On March 3, The Borgata in Atlantic City lit up with excitement and anticipation as the legendary Smokey Robinson took the stage for what turned out to be a night to remember. The audience knew they were in for a treat when the lights went down, and Robinson’s signature falsetto voice filled the room with his classic hit “Being With You.”
Smokey Robinson 3.3.23
Robinson, 83, took the audience on a musical journey that spanned five decades as he belted out hit after hit. From the ballads “Cruisin” and “Quiet Storm” to the upbeat “Tears of a Clown” and “I Second That Emotion,” Robinson kept the audience dancing and singing along throughout the night.
Smokey Robinson 3.3.23
Robinson’s backup singers and band were top-notch, and their chemistry with him was evident in the way they moved seamlessly through each song, taking the audience from slow romantic moments to uptempo dance numbers. Known for his smooth and soulful voice, Robinson’s performance showed that he hadn’t lost any of his vocal prowess. He effortlessly hit every note and captivated the audience with his dynamic stage presence.
Smokey Robinson 3.3.23
As the night drew to a close, Robinson finished with his timeless hit “Tracks of My Tears,” leaving the audience spellbound and begging for more. It was a concert that will undoubtedly go down in the history books as one of the best ever performed at The Borgata. Smokey Robinson proved that age is just a number as he delivered an unforgettable performance that left a lasting impression on his fans.
Setlist: Intro, Being With You, I Second That Emotion, You’ve Really Got a Hold on Me, Quiet Storm, Ooo Baby Baby, Get Ready, My Girl, The Way You Do The Things You Do, Tears of a Clown, Fly Me To The Moon, Just To See Her, I Love Your Face, La Mirada, The Tracks of My Tears, Cruisin’
Electrifying punk rock group Meet Me @ The Altar blew the roof of Gramercy Theatre on March 2 as part as their first ever headline tour. Along with their openers Daisy Grenade and their intense sound, and Young Culture’s standout stage presence, the Meet Me @ The Altar show was absolutely unforgettable for anyone in attendance.
Photograph by Chinaza Ajuonuma
Meet Me @ The Altar is a three-piece WOC pop-punk band, consisting of guitarist/bassist/singer Téa Campbell (Florida), drummer Ada Juarez (New Jersey), and singer Edith Johnson (Georgia). Originally formed in 2015, the three members—all of whom lived in different states at the time—worked on music remotely through the internet. The band went on their first tour in 2018 and were signed by Fueled by Ramen in 2020. Their creativity continues with their new album Past // Present // Future that came out on March 10.
Photograph by Chinaza Ajuonuma
Daisy Grenade is a power-punk bubble grunge band that serves a punch with a lip-glossed kiss on the side. Made up of the two gorgeously disturbed girlies Keaton Whittaker and Dani Nigro, they turned their unapologetically feminine angst into sickeningly catchy, morbidly worded bubble-grunge bops that are dripping out of a saccharine shell. With Pete Wentz as a mentor and the collaboration of The Ready Set for their sophomore EP, CULT CLASSIC, these two theater kids started making music in 2020 and haven’t looked back.
Daisy Grenade Setlist: Heavy Metal Parking Lot Kind Of Cool, Darby, Stone’s Throw, Skin, I Got It Bad, Rorschach, Dominoes, Colm’s, Veritas, Pocket Change
Photograph by Chinaza Ajuonuma
Hailing from Albany, the trio of Alex Magnan, Gabe Pietrafesa, Troy Burchett that make up Young Culture have been brewing their sound for the past couple of years and most recently have released their album You Had To Be There. Their music can be described as early 2000s-sunshine-rock-meets-modern-technology that pops with bright color and vibrant emotion. The band signed with Equal Vision Records in 2018 and have been releasing banger after banger ever since.
Young Culture Setlist: Not In Love, Drift, Smooth, Fantasy, Silver Lining, Shiver, Holiday in Vegas, Serendipity, Different Now, Kinda Over It
Photograph by Chinaza Ajuonuma
Daisy Grenade took the stage first, launching directly into a hardcore “Heavy Metal Parking Lot Kind Of Cool”. Embodying female angst and jumping around the stage, the energy in the room was electric. The crowd was moshing along as they played new songs, like “Skin” and “I Got It Bad”. After a quick shoutout to their parents in the crowd, the fans for bringing the energy, Daisy Grenade retired the stage with a bang after playing “Pocket Change.”
Photograph by Chinaza Ajuonuma
There was a shift in the room when Young Culture emerged. The chants from fans were almost deafening, as all you could hear was their little tagline, “YC F*CKS”. Launching right into “Not In Love” from their most recent album. The crowd’s enthusiasm skyrocketed as Alex left the stage to stand on the barricade, directly interacting with the fans during the set. With encouragement from the band, the crowd surfing began, putting security to work. From the constant chanting to the jostling of the fans around in the pit, the energy in the room built up to new heights.
Photograph by Chinaza Ajuonuma
By the time Meet Me @ The Altar took the stage, the crowd was buzzing with anticipation. With Téa and Ada tuning and prepping their instruments. Riding off the high of the crowd chanting their names, leading lady Edith hops out and launches into one of the bands most well known songs, “Say It (To My Face)”. With an energy equivalent to a pop punk rager, this hardcore show can only be described as feral and free. The chanting and the crowdsurfing didn’t cease, even long after they performed their final song. Only a week before the release of their new album, Meet Me @ The Altar is on an upward trajectory when it comes to their sound.
Meet Me @ The Altar Setlist: Say It (To My Face), Beyond My Control, Hit Like A Girl, King of Everything, Try, May The Odds Be Ever In Your Favor, Now Or Never, Feel A Thing, [unknown song], Complicated, Same Lane, A Few Tomorrow, Garden
Photograph by Chinaza Ajuonuma
In terms of upcoming shows, Daisy Grenade will be on tour with Meet Me @ The Altar until April. They’re then scheduled to head on tour supporting Fall Out Boy on multiple dates from June 23rd in Montana to July in Colorado. For any updates on future shows and tours, check out their website.
Young Culture will also be with Meet Me @ The Altar until April, but past that, there is nothing scheduled. For updates, check their website and socials.
After tour wraps, you can find Meet Me @ The Altar at an array of different festivals, from Adjacent Festival in New Jersey to Leeds Festival in the UK.
Rochester’s beloved Lilac Festival has announced the 2023 lineup for its 125th-anniversary celebration in Highland Park from May 12-21.
Lilac Festival (News 8 WROC photo/Matt Driffill)
The Lilac Festival brings in over 500,000 people a year from across Western and Upstate NY, the tri-state area, and Canada to Highland Park to see great music and look at the beautiful lilacs that grow in the park, as well as eat and drink amazing food. “One of the highlights of the Rochester Lilac Festival for visitors is the robust lineup of national, regional, and local entertainers and musical acts,” said Don Jeffries, president & CEO, Visit Rochester. “As we look forward to the 125th anniversary of the festival, this lineup of performers is sure to keep the thousands of visitors to Rochester’s Highland Park this May entertained!”
Kicking off the festival on May 12 at 4 p.m. is Personal Blend, a seven-piece reggae/ rock group out of Rochester. Get ready to feel good and dance to their new EP Inhale & Release. Following at 5:30 p.m. is Sneezy, a six-piece fusion rock band from Chicago that draws its innovative sound from Rock, Hip-Hop, and Soul influences.
The special headliner for the evening is the jam/funk quartet Pigeons Playing Ping Pong at 7 p.m. The band includes singer/guitarist “Scrambled Greg” Ormont, guitarist Jeremy Schon, bassist Ben Carrey, and drummer Alex “Gator” Petropulos. The band, through their 1,000 enthusiastic shows, has built a mass following and an ever-expanding fanbase known as “The Flock,” and has been hailed as “musical explorers” by Rolling Stone. PPPP has independently released six studio albums, including their latest record, Perspective, in 2022.
The next day at 3 p.m. four-piece reggae act MoChester performs, consisting of Brandon Sheffer on lead vocals and guitar, Jonathan Sheffer on keys, guitar and backup vocals, Ben Overmyer on bass, and Jimmy Grillo on drums. At 4:30 p.m. the funky soul powerhouse group Shine takes the stage, playing a mix of funk, soul, and pop music, with contemporary hits by the likes of Bruno Mars and Adele, and also classic soul going back to Prince, Michael Jackson, and more. Finishing off the day at 6 p.m. is the Zac Brown Tribute Band, capturing the sound and creativity of the Zac Brown Band by playing hits like “Chicken Fried” to the recent sing-along anthem “Homegrown,” there’s a bit of everything for fans.
Zac Brown Tribute Band
The next day begins with Latin Jazz Quintet, Sofrito, formed in 2009 by flutist Tim Forster and Latin percussionist Tony Padilla at 1 p.m. At 2:30 classic rock and popular rock cover band BB Dang performs, and headliners The Iguanas play at 4. The group has been a fixture of the New Orleans music scene for over two decades, showcasing America’s musical heritage – Tejano and Conjunto sounds from the Texas/Mexico border region, as best exemplified by the accordion and bajo sexto. Closing out the night is Seven Wonders, seven world-class musicians paying homage to the music of Fleetwood Mac.
May 15 features variety group Big Blue House at 4 pm., with Rochester’s premier psychedelic alternative country act Public Water Supply at 5:15. Finishing off the evening at 7 is Hudson-Valley-based musician Mikaela Davis, who has shared the stage with Bob Weir, Christian McBride, Bon Iver, and more. She also performs with her band Southern Star, recently recording at the Relix Studio in New York City, releasing an exclusive Relix Studios vinyl. The following day begins with the four-piece rock cover group Digglers Bridge at 4 p.m., with the three-piece instrumental organ trio/funky jam band Organ Fairchild following at 5:30. Ending the night at 7 is the Sam Grisman Project, paying homage to his father David Grisman and his close friend, Jerry Garcia, music made in the early 90s.
The next day begins at 4 p.m. with the definitive Classic Vinyl 60s band, Inside Out. Headliners include Syracuse-based reggae group Root Shock at 5:30 and Allman Brothers tribute band Blue Sky Brothers, featuring members of Giant Panda Guerrilla Dub Squad, Mikaela Davis & Southern Star, The Moho Collective, and more. May 18 has the Led Zeppelin cover band Mothership at 4 p.m., Rochester-based variety cover band Stunt Double at 5:30, ending the night with Almost Queen at 7.
Almost Queen
Coming up on May 19 is roots rock band Steve Grills & The Roadmasters at 3:45 p.m., with American blues and swing revival band The Founders of Roomful of Blues at 5:30. Ending the night at 7 is Grammy-nominated American rock band The Record Company, comprised of Chris Vos (guitar, lead vocals), Alex Stiff (bass, backing vocals), and Marc Cazorla (drums, backing vocals). May 20 starts early at 2 p.m. with 11 piece band The Medicinals. The group formed in Rochester and has performed with the likes of Julian Marley, The Wailers (4x), Turkuaz, Lettuce, and more. At 3:30 Hello City performs and at 5 headliner Shamarr Allen makes an appearance. Taking influence from the heart of New Orleans, he performs in jazz, hip-hop, rock, funk rhythms, blues, and country categories and is the lead vocalist and trumpeter of his band Shamarr Allen & The Underdawgs. Ending the night at 7 is the only regionally touring full 7-piece Dave Matthews Tribute in the country: Big Eyed Phish.
Ending the festival on May 21 is Head to the Roots at 1 p.m., a passionate music project, led by American singer-songwriter Anthony Siciliano, pulling at the roots of folk, blues, reggae, rockabilly, and jam music. At 2:30, the high-energy group Vintage Pistol performs, Judah performing right after at 4. Headlining at 5:30 is the Grateful Dead cover band Workingman’s Dead. Also headlining and ending the festival is Into the Now, performing whatever they feel like for the past thirty years.
The Rochester Lilac Festival 2023 is a free event with no ticket required to enjoy the music. Those looking for an elevated experience can purchase MGM Associates of Rochester VIP High Spot Party Deck tickets, available here.
2023 Headliners
Pigeons Playing Ping Pong – May 12 Zac Brown Tribute Band – May 13 The Iguanas, The Seven Wonders – May 14 Mikaela Davis – May 15 The Sam Grisman Project – May 16 Blue Sky Brothers – May 17
Almost Queen – May 18 The FOUNDERS of Roomful of Blues, The Record Company – May 19 Shamarr Allen, Big Eyed Phish – May 20 Into the Now – May 21 *Every headliner will have ASL Interpretation
2023 Supporting Talent
Sneezy, Personal Blend – May 12 MoChester, Shine – May 13 Sofrito, BB Dang – May 14 Big Blue House, Public Water Supply – May 15 Organ Fairchild, Digglers Bridge – May 16 Inside Out, Root Shock – May 17
Mothership, Stunt Double – May 18 Steve Grills & The Roadmasters– May 19 Hello City, The Medicinals – May 20 Head to the Roots, Vintage Pistol, Judah, Workingman’s Dead – May 21
Miley Cyrus released her eighth studio album, Endless Summer Vacation, on March 10. The album, which Cyrus describes as her “love letter to LA,” was preceded by two singles, “Flowers” in January, and “River” on the same day as the album’s release. The former Disney star delivers again with her newest release, reminding her fans why they love and support her so much.
A streaming special, Endless Summer Vacation (Backyard Sessions) was released in support of the album. Photo Credit: Good Morning America
Miley Cyrus was born in Nashville, Tennessee in 1992, originally as Destiny Hope Cyrus. While Cyrus has since made a new for herself in the music industry, she comes from a famous family, being the daughter of county singer Billy Ray Cyrus and his wife Tish, who has managed her daughter since the start of her career. She got her big break when she landed the starring role in Disney Channel’s Hannah Montana, which made her into a teen icon and role model for young children while the show was airing from 2006 to 2011.
In the early days of Hannah, Cyrus released her debut album, Hannah Montana 2: Meet Miley Cyrus, which doubled as the soundtrack album for the show’s second season, followed by her first solo album, Breakout, in 2011. She has since made a name for herself outside of Disney, shedding her “good girl” image as early as 2010 with her third album, Can’t Be Tamed, while still starring on Hannah Montana.
Endless Summer Vacation starts out strong, stays steady throghout, and picks up again for the last few trakcs. Highlights from the album include “Flowers, “Jaded,” “Thousand Miles,” “Muddy Feet,” “Island,” and “Wonder Woman.”
The album closes out with “Wonder Woman,” and perfectly so, reminding us exactly who Cyrus is: a modern day Wonder Woman. The singer was born to a famous father but has come to be known as much more than the daughter of Billy Ray Cyrus, and was given a platform through Disney that spearheaded her to success, yet she was still able to break free from that “Disney bubble” that so many stars find themselves in. Endless Summer Vacation is sure to guarantee Miles Cyrus an Endless career in the music industry.
Two Hudson Valley Dark Cabaret bands, Frenchy and the Punk and Dust Bowl Faeries, will be bringing their blissful and maniacal music to Colony Woodstock on Thursday, March 30th. Dancing and magical happenings will kick off at 8pm that evening.
What is Dark Cabaret? This unique genre draws on the aesthetics of burlesque, vaudeville and Weimar-era cabaret, with live performances that borrow from the stylings of goth and punk. Frenchy and the Punk are an unorthodox, evocative electro-acoustic Dark Cabaret/post-punk duo based in the Hudson Valley. With exotic melodies and European-inflected percussive textures, they invoke a dark carnival of two that they take on the road across the US, UK and in Europe.
French-born singer Samantha Stephenson sings with a gothy heft and authority that may remind one generation of Siouxsie Sioux and another of Grace Slick. Guitarist, live looper, and former punk bass player, Scott Helland weaves dark riffs and layers of spidery melody in an acoustic/electric tone that is entirely his own.
Dark Carnival/Dream Music group Dust Bowl Faeries, best lauded by Bay Area Reporter in 2020 as “Americana by way of pagan cabaret,” are a faerie-tale fusion of dark cabaret, delirious polka and gothic spaghetti western music. Based in the New York Hudson Valley, the band’s eclectic repertoire of songs draw inspiration from circus songs, murder ballads and Eastern European folk tunes.
Accordion, singing saw and acoustic guitar combine to create the Dust Bowl Faeries otherworldly sound. The band was founded by Ryder Cooley (faerie queen) and her taxidermy spirit animal, Hazel the Ram. Ryder and Hazel are joined by Jon B. Woodin (rocket faerie), Liz LoGiudice (river faerie), Andrew Stein (time faerie) & Rubie LaRue (feisty faerie). American Highways says of them, “You can almost smell the gas lamps in the street & the absinthe being poured.”
On a rainy Friday night in Brooklyn, fans eagerly lined up outside Elsewhere to catch New York native Skizzy Mars’ return to the venue after a few years. Despite the rain, the line on March 10 extended around the block, a testament to the rapper’s popularity in New York.
Inside the venue, Skizzy Mars delivered an exceptional performance, playing a mix of his most popular singles including “Do You There” with Marc E. Bassy, “Crash” with Pell, and “Recognize” with Joji, alongside his solo hits like “Leave Me,” “Calabasas,” and “STROBE LIGHTS.” The crowd sang along with every word, creating a lively and engaging atmosphere.
Skizzy’s interaction with the crowd was exceptional, showing his love and appreciation for his fans throughout the night. The production of the show was top-notch, with perfectly coordinated lighting and sound that elevated the performance to another level.
As the show came to a close, fans were left wanting more and cheered for an encore. People stayed behind to take pictures with Skizzy Mars and purchase merchandise, adding to the already charged atmosphere.
Skizzy Mars’ return to Elsewhere was a testament to his incredible talent as an artist, leaving fans eagerly anticipating his next show and the new music he has in store for them. His performance was exceptional, showcasing his growth as an artist and his connection with his fans.
In conclusion, Skizzy Mars delivered an unforgettable performance on a rainy Friday night at Elsewhere, leaving fans eager for more. The show had an exceptional vibe, with an enthusiastic and lively crowd that had patiently waited in the rain to see their favorite artist. The production of the show was outstanding, and Skizzy’s performance was exceptional.
Queens Public Library (QPL) has announced their commemoration of The 50th Anniversary Of Hip Hop, through an international partnership with over thirty organizations including libraries, museums, colleges, universities, and archives.
Born in the Bronx, hip hop has been making a global artistic and cultural impact on the world since August 11, 1973. In recognition of Queens role in hip hop’s ascension from a local art form to an international phenomenon, the QPL established a hip hop program in 2015.
Hip hop coordinator, Ralph McDaniels, also known as “Uncle Ralph,” constructed programming to educate the public about Hip Hop culture and its five core elements: MCing, DJing, graffiti, breakdancing, and knowledge. QPL also preserves hip hop’s legacy through its collection of artifacts such as photographs, periodicals, audio tapes, video tapes, writings, news articles, flyers, and oral histories from people involved with the genre from its origins until now.
QPL’s hip hop program has drawn people of all ages and backgrounds to our spaces and has created a unique community connected by a love for music and knowledge.
-Dennis M. Walcott, QPL President and CEO
Queens Public Library was founded in 1896 and offered free access to more than 5.4 million books in addition to materials in 200 languages, technology, and digital resources. Prior to the pandemic, the independent, non-profit organization hosted over 87,500 educational, cultural, and civic programs annually and welcomed 11.4 million visitors through its doors.
The six-month celebration “Collections of Culture: 50 Years of Hip Hop Inside Libraries, Museums and Archives” is financed through a $267,760 grant from the Institute of Museum and Library Services (IMLS). Dozens of in-persons and virtual programs including panel discussions, author talks, educational forums, and workshops will be hosted by participating institutions. The program aims to examine the history and influence of hip hop on American culture and the contributions of its musicians, DJs, dancers, MCs, graffiti artists, stylists, directors, photographers, entrepreneurs and educators.
For More Information On The Events Scheduled, Visit The QPL Website Here.
Jenna Ortega, best known for her role as Wednesday Addams in the Netflix special show Wednesday and for the new rendition of the Scream franchise, hosted Saturday Night Live for the first time at the age of 20. The musical guest on March 11 was The 1975, a British indie group that is gaining popularity through expansive tours and social media virality.
The cold open features hosts on the red carpet for Access Hollywood at the Oscars. They made fun of carpet shows, including awkward pan-downs of women’s bodies, and the famous Oscar slap. They bring in Kenan Thompson as Mike Tyson, who does a scarily accurate impression, and Chloe Fineman comes in as Jamie Lee Curtis, bringing up the fact that she came out in a statement about going to bed early. There was also a sketch about betting odds for the Oscars, speaking more about Chris Rock and politicians. They brought in a few more guests, like George Santos pretending to be Tom Cruise, played by Bowen Yang.
Jenna Ortega’s monologue featured a discussion about how she isn’t dark and scary despite the characters she plays and she showcases a clip of her first commercial when she was a little girl talking about germs and toothpaste. She talks to actor Fred Armisen, who played Uncle Fester in Wednesday alongside Ortega. She has been the youngest host this season and says how excited she is to be on.
The first sketch features a school versus school game show, with Kenan Thompson as the host. One of the schools is for normal people, but the second one titled Professor Zander’s Academy for Extraordinary Children has children with special gifts, including mutations and more. Ortega plays the character Zena, who keeps trying to rebel because she can’t use her powers, and people think she is a freak. Other students and teachers include Mikey Day, Michael Longfellow, Molly Kearney, and Marcello Hernández. She eventually uses her “electric wind” powers and hurts the teacher (Punkie Johnson) on the other team.
Please Don’t Destroy followed with a video featuring Ortega, with the team going on a road trip, break out in a song about the fact they are going out on a road trip, subsequently missing the exit multiple times. Following that is a sketch about Ortega filming Parent Trap, with Fred Armisen playing the body double. They don’t film the scenes correctly, with Armisen messing up and saying lines off the script until he finally does it correctly.
Continuing on is a spoof of the popular MTV show Ridiculousness, with host Rob Dyrdek (Mikey Day), Steelo Brim (Kenan Thompson), and Chanel West Coast (Chloe Fineman). Jenna Ortega plays a popular TikToker, telling gory stories after each video is shown. Preceding that is a pre-filmed sketch about Ortega talking to her boyfriend about moving away for school at a Waffle House while a physical fight happens in the background, as well as other chaos, including a guy getting tased.
The 1975, an English pop rock band formed in 2002 in Wilmslow, Cheshire and now based in Manchester, consists of lead vocalist and rhythm guitarist Matty Healy, lead guitarist Adam Hann, bassist Ross MacDonald, and drummer George Daniel. Healy was nominated for Grammy for the group’s song “Give Yourself A Try,” and in the Best Boxed Or Special Limited Edition Package for I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It (Box Set). They have garnered billions of streams, releasing their newest record Beign Funny In A Foreign Language last year, featuring songs “About You,” and “I’m In Love With You.”
For the first song, The 1975 perform “I’m In Love With You,” dressed in suits but with a more laidback, chill vibe. Healy did his signature dance moves between breaths and sings in his unique voice, smiling cheek to cheek at the honor of being on Saturday Night Live. The group does a coordinated side step at the end of the song as there is a prolonged period of instrumentation, receiving a big round of applause.
https://youtu.be/JiPPvXRDUjI
Weekend Update featuring Michael Che and Colin Jost focused on speaking about Tucker Carlson and his newfound hatred for Donald Trump, the new bans on Drag Shows, and the fact that Walgreens is going to stop selling abortion pills in certain states. Special guest Molly Kearney, in their first Weekend Update appearance, was followed by James Austin Johnson filling in the last minute by doing random impressions, including Adam Driver, Batman reading Where’s Waldo, and more. A sketch playing off Exorcist movies had Ortega playing the girl being exorcised, featuring Ego Nwodim as a comedic character telling making comments downplaying the possession. Other guests include Kenan Thompson performing as the vessel for Ortega’s demon, ending with his head being swung around.
The second performance by The 1975 was “Oh Caroline” featuring more of that laidback vibe, with Healy switching his guitar out for a striking red one. The song is very groovy as he sings “Oh, Caroline/I wanna get it right this time/’Cause you’re always on my mind,” featuring an extended guitar solo at the end.
The crowd cheered loudly again, very happy that The 1975 had returned for an SNL appearance.
Important note: due to a stall in contracts between NBCU and Saturday Night Liveeditors, there will be a historic strike planned for on April 1. Negotiations started back in October, with union members focusing on healthcare benefits and pay inequity. Without a viable decision reached months later, 12 to 20 SNL editing team members are threatening to halt their work entirely. “Strikes are not funny, and it’s also not funny that NBCU is driving us to take this step to guarantee fair pay and benefits for our members,” says Alan Heim, president of the Motion Picture Editors Guild, in an official statement.
The April 1 episode features host Quinta Brunson and musical guest Lil Yachty.
Goose and their flock of fans have descended upon Port Chester for five nights of indie jam rock. With three nights down, there have been debuts, fresh covers and a sit-in from none other than Jimmy Fallon.
Goose closed out their five-night stand at the Capitol Theatre on Sunday night with a blazing hot show packed with pockets of dense improvisation.
Opening the night with “Time to Flee,” the quintet wasted absolutely no time and delivered a punchy 17-minute version highlighting guitarist Rick Mitarotonda’s scorching guitar tone and playing. The band next offered up the synth-drenched arrangement of “Indian River” coupled with its usual “Welcome to Delta” jam. The peppy piano-led groove felt more energetic than its normal laid-back vibe, blasting to more incredible peaks as the energy in the crowd seemed to continue rising.
A big trend for the final two nights of the Cap run was pure ENERGY. The 1800-capacity venue was amped from the first note of Wednesday night’s show but the weekend crowd took it to another level.
A deceptive cool-down song in the Peter Anspach-penned “Honeybee” quickly elevated to more soaring guitar licks from Mitarotonda before Goose fired up the dance party of “Jeff Engborg.” Named for Anspach’s old Great Blue bandmate, the fifth Goose performance of this song is a personal favourite of mine due to what I call “Big Clav Energy.” The rhythm section of drummer Ben Atkind, percussionist Jeff Arevalo, and bassist Trevor Weekz locked in as Anspach and Mitarotonda shredded over peak after peak.
Taking a moment to breathe and reflect with the 75-show bustout of “It Burns Within,” the band jumped into a fun “Butter Rum” to close the set. While a concise and energy-filled 8-minute version could have done just fine in this slot, Goose opted to deliver possibly the finest version of the song played to date, stretching just past the 20-minute mark. Anspach’s Prophet and Nord synths got a serious workout in the latter half as Mitarotonda riffed on a theme similar to Kylie Minogue’s “Can’t Get You Out Of My Head.”
The final set of the five-night run began with a lengthy “Arrow,” breaking its longest show gap in three years. Mitarotonda attacked the jam with the same animalistic ferocity he had been displaying all week, and while it stayed relatively within the song’s boundaries, it should NOT be overlooked. A calm and beautiful reading of ballad “A Western Sun” led to another dance party in “Into the Myst.” Atkind propelled the band into a steady jam as Anspach worked his Vintage Vibe electric piano through the segue into “White Lights.”
Looking at the setlist on paper, this relatively short song in the middle of the set may look innocent enough, but it is well worth a listen. One of the biggest peaks of the entire weekend took place as the incredibly positive energy of the band and crowd flowed. Anspach danced like a happy camper within his keyboard rig as all five members became pieces of the same improvisational brain and launched the Cap into orbit.
A patient build on iconic Goose song “Elmeg the Wise” brought the tenth and final set of the run to a close in fine fashion. Anspach took a moment before the encore to thank each and every member of the Goose crew as well as the venue staff for an unforgettable week before the band absolutely tore “The Empress of Organos” to shreds. Weekz got his final bass solo to cap of what was undoubtedly the week of the BASS.
Over the course of five nights, Goose played 64 songs – 60 of which were originals and three of those debuts. The band took new risks in improv, debuted new rigs and tones, a new light rig – the list goes on!
With an extensive spring tour beginning next week in Boston, their first proper “tour” since October, anticipation could not be higher for what is to come in the future!
Goose – Sunday, March 12
Set 1: Time to Flee, Indian River[1], Honeybee[2], Jeff Engborg, It Burns Within, Butter Rum
Set 2: Arrow[3], A Western Sun, Into The Myst[3] > White Lights, Elmeg The Wise
Encore: The Empress Of Organos
[1] 80s synth version. With Welcome to Delta jam. [2] With Coach on rainstick. [3] Unfinished.
Saturday, March 11
For night four of five at the Capitol Theatre, Goose delivered what some have called the best show of the run yet – two dense sets packed with energy, improvisation and incredible playing from all five members.
Opening up the show with an upbeat “Echo of a Rose,” guitarist Rick Mitarotonda quickly led the jam from an airy space into a grimy section propelled by drummer Ben Atkind’s persistent beat. Using that as a launchpad for a modulation into Bob Seger’s “Hollywood Nights,” the band and crowd alike blazed through the rocking cover with great aplomb.
Ripping through a thick “Bob Don” next, Mitarotonda and multi-instrumentalist Peter Anspach locked in on the outro “With” jam as the crowd’s energy continued to climb higher through the band’s return to the ending of “Echo.” The twin parts of “Seekers on the Ridge” offered a bit of a breather before another incendiary Mitarotonda solo blew up the building in Part II.
“Mr. Action” was tapped ahead of a set-closing “Same Old Shenanigans,” a perfect call for the energy-focused first set. Anspach and Mitarotonda shined once again during their respective solos as the rhythm section locked in underneath them on the path to several mountainous peaks that ended the first frame.
Returning with “Hungersite” to open the second set, Goose wasted no time before diving directly into a heavy-hitting space that Mitarotonda peaked massively. Atkind and percussionist Jeff Arevalo’s insistent drumming helped push the blazing improv. Post-peak, bassist Trevor Weekz stepped out as the band led into a thick and grimy motif that has popped up numerous times throughout the Cap run.
“Silver Rising” offered a cool-down after the intensity of the “Hungersite” jam before the band debuted Anspach original “Feel It Now.” This catchy and danceable song is highlighted by a peppy groove and bright guitar lines from Mitarotonda – there is also tremendous jam potential that I am certain will come to fruition as the song gets played more.
Where else to go in the middle of a Saturday night second set than with “Arcadia”? Weekz once again absolutely brought the house down with a deep and funky bass solo before an aggressive theme developed. Picking up the pace and energy once again, Goose blasted the capacity crowd with peak after peak as they shredded through the ending of the song. A heartfelt and tender “726” closed out the second set.
Ripping into “Dripfield” for the encore was a perfect choice, getting the crowd moving in time with the pounding drums as the title track to the band’s most recent album rocked the Cap to close.
Goose – Saturday, March 11
Set 1: Echo Of A Rose[1] -> Hollywood Nights[2] > Bob Don[3] -> Echo Of A Rose, Seekers On The Ridge Pt. 1 > Seekers On The Ridge Pt. 2, Mr. Action, Same Old Shenanigans Set 2: Hungersite, Silver Rising, Feel It Now[4], Arcadia, 726 Encore: Dripfield [1] Fast version [2] Bob Seger & The Silver Bullet Band [3] With [4] FTP
Friday, March 10
For the third of five nights at the Capitol Theatre, Goose delivered two blazing sets that were lighter on the improv that the first two shows but had possibly the highest energy of the run so far.
Opening up the night with a funky “Animal,” the band jumped into a concise “Flodown” next where multi-instrumentalist Peter Anspach threw in Prophet synth sounds as guitarist Rick Mitarotonda toyed with his delay pedals. Upbeat rocker “Everything Must Go” and Anspach tune “The Whales” continued the set before the energy really got taken up a few notches with “Turbulence & The Night Rays.”
The rocking Vasudo-penned song seems to reach new heights each time it gets played, and Mitarotonda’s emphatic solo had the packed Cap eager for more. Anspach took a second to introduce the next song, debut “Lead Up.” Displaying a rocking vibe similar to the Red Hot Chili Peppers at times, “Lead Up” retained that distinctive Goose song as well as showing off the band’s dual-guitar sound – the last two Goose original debuts with Anspach on guitar were “Butterflies” in June 2022 and “The Whales” in June 2020!
The momentum and energy of the first set came to a peak with crowd and band favourite “Thatch,” which featured its first extended improv and some mind-blowing work from drummer Ben Atkind and percussionist Jeff Arevalo, the latter of whom seemed to be at risk of breaking his cymbals from the sheer force of his hits.
Returning from a lengthy setbreak, Anspach took a stroll into the crowd during the intro to “Creatures.” The dance party song morphed into a gorgeous bliss jam distinctly reminiscent of its counterpart from Legend Valley in 2022. Bassist Trevor Weekz really stepped out in this segment, while Atkind spun a beat that made the jam feel like the beginning of an “Empress of Organos” jam. Slowly returning to earth, Anspach led the band into “Red Bird” as lighting director Andrew Goedde bathed the stage in that colour for the duration of the song.
The bird took flight with a rocking jam led once again by the rhythm section – Atkind’s pounding toms and Weekz’s bursting envelope filter playing propelled the quintet to a series of big peaks ahead of a transition into Peter Gabriel’s “In Your Eyes.” Offering up the finest improvisation of the night, the classic cover tune quickly opened up into a thrashing groove as Mitarotonda took the reins with some serious fretboard fireworks. Building into some darker themes, Goose exploded into an amazing major-key section with strong “SOS” vibes before landing in tender ballad “Arise.”
Most known for its acoustic performances with offshoot group Orebolo, this gorgeous and heartfelt song translated exceptionally well to an electric setting for just the fifth time ever. Arevalo made an inside reference to a well-known acoustic performance with a reminder for the crowd to “zip it” before the song began (note: his instruction was followed by some, but not all). A blazing “Hot Tea” complete with filthy wah guitar from Mitarotonda, crunchy clav from Anspach, and a bass solo from Trevor closed out the set.
Goose welcomed comedian Jimmy Fallon to the stage for an encore of “Mustang Sally” last night that had the crowd eating up every moment of the fun shtick.
Goose – Friday, March 10
Set 1: Animal, Flodown, Everything Must Go, The Whales, Turbulence & The Night Rays, Lead Up[1], Thatch Set 2: Creatures, Red Bird, In Your Eyes[2], Arise, Hot Tea Encore: Mustang Sally[3]
[1] FTP [2] Peter Gabriel [3] Wilson Pickett. With Jimmy Fallon on vocals
Thursday, March 9
Goose threw down another heater on Thursday night at The Capitol Theatre for the second of five shows at the historic venue. While nothing quite reached the improvisational heights of Wednesday’s show, the band but together two well-flowing and complete sets with fantastic moments throughout.
Beginning the night with a hot “Jive I”, guitarist Rick Mitarotonda and multi-instrumentalist Peter Anspach took their usual spotlights on the song with energetic solos as the crowd got warmed up. A jamless “Atlas Dogs” followed before the quintet fired up Anspach tune “Elizabeth.” The first extended jamming of the night, while just barely cracking the 10-minute mark, saw the band get into some nice churning themes.
The slinky vibe of “California Magic” fit the vibe of the first set perfectly before a new double-time arrangement of “Borne” was tapped next. Part of this new take on the song is a much cleaner slide into the jam which the band took full advantage of, developing a spacey theme with reverb-drenched piano at the forefront. Bassist Trevor Weekz led a slow build as the band worked together in a very democratic fashion. Drummer Ben Atkind pounded away at his toms as the jam build to a solid peak.
Anspach stepped out again on the Vintage Vibe outro to “The Old Man’s Boat” before Mitarotonda led Goose into “Rockdale.” Getting into the grime immediately, Anspach’s low clavinet colouring and Weekz’ deep bass accentuated Mitarotonda’s tension-building guitar as the band built to several phenomenal and explosive peaks to close out the first set.
The second set began in fine fashion with a long “Tumble.” The jam began with its classic dual-guitar churn groove as Mitarotonda got the energy of the crowd up. After hitting a first peak, the band took the vibe down and Anspach hit the keyboards. Displaying his impressive interplay with Mitarotonda that we’ve been seeing this week, Goose dove deep into a quieter section within “Tumble” that gave percussionist Jeff Arevalo an opportunity to really step to the sonic forefront of the jam.
Reaching a progression reminiscent of “Love is a Battlefield,” Mitarotonda took back the reins of the improv and built back to a final peak and return to the song. The guitarist then fronted the quintet on the debut of original “Not Alone,” a tender ballad that was received extremely well by the crowd – it acted as the perfect breather between two big second-set jams.
“Rosewood Heart” was tapped next and saw Anspach dialing up percussive loops on his Prophet synthesizer as Goose took a very different route in the jam. Eschewing the normal Type I section, they opted for a funky and percussive groove that had the venue getting down for its duration. A powerful rendition of Nina Simone’s “Sinnerman” came next before Goose ripped out “Madhuvan” to close the set.
Few songs elicit a crowd reaction on the level of this massive jam vehicle, and last night was no different. Beginning in a space not unlike its counterpart from Glens Falls this past November, Anspach laid down low tones on the Vintage Vibe while simultaneously creating feedback from his guitar, lending to the immediate dark and eerie tone of the jam. Patiently exploring every inch of this motif, Weekz dropped massive bombs as synthesizer loops and guitar arpeggios dominated the space. Gradually picking up steam, the improv took on a lighter tone as the band hit on their second “Loose Ends” tease of the week. Continuing the huge build, Mitarotonda led his bandmates into the ending of “Madhuvan” at full tilt, bringing an excellent set and show to a close. A brief encore of “Turned Clouds” sent the crowd home happy.
Goose – Thursday, March 9
Set 1: Jive I, Atlas Dogs, Elizabeth, California Magic, Borne[1], The Old Man’s Boat, Rockdale Set 2: Tumble[2], Not Alone[3], Rosewood, Heart > Sinnerman[4], Madhuvan[5] Encore: Turned Clouds
[1] Double time feel [2] With Pick Up The Pieces tease from Ric [3] FTP [4] Nina Simone [5] With Loose Ends teases
Wednesday, March 8
For the first night of Goose’s Capitol Theatre five night run, starting the run with what they ended Okeechobee Music and Arts Festival with, Eddy Grant’s “Electric Avenue.” Check out video and more photos from Cory Schwartz below.
Set 1: Jam -> Electric Avenue[1], All I Need[2] > Dr. Darkness, Butterflies, Jive II, Earthling or Alien?[3], So Ready Set 2: Wysteria Lane > Doobie Song, Drive[4], Yeti, Your Ocean Encore: Pancakes
[1] Eddy Grant. Ending only, finishing the version from 3/3/23 Okeechobee [2] Slow, melodic version [3] With Jive II teases from Trevor [4] With Loose Ends teases
Evanescence, the iconic rock band fronted by lead vocalist and pianist Amy Lee, lead guitarist Troy McLawhorn, bassist Emma Anzai, drummer Will Hunt, and rhythm guitarist Tim McCord, brought their “The Bitter Truth” tour to the Scotiabank Arena in Toronto on March 9th, and it was a night that will not be soon forgotten.
With a setlist that included a mix of old favorites and new hits, the band showcased their incredible musical talent and emotional depth, delivering a powerful and unforgettable performance.
Will Hunt
From the moment the band took the stage, it was clear that they were there to give their all. Opening with “Broken Pieces Shine,” a haunting and emotional ballad that set the tone for the night. Evanescence launched into a setlist that showcased their versatility and their passion for music.
Emma Anzai
Throughout the night, Amy Lee’s voice was as powerful and evocative as ever. Her voice soared above the instrumentation to create a sense of drama and intensity that was felt by everyone in the arena. Her piano playing was equally impressive, adding depth and texture to the band’s sound.
Troy McLawhorn
But the rest of the band was equally impressive. Troy McLawhorn’s blistering guitar solos and Tim McCord’s rhythm guitar and backing vocals adding a layer of complexity and energy to the music. Emma Anzai’s bass and Will Hunt’s drumming provided a solid foundation for the band’s sound, driving the music forward and keeping the audience on their feet.
Amy Lee
The setlist was a mix of old favorites and new hits, with songs like “Going Under,” “Call Me When You’re Sober,” and “My Immortal” drawing huge cheers from the crowd. But it was the newer songs that really stood out, with “Better Without You” and “Blind Belief” proving that Evanescence is a band that is constantly evolving and growing.
Tim McCord
One of the highlights of the night was “Lithium,” a haunting and emotional ballad that showcased Amy Lee’s incredible vocal range and emotional depth. As she poured her heart out on stage, the audience was transfixed, hanging on every note and every word.
Overall, Evanescence’s “The Bitter Truth” tour is a testament to the band’s incredible talent and enduring popularity. With each member bringing their own unique skills and energy to the stage, it’s clear that Evanescence is a band that is at the top of their game. If you have the chance to see them live, don’t miss out – it’s an experience you’ll never forget.
Their next show will be in New York City at Madison Square Garden on March 17.
