Brooklyn was the last stop on the band’s debut North American tour before it was shuttered in early 2020, only performing twice. Since then, they have played all across Europe and the UK, finally making their way back overseas this month, hot off the release of their self-released (on Human Season Records) second album, Gigi’s Recovery, this past January.
Much like the album, the show brought a fully realized, introspective post-punk set with dynamic energy that elevated the record for the 650-capacity venue.
The show started with For Everything, the brooding opener off their debut album, When I Have Fears, which released in 2019.
They continued on at a monstrous pace, invoking a few raucous mosh pits, making it to a newer track, Return My Head and onto More Is Less.
There were moments of Radiohead imbued with Bauhaus, sharing a great polyphonic relationship between both guitars and bass, with the drums driving the rhythm amidst every harsh snare hit, most notably in the 2-part song, Slowdance I+II. Frontman James McGovern’s poetic lyricism gracefully complemented every movement, switching between thunderous bellows and spoken pieces.
The North American Gigi’s Recovery Tour continues through April, where the band will make a surely momentous visit to California’s Coachella Valley Music and Arts Festival, followed by a few other international festival appearances throughout the rest of the Summer.
The Murder Capital | Music Hall of Williamsburg | Brooklyn, NY | March 28, 2023
Setlist: For Everything, Return My Head, More Is Less, The Stars Will Leave Their Stage, Green & Blue, Crying, A Thousand Lives, Gigi’s Recovery, Slowdance I, Slowdance II, We Had to Disappear, Feeling Fades, Only Good Things, Don’t Cling to Life, Ethel
The Jazz Foundation of America will host their annual “A Great Night in Harlem” benefit gala and concert at 8 p.m. on Thursday, March 30 to raise funds for the JFA’s Musicians’ Emergency Fund.
Danny Glover, Ann Curry, Jeffrey Wright and Mario Cantone will emcee the event, held at the Apollo Theater in Harlem. “A Great Night in Harlem” will honor musicians considered to have helped define jazz and who have left a meaningful cultural impact through their work in jazz, blues, R&B and soul. In addition to the honorees, musical director Steve Jordan will lead a concert featuring artists such as John Batiste and Betty LaVette.
The event hosts eight honorees this year. The JFA wants to honor Benny Golson to recognize his solo career that followed his rise to prominence touring with Dizzy Gillepsie and Lionel Hampton’s big bands. The founding director and vice chairman of the JFA, Wendy Oxenhorn, will also be honored for her life’s work in offering humanitarian support to jazz musicians. Native New Yorker and 90-year-old Mike Stoller, will also be recognized for his invaluable contribution to mainstream rock and roll and R&B music through his songwriting prowess. And finally, The Titans of Jazz Bass, a group of jazz basists made up of Cecil McBee, Rufus Reid, Larry Ridley, Paul West, Buster Williams and Reggie Workman will be honored as iconic members of the jazz bass tradition.
Steve Jordan is to direct musical performances Jon Batiste, Bettye LaVette, Monty Alexander, Ray Parker Jr., Kenny Barron, Robert Cray and more.
The evening will also include a special tribute to the great composer and pianist Ramsey Lewis, who died in September of last year. Lewis founded the Ramsey Lewis Foundation and Ravinia’s Jazz Mentor Program, and he was on the board of trustees for various music and arts schools, leaving a legacy that will last into the next generation of jazz musicians.
Funds raised through the annual gala will support the Jazz Foundation of America’s Musicians’ Emergency Fund, which provides housing assistance, pro bono medical care, disaster relief and emergency financial support to musicians in need. Tickets for the gala range from $75 to $250, and tickets that include access to the JFA’s exclusive after party start at $500. Doors open at 7 p.m., and the show is set to start at 8 p.m. Tickets can be found here.
New band Telecom, from Brooklyn-based musician Sean McVerry, has released their debut single, “Ramon” on March 21 and have plans to release more music soon. Telecom melds 60s brit-pop, late 2000s New York indie grit, and cheeky theatrics. McVerry has worked and toured with artists such as Karen O, Danger Mouse, and Aurora.
Telecom members, from left to right: Andres Valbuena, Zeno Pittarelli, and Jonathan Sacca. Credit: Matt Speno
Telecon comprises Andres Valbuena on drums, Zeno Pittarelli on guitar, Jonathan Sacca on bass, and several other Brooklyn musicians. Their founder, Sean McVerry, is a New York music scene veteran, and recently on The Tonight Show Starring Jimmy Fallon, where he won the show’s “instant songwriter” segment. Telecom has earned millions of streams on music platforms, and music has been featured on several television shows such as NBC’s Zoey’s Extraordinary Playlist and Adult Swim on Cartoon Network.
Telecom’s debut single “Ramon” and its upcoming counterpart were co-produced and mixed by former DFA engineer Abe Seiferth at Brookly’s Transmitter Park studios. McVerry moved a free piano he found on Craigslist into the apartment, (nearly crushing himself to death) and the songs quickly came together. He started working on the songs in late 2020 in his home studio in Crown Heights, as a way to express his feelings about the Covid-19 pandemic. The songs provide different takes on the situation, with “Ramon” describing McVerry’s feelings of being trapped with his neighbors in their Brooklyn apartment building. Both songs remained dormant until a writing retreat with Pittarelli and Rahn in 2021, at which point Telecom was beginning to take form.
If Telecom’s future music is anything like “Ramon,” the band is certain to have a long and successful career ahead of them. Upon listening to their debut single, audiences are sure to be eager for more by Telecom. McVerry truly found magic with the three artists that make up the group.
McVerry said of Telecom’s Debut Single:
‘Ramon’ began with a free piano from Craigslist. After mining a ’70s drum break from my vinyl collection, I laid down the initial cassette tape demo of the song. The track thumps along a hypnotic groove, as the speaker romanticizes the cat in the courtyard, and the introspection that comes with isolation.
On Friday, March 24th, Pink Talking Fish teamed up with Escaper at Sony Hall to honor the 50th Anniversary of Dark Side of the Moon, Pink Floyd’s most famous album. PTF played the album in its entirety, with opener, Brooklyn’s Escaper, closing their set with a masterfully psychedelic “Set the Controls for the Heart of The Sun”.
Will Hanza & Luke Bemand of Escaper
Escaper opened up the night with an exciting set filled with face melting solos by Will Hanza. An incredible and very emotive guitarist, Will is a thrill to photograph. It was great to see him and Luke Bemand’s stage chemistry and how well they play together. Escaper invited Cal Kehoe up for the Pink Floyd cover to end their set.
Luke Bemand & Scott Chasolen of The Machine join PTF on stage to play “Tweezer”
Pink Talking Fish started their show by playing “Dark Side of the Moon” in it’s entirety. A daunting task which PTF has performed incredibly many times before, this time was no different. The vocal part in “Great Gig in The Sky” and the sheer funkiness of “Any Color You Like” stood out.
Cal Kehoe-eidescope
The second set was a medley of Phish, Talking Heads, & Pink Floyd. Favorites from that set included Phish classics like “Alumni Blues”, “Letter to Jimmy Page”, “Frankenstein” which included a key-tar solo, “Tweezer” with Luke Bemand on bass and the keyboardist from The Machine Scott Chasolen, and if you play “Tweezer” you know you have to play “Tweezer Reprise”. The band encored with “Sabotage > Eclipse Reprise”.
Pink Talking Fish – Sony Hall, NYC – Friday, March 24
Set 1: Speak To Me > Breathe > On The Run > Time > Breathe Reprise, Great Gig In The Sky, Money1, Us And Them1 > Any Colour You Like > Brain Damage > Eclipse
Set 2: Burning Down The House, Alumni Blues > Letter To Jimmy Page > Frankenstein2 > Letter To Jimmy Page > Alumni Blues, Mother, Houses In Motion, Tweezer1,3 > Tweezer Reprise1,3, Wish You Were Here, Crosseyed And Painless
Encore: Sabotage > Eclipse Reprise
1 w/ Matt Wayne on sax 2 w/ Steve on keytar 3 w/ Luke Bemand on bass & Scott Chasolen on keys
Brooklyn-based artist, producer, and engineer Justin Meyer has just released his newest single “Friends With Fear,” out Friday, March 24th. Inspired by Justin’s journey of graduating during the pandemic, the single puts a positive spin on uncertainty and the shared experience of having a quarter-life crisis.
Written in 2022, “Friends With Fear” explores the experience of having a quarter-life crisis while confronting the unique challenges of graduating during a pandemic. The upbeat track fuses thought-provoking lyrics with Lily Kelso’s background vocals and Alden Spence’s electric guitar layers to create an undeniably hypnotic sound.
Sharing more behind the song’s inspiration, Justin Meyer explains, “‘Friends With Fear’ is about having a quarter-life crisis and trying to be okay with life’s unknowns. I went through college during the pandemic and graduated a year early, leaving me feeling this sense of time slipping away very quickly. I got super focused on the impermanence of life for about a year. This song is about making friends with those feelings and letting them settle instead of fighting them and making them even worse. Furthermore, it’s about reclaiming the joy of being alive.”
Hailing from Golden, Colorado, Justin Meyer has had a lifelong passion for music. In 2019, he followed his dream and moved across the country to pursue his Music Production and Engineering degree at the renowned Berklee College of Music.
“Justin’s musical career has just begun, but I see it continuing into the far future.”
—The Crescent Magazine
After graduating in 2021, he moved to Brooklyn, New York, and secured a position as an assistant engineer at the prestigious Kensaltown East studio. With his latest single, “Friends With Fear,” Justin continues to demonstrate his exceptional production and songwriting prowess.
Prior to his studies at Berklee, Justin had already begun to hone his sound with his first two EPs, Afterthought and Dreams. During the 2020 lockdown, Justin kept busy, producing his first album Metanoia released in 2021. His third EP, Lonely Rock Star, was recorded as part of Justin’s capstone project at Berklee and featured instrumentation by fellow Berklee alumni.
Justin has had the pleasure of collaborating with many talented artists such as Mae McCoy, Lily Kelso, Aldo Rey, and Claire Donzelli. Returning with his latest single, “Friends With Fear,” Justin continues to demonstrate his exceptional production and songwriting prowess.
To listen to “Friends With Fear,” click the link here.
For more music by Justin Meyer, click the link here.
Joshua Bassett recently played at the Hammerstein Ballroom on Friday, March 24th with opener Lindsey Lomis for his only New York date during his The Complicated Tour.
The two put on an unforgettable performance for their audience of 2500, with Bassett playing various songs from his EPs, Different, Sad Songs In A Hotel Room, and Joshua Bassett. Thousands of fans, many of them wearing sparkly tops, colorful pants, and pink cowboy hats, waited in anticipation for Joshua’s incredible set.
Joshua Bassett
Bassett, initially gaining popularity for his role alongside Olivia Rodrigo in High School Musical: The Musical: The Series, resides in New York City but grew up in San Diego, California. The 22-year old pop singer is currently in the middle of his tour and has various dates left in the US and across Europe.
Joshua first entered the stage yelling “New York City!” and jumped up and down during his upbeat song, “Feel Something.” The crowd lost it when he jumped off of the stage, greeting fans and accepting flowers from one girl, whilst encouraging everyone to get into the groove of the music. During his song, “i’m sorry,” Bassett truly awed the crowd with his deeply intimate lyrics as he touched on subjects like depression, addiction, breakups, and loneliness.
He made his way into the middle of the audience during “Common Sense,” as he sang his first ever release acoustically to his starstruck fans. In the chorus of “Different,” he disappeared from the stage and made his way to the upper balconies to greet the rest of the crowd. Finally, at the end of his last song, “Set Me Free,” Joshua climbed onto a piano and jumped off at the drop of the beat, while confetti shot out of cannons on either end of the stage.
Bassett ended his set with a long wait before the crowd began shouting, “One more song, one more song!”, where he reentered and put on a final performance of “SHE SAID HE SAID SHE SAID.”
Setlist: Feel Something, Secret, Doppelgänger, LA, Used To It, Finally Free, Medley (Joshua Bassett EP), Heaven Is You, Sad Songs In A Hotel Room, Lie Lie Lie, Common Sense, Lifeline, All In Due Time, Empire State of Mind, Pt. 2 (Alicia Keys cover), would you love me now?, i’m sorry, Different, Smoke Slow, Iris (The Goo Goo Dolls cover), Beautiful City (Stephen Schwartz cover), Set Me Free Encore: SHE SAID HE SAID SHE SAID
The Kings Theatre in Brooklyn has announced that as of March 27, fans can only purchase tickets via ATG Tickets which are available for purchase through their box office and website.
The Kings Theatre was built in 1929 as one of the five original Loew’s Wonder Theaters, originally a movie palace live performance venue featuring vaudeville reviews. The movie palace was inspired by the French Renaissance Revival style of the Palace of Versailles and the Paris Opera House and became stagnant after its closing in 1979 until undergoing restoration in 2013. In 2015, the venue was officially opened as the Kings Theatre with a debut performance by Diana Ross. Now the theatre is widely recognized for being a cultural and economic cornerstone of the Flatbush community, and a great addition to Brooklyn’s cultural landscape as a whole. The venue announced that their new ticket service is ATG Tickets, only available for purchase through their website or box office.
Ticketmaster has come under fire the past few months for the mishandling of the presale ticket sale of Taylor Swift’s Eras Tour, causing fans to not be able to access tickets, getting booted out of the ticket queue, and overselling the presale quantity so fans without Verified Fan codes were unable to get tickets at all. It has become the largest ticket-selling company in the world, despite the fact that in 1994 Pearl Jam famously filed a complaint with the antitrust division of the U.S. Department of Justice, citing that Ticketmaster has a “virtually absolute monopoly on the distribution of tickets to concerts.”
In January, Live Nation Entertainment, the concert industry giant that owns Ticketmaster, came under attack at a Senate Judiciary hearing, with both sides criticizing the botched sales of tickets, and calling the company a monopoly that hinders competition and harms consumers. Some questioned whether the two merging companies should be broken up once their agreement with the Justice Department expires in 2025. According to various estimates cited by the senators, Ticketmaster controls ticketing at 70 to 80 percent of major concert venues in the United States, making them indeed a monopoly.
Other tours have also been affected by Ticketmaster, like Drake and Beyoncés. Platinum tickets, or tickets that the company purposely sells for higher prices because they know fans will buy them, were a big issue for both of these tours, with some tickets nearing $1,000. The Cure recently announced a North American tour, utilizing the Ticketmaster Verified Fan system, where fans with verified accounts are randomly selected for presale codes to purchase tickets earlier than the general public. Robert Smith of the band spoke publicly on his Twitter account disagreeing with the idea of platinum ticketing, and the fees that Ticketmaster puts on tickets, which are sometimes close to the cost of the actual ticket. Since he was so open about his distaste for the company, Ticketmaster gave credit to accounts who bought tickets to see The Cure as a consultation for the expensive fees.
The Kings Theatre has been one of the few venues to fully switch away from Ticketmaster, possibly creating a trend of major venues boycotting the monopoly. The theatre switching to only using their website and box offices for ticket purchases will have positive effects on fans trying to purchase tickets, hopefully putting an end to outrageous fees and long wait times. For fans that have purchased tickets through Ticketmaster for the theatre’s events, they will be transferred to the new system. For more information about the Kings Theatre and to view future events, visit here.
Sound Mind Live has announced the fifth annual Sound Music Festival for Mental Health will take place on Saturday, May 20, between Irving Ave and Wyckoff Ave in Bushwick, Brooklyn. The free event, which starts at 12 p.m., will feature a number of performers including Iron & Wine, Hiss Golden Messenger, Langhorne Slim, Kamauu, and Pom Pom Squad, and includes DJ sets from House of Yes, Food by Smorgsaburg, Yoga and Sound, Bath Sessions, and more.
BetterHelp is partnering with Sound Mind Live for this year’s Sound Music Festival
For this year’s festival, the world’s largest therapy platform, BetterHelp, is partnering with Sound Mind Live to provide a month of free therapy for their combined communities.
“We’re so proud to partner with Sound Mind on this amazing festival,” Co-founder of House of Yes Anya Sapozhnikova says.
Additionally, containing its focus on mental health awareness, the Sound Music Festival will host a series of panels in partnership with Absurd Conclave, including Mental Health in Communities of Color, Mental Health in the Music Industry, The Importance Of Fostering Community, and more.
Research shows that since the pandemic, more people have contemplated self-harm, with one in four youth having considered suicide, and the fall out of post-pandemic depression is expected to last 3-5 years. The upcoming Sound Mind Music Festival hopes to bring about deeper community connections for healing and elevate conversations and resources that can help those in need find affordable resources sooner.
“Over the past several years the world recognized that mental health issues impact us all in one form or another,” Executive Director of Sound Mind Live Chris Bullard says.
Guests will have the opportunity to make a donation and enjoy a VIP experience, which includes an enhanced viewing area, a private bar, and complimentary swag bags. This year’s Sound Music Festival is in partnership with over 10 music artists, 3 local venues, and over 20 mental health organizations including National Alliance on Mental Illness, JED Foundation, and TransLifeline, and is supported by the Society of Valued Minds, an initiative of Otsuka America, Pharmaceutical, Inc., BetterHelp, Sozosei Foundation, and G4D Productions. Media partners include YouTube Health and Consequence.
While this year’s Sound Music Festival for Mental Health in Brooklyn is free, tickets are still needed to enter the event and can be found here.
Fresh off live scoring The Fifth Element at The Caverns in Tennessee, The Disco Biscuits marched north to Port Chester for three nights at The Capitol Theatre over March 23-25, quite possibly their strongest run at the ‘Original Rock Palace,’ dating back to 2016.
Few bands display the consistency the Disco Biscuits have displayed as of late, going back nearly a year to their last Capitol Theatre run, which has been followed by more than a dozen original song debuts that have quickly become part of the rotation.
From the crowd, the band looks like they’re having a blast on stage, rocking out to the music they’re creating, feeding off their own creation just as the fans are, creating a live camaraderie that is rarely seen. From the stage, one can see the band is getting down while watching the fans do the same, all while creating live electronic music to an unmatched degree of quality, making it look like just another day at the office.
Typically, Thursday of a three-night Cap run has been more of a ‘‘warm up night,’ as the band gets comfortable in the room. The shows have been great, but have been overshadowed by stellar Friday and Saturday shows. This was not the case this weekend, given the way the band has been playing, as there was no warm up needed and Thursday was on par if not stronger than the next two nights.
Starting the run with a jam that evolved into an almost 20-minute “Gangster,” a “Spacebirdmatingcall” sandwiched “Cyclone” that found Jon “Barber” Gutwillig hitting next level peaks as the industrial techno beat took over. As the set reached the second half, two rarely played songs, “Trooper McCue” and “Floes” appeared, a double dose of early Biscuits, with the more recent “Lake Shore Drive” fitting in nicely in between.
A rarely played “Park Ave” made its third appearance since 2011, and second this year, opening up the second set, then dipping into an inverted “Shelby Rose” which was last performed inverted style at the Capitol Theatre in 2019. The flowing set continued with an inverted “Reactor” which found Barber taking a section for “a couple of laps” as bassist Marc Brownstein put it. The set would close with ”Evolve,” a 2021 composition that gives off a late 90s Eurodance vibe, segueing into a 20-minute set closing “Caterpillar.” With a short encore slot leftover, “Portal To An Empty Head” put a exclamation point on a night that to some was the highlight of the run, but if anything, simply foreshadowed the greatness of the next two nights that followed.
The Disco Biscuits – Thursday, March 23 – The Capitol Theatre – Port Chester
Set 1: Jam > Gangster > Spacebirdmatingcall > Cyclone > Spacebirdmatingcall, Trooper McCue, Lake Shore Drive > Floes Set 2: Park Ave > Shelby Rose 1 > Reactor 1 > Evolve > Caterpillar Encore: Portal To An Empty Head 1 inverted
Friday night featured opener Dogs in a Pile, a New Jersey band that was making waves prior to the pandemic and who have not looked back in that time, touring across the country and building a ‘Dog Pound’ fanbase in the meantime. The full set is worth a listen, especially the final tune, “Time Stands Still,” with Ben Pinnola on saxophone.
When it comes to the Disco Biscuits, anything can be a jam vehicle, nearly everything is in play – new songs, old songs, fan favorites, rare covers – and that is what makes the band so enjoyable to see show after show, no matter if you last saw them a week ago or five years ago.
Cracking open the first set was “Shocked,” which stands to be the first song from the band’s forthcoming “Space Rock Opera,” and had fans shouting “Shocked” as if the tune was a longtime part of the repertoire. A stand alone “Digital Buddha” followed, with the pace accelerated by Barber and drummer Allen Aucoin to a furious froth, giving unparalleled energy as the song reached its peak.
Among all new debuted songs, a clear fan favorite is “Twisted in the Road,” which would proceed to sandwich three songs in between a “Twisted” 22 minute jawn, with lyrics “Let it run and let it roll” becoming a mantra for Biscuits fans in the process. “Bombs” made a return appearance at The Capitol Theatre (played in 2017 and 2019) after being brought off the shelf by fan request at a Drive-In show in May 2021. “Orch Theme,” the ever-welcome dark electronic Conspirator song arrived out of “Bombs,” bringing the rare “Rainbow Song” from the ashes of “Orch Theme,” before winding back into “Twisted in the Road” to close the set and reach the halfway point of the run.
Set 2 began with the fresh “Freeze” that ran for nearly 25 minutes and exemplified one of the best elements of the Disco Biscuits – you can easily forget what song you’re dancing to, and happily so. In the moment, it doesn’t matter what song it is when they’re jamming at this level of consistency, making song chasing secondary to enjoying these jams more than ever before. Anything is in play with improvisation opportunities found at all turns.
The middle section of “Crickets” gave way to “Another Plan of Attack” and “Space Train,” and then an inverted “Above The Waves” that clocked in at a raging 20 minutes. “One Chance To Save The World” closed the set with “King of the World” celebrating this powerful set in the encore slot.
The Disco Biscuits – Friday, March 24 – The Capitol Theatre – Port Chester
Set 1: Shocked, Digital Buddha, Twisted in the Road > Bombs > Orch Theme > Rainbow Song > Twisted in the Road Set 2: Freeze > Crickets 1 > Another Plan of Attack > Space Train > Above The Waves 2 > One Chance To Save The World Encore: King of the World 1 middle only 2 Inverted
Opening Saturday night was Eggy, who has been on the rise as of late and had recently opened for Twiddle at The Capitol Theatre in November 2022. This remarkable Connecticut band has excellent stage presence and precision jamming, with Jerry Garcia Band’s “Gomorrah” a fitting cover for the room.
The Biscuits’ first set opened up with stand alone versions of “Story of the World” and “Astronaut,” a departure from the sandwiching of other tunes inside segments of these compositions. A classic “Little Shimmy In A Conga Line” had a percussion segment that was unique and fit the jam well, and may have been exploring a shift into “O Fortuna” (a cantata by Carl Orff), from the Biscuits’ catalog of classical covers. Shortly after, “Shimmy” started to give off “Digital Buddha,” but having already played “Buddha” the night before, this meant the audio doppleganger for “Buddha” – “Tricycle” – was on the horizon.
The last two minutes of “Shimmy” made it seem as though the band would be dipping into one of their most high energy songs for a segue. Then out of left field came a short, sweet and nasty “Tempest” that provided a bridge to the full on “Tricycle,” which had the crowd singing along in unison like no other in recent memory, the four fully dialed in for this fusion of sound and bringing the audience along with them for the ride. The newer “Vibes” hit the spot out of “Tricycle” and found its way into the ending of “Svenghali” to close the set on a high mark.
The first set had so much energy and hit all the right spots, contending quickly for ‘Set of the Weekend.’ The general consensus at setbreak gave no notes, no criticisms and no hot takes other than ‘these guys are on fire.”
Sorry if that sounds like hyperbole, but the dedicated fan base is in agreement that the band is as dialed in and consistent as they’ve ever been. So when it came time for Set 2, the crowd was abuzz as the setlist was confirmed to be written by longtime Biscuits audio engineer Rich Steele, celebrating his 300th show this evening. The set unfolded as a dissection of one of the Biscuits’ earliest songs, “Basis For a Day” spread out over the 90 minute set with four of the newer ‘Space Opera’ songs woven in between, leading fans to coin the fluid set “Spaces for a Day.“
If you hadn’t heard “Basis For a Day” in a minute, you were in for a treat. The band opened up with “Basis,” segueing into “The Wormhole” before finding their way back to “Basis.” Despite only debuting nine months ago, “Who’s In Charge” has found its home in regular rotation and followed the second “Basis,” with a driving beat behind Barber’s repeated query “Who’s in charge….. of this place right here?” From there, it was back into “Basis” for round 3, followed by “The Deal,” a song so new it had only been played three times prior to this evening. Back into “Basis” and then “To Be Continued,” with a new wave/techno riff from Aron Magner, seeming to be a song towards the end of the Space Opera. By the time they went back into “Basis” for a final time, nearly 90 minutes had passed but fans didn’t notice as they were far too busy getting down.
You couldn’t find a stronger way to cap the run with a set of this nature, where knowledge of the band’s collective level of consistency in performance and songwriting was put high on a pedestal for all to see. Weaving the band’s unnamed/unreleased “Space Opera” in and out of one of their most performed songs was a master stroke and paid dividends for everyone in attendance. A fitting encore of “We Like To Party” framed the three night run, with the band and fans in unison proclaiming enthusiastically, loudly and proudly, “We like to dance, sorry if you don’t.”
Don’t sleep on the Disco Biscuits – they’re in Colorado this coming weekend for four shows, head down south for four more in May before heading to Iceland for their first international jaunt in well over a decade. Tour dates for the summer have just been announced, which find the band touring up the east coast in June for eight shows, starting in South Carolina on June 7 and closing out with two nights at Mulcahey’s in Wantagh. Here’s hoping for more details on the upcoming “Space Opera” as the year progresses.
The Disco Biscuits – Saturday, March 25 – The Capitol Theatre – Port Chester
Set 1: Story of the World, Astronaut, Little Shimmy In A Conga Line > Tempest > Tricycle > Vibes > Svenghali 1 Set 2: Basis For A Day > The Wormhole > Basis For A Day > Who’s in Charge > Basis For A Day > The Deal > Basis For A Day > To Be Continued > Basis For A Day Encore: We Like To Party 1 end only
The New York Youth Symphony (NYYS) announced that Michael Thomas has been appointed Director of the NYYS Jazz program, beginning with the 2023/24 season.
Founded in 1963, the New York Youth Symphony is internationally recognized for its award-winning and innovative educational programs for talented young musicians. The symphony was awarded the 2023 Grammy for Best Orchestral Performance – Classical, the first youth orchestra to win a Grammy in this category. The NYYS has provided over 7,000 music students unparalleled opportunities to perform at world-class venues including Carnegie Hall, Jazz at Lincoln Center, Joe’s Pub, and The Times Center. Students gain valuable life skills like commitment, discipline, focus, collaboration, and friendships that last a lifetime.
Michael Thomas is an award-winning saxophonist, composer, and arranger, arriving in New York City in 2011, becoming an active member of the jazz community. He began his musical career as a pianist at age five, switching to saxophone at age nine because his father was also a saxophonist, and his mother a clarinetist. He has performed throughout the United States and abroad, including tours in Central and South America, Australia, Europe, Japan, and Russia. He can be heard on over 30 recordings, including three albums as a leader, and has been commissioned by schools and professional ensembles around the world. In addition to his own trio, quartet, and quintet, Michael Thomas also co-leads and writes for the Grammy-nominated Terraza Big Band.
Thomas follows Andy Clausen, who will step down from his position at the end of the 2022/23 season after seven seasons. The New York Youth Symphony Jazz is a 17-member swing ensemble dedicated to studying, rehearsing, and performing classic big-band jazz music from the 1930s and 40s, incorporating the music into current and emerging styles that define the genre for the present generation. “We are thrilled to have found Michael, who we are confident will be a worthy successor to Andy Clausen, who has brilliantly led the program for the last seven years,” explained Robert J. Levine, Senior Vice President of NYYS Trustees and Head of the Jazz Director Search Committee. “Michael’s experience and impressive knowledge of all aspects of the jazz repertoire and his strong ability to communicate with our young musicians were immediately evident in his live audition.”
For more information about the NYYS and upcoming events, visit here.
