap and hip-hop overall, but festival organizers did sprinkle in rock, pop, indie and EDM throughout the weekend. International artists graced the stages as well including Korean pop superstars Aespa, Puerto Rican rapper Eladio Carrión and Japanese singer/dancer Rina Sawayama. Indie and rock was represented by Girl in Red, Black Midi, KennyHoopla, and Haim while Odesza was the lone EDM act for the weekend.
Kendrick Lamar Trades The Production For a Microphone
Kendrick’s latest album Mr. Morale and the Big Steppers was released a little over a year ago, but its relevance lived on with his Governors Ball performance. Although the stage production did not include the same amount of intricate detail that the “Mr. Morale and the Big Steppers” tour held, the set had a simplistic yet empowering feel. The only additions to Kendrick on the GovBall NYC stage were some lights on either side, large Henry Taylor backdrops, a couple of flares, and a few dancers. Kendrick proved that he does not need the fancy add-ons to pump up a crowd. He had all of Flushing Meadows screaming the words to his songs like they were the national anthem at a playoff sporting event.
Kendrick did the majority of the set solo, running through tracks like “King Kunta” and “LOVE.” and even his iconic feature on Pusha T’s track “Nosetalgia” (sadly, no Pusha T appearance even though he performed on the adjacent stage before Kendrick). Near the end of his captivating performance, Kendrick brought out his cousin and protegé, Baby Keem, to perform their RIAA Platinum song “Family Ties.” Through his crowd control and high energy performance, Kendrick Lamar further established himself as the best of the best in the rap game.
Lizzo And Odesza Headline With All The Fanfare
Lizzo was the Friday night headliner and she did not disappoint. Her band and numerous dancers lined the stage as the lights went out, leading up to a grand entrance to “Cuz I Love You”, the opening track of her 2019 sophomore LP of the same name. Lizzo’s thunderous voice reverberated throughout the festival grounds, especially when she dropped into her mega hit song “Juice” which sent the crowd into a dance frenzy. The glamorous staging featured retro big band style decor and backdrops, with sultry visuals playing along on the giant LED screen on the stage. Lizzo ran through her setlist with a powerful grace, performing her signature flute solo leading into “Truth Hurts” along with a fan favorite cover of Chaka Khan’s legendary “I’m Every Woman”; a song and a sentiment that has become a mantra behind Lizzo’s approach to music writing and performance.
Odesza fulfilled headlining duties on Saturday, with their larger than life EDM show filled with lasers, flaming pyro, guest vocalists, and a fireworks finale fit for a music festival. The duo took to the stage and started their set off with a bang with “This Version of You” and “Behind The Sun”. There was no shortage of pyro, as large fireballs erupted behind the DJs throughout the show, sending waves of heat into the crowd. Lasers fanned out over the crowd to interact with the tall trees in the back of the field, with house beats driving the dance floor until curfew. Odesza sprinkled in a Pretty Lights cover in “One Day They’ll Know” as well as a “TENSE” and “KEEP MOVING” from their BRONSON collaborative project with Golden Features. They closed out their set with a huge fireworks display over the stage while 2022’s “The Last Goodbye” pulsed through the night.
Filling Out The Days
Lil Uzi Vert was the perfect addition to the rap-filled GoPuff stage. Their Friday night performance had fans in awe. They came down from the stage to rock out with the fans on the barricade, and made sure fans that fell over were able to get up and continue jamming. They brought out rappers Ken Carson and Destroy Lonely, and got the crowd going with songs like “Do What I Want” and “Money Longer.” They left fans with a feeling of anticipation for what is to come in the following weeks by announcing that they have a new album releasing this month.
While rock and indie were not as prevalent on the lineup this year, the biggest draw in the category was certainly Haim on the GovBall NYC stage. The three sisters burst onto the scene in 2013 with their debut record Days Are Gone featuring the utterly infectious song “The Wire”. Throughout the set, the three sisters alternate vocal roles and instruments while also engaging heavily with the fans. Their dynamic performance style creates a light and fun atmosphere that is perfect for the summer festival stages.
On Saturday, KennyHoopla and Snail Mail kept the rock vibes going on the GoPuff stage. KennyHoopla’s vigorous post-punk dominated the crowd first, bouncing all over the stage while delivering a rambunctious vocal performance over heavy guitars. Snail Mail came up next, keeping the punk rock going, featuring a set full of songs from their two excellent LPs: 2018’s Lush and 2021’s Valentine.
Governors Ball Artists March On
In the wake of Governors Ball, many of the artists who played use the opportunity to announce new projects and tours. Many of the artists are on their own headlining tours and mix in the festival appearances. Right before Governors Ball weekend began, Metro Boomin released his highly anticipated soundtrack to the movie Spider-Man: Across The Spider-Verse. Just after the weekend, Eladio Carrión announced a North American tour with a stop at The Theater at MSG in October. Philadelphia’s major music festival, Made in America, announced their lineup with Lizzo making another headlining appearance along with Ice Spice, and Metro Boomin. Joey Bada$$ is running through the festival circuit with a dozen appearances including Glastonbury, Rolling Loud, and Lollapalooza.
Kendrick Lamar, fresh off the epic Big Steppers World Tour, is also hitting the summer festivals, taking his minimal yet relentlessly in your face festival show to the biggest stages in the world including Bonnaroo, Lollapalooza, Rokslide, Austin City Limits, and Summer Sonic in Japan. If any of those festivals are within reach, it is worth the opportunity to catch a generational talent at his very best.
The Future Of New York City’s Premier Music Festival
By all accounts, the first edition of Governors Ball in Flushing Meadows was a major success. The layout of the venue was nearly perfect, transit in and out of the festival went smoothly, and three days of music went on without skipping a beat. Governors Ball has been at it for many years and are no strangers to throwing such a large party in NYC, but expectations were sky high this year. One could have argued that the very future of the festival rested with this weekend going off without a hitch. The cost of putting on these events has never been higher, and fans have so many choices of shows these days that it was unclear if Governors Ball could even draw a large enough crowd. Last weekend in Queens put all of the chatter to bed. With the Canadian wildfire smoke clearing out just in the nick of time, a glorious weekend of sunshine and music ensued. There is no doubt Governors Ball will be back at it in 2024; now we can all start dreaming of our ideal lineup we would want to see grace the stages in Flushing Meadows.
