NYS Music 2023

Category: Regions

  • MY GOD! Tessa Violet at Irving Plaza

    Irving Plaza was set ablaze on Aug. 11 as the vibrant indie-pop sensation, Tessa Violet, took the stage, with the equally captivating Frances Forever opening the night. The air was charged with excitement as fans streamed into the venue, anticipating a musical experience that promised to be nothing short of unforgettable.

    With Tessa Violet’s reputation for infectious energy and Frances Forever’s rising popularity, the anticipation was palpable. As the lights dimmed and the first chords reverberated through the air, it was clear that this concert would be a convergence of artistic talent and a celebration of the profound connection between musicians and their devoted followers.

    Frances Forever (photograph by Chinaza Ajuonuma)

    Frances Forever, the burgeoning indie-pop sensation, is carving a unique path with their music that resonates deeply with audiences across the globe. Born from a rich tapestry of influences spanning from folk to lo-fi bedroom pop, Frances Forever delivers an unmistakable sound that stands out in today’s music landscape. With introspective lyrics and melodies that effortlessly navigate themes of love, identity, and the rollercoaster of emotions that come with growing up, Frances Forever has captured the hearts of listeners seeking authenticity and reliability.

    Their breakout hit “space girl” and the subsequent releases have showcased a rare combination of vulnerability and catchy hooks, solidifying their place as a rising star in the indie scene. With an ever-growing fan base and a distinctive musical style, Frances Forever is undoubtedly an artist to watch as they continue to craft music that leaves an indelible mark on listeners and charts a fresh course in the world of indie-pop.

    Frances Forever (photograph by Chinaza Ajuonuma)

    Frances Forever’s opening performance was an absolute whirlwind of emotions and musical prowess. Kicking off with a powerful mashup of “depression” and “cry inside my car,” they immediately set the tone for an intimate and emotionally charged set. The audience was captivated by the seamless transitions between songs and the raw authenticity that Frances Forever brought to the stage. Tracks like “Mr. Man” and “Frankenstein Wannabe” showcased their ability to blend introspective lyrics with energetic melodies, creating a dynamic and engaging atmosphere.

    The standout moment of the night was the live performance of “Monica Gives Me Lockjaw,” an unreleased gem that resonated deeply with the crowd. The unrestrained emotion and vulnerability in their delivery left an indelible mark, reaffirming their status as a rising indie sensation. The juxtaposition of heartfelt tracks like “my condolences to myself” with the infectious energy of “paranoia party” demonstrated Frances Forever’s versatility and the range of emotions they can evoke through their music.

    “Space Girl” served as a fitting conclusion to their set, leaving the audience with an anthemic chorus echoing in their minds. Frances Forever’s performance was a journey through introspection, heartache, and catharsis, all expertly woven into a mosaic of indie pop brilliance. Their ability to connect with the audience on such a personal level while delivering a polished and energetic performance is a testament to their burgeoning talent. As they left the stage, the crowd was left buzzing with excitement, fully immersed in the emotional rollercoaster that Frances Forever had taken them on.

    Frances Forever Setlist: depression / cry inside my car (Mashup), Mr. Man, fuck u, Frankenstein Wannabe, treehouse, Stuck, my condolences to myself, Monica Gives Me Lockjaw (Unreleased), paranoia party, space girl

    Tessa Violet (photograph by Chinaza Ajuonuma)

    Tessa Violet, an emerging luminary in the indie-pop realm, is captivating audiences with her distinctive blend of introspection, vulnerability, and clever lyricism. From an eclectic musical background that spans genres, Tessa Violet has cultivated a sound that effortlessly weaves together catchy melodies and deeply relatable narratives. Her breakout tracks, such as “Crush” and “Bad Ideas,” have resonated deeply with listeners for their unfiltered portrayal of emotions and self-discovery.

    With an innate ability to craft songs that explore the highs and lows of relationships and personal growth, Violet has firmly established herself as a rising star in the music scene. Beyond her music, her engaging presence and relatable charm have endeared her to fans around the world. As she continues to evolve as an artist and explore new musical territories, Tessa Violet’s journey promises to be a captivating one, leaving an indelible mark on the indie-pop landscape.

    Tessa Violet (photograph by Chinaza Ajuonuma)

    Tessa Violet’s electrifying performance was a showcase of her artistry, vulnerability, and boundless energy. The night held a series of delightful surprises, starting with Frances Forever joining Tessa on stage during “Play with Fire,” adding an extra layer of charm to an already captivating song. Violet’s interaction with the crowd brought a personal touch to the show, prompting them to share their gratitude, leading to a delightful chant about dopamine. As she ventured into deeper conversations, she hopped off the stage to engage with fans, leading to a heartfelt exchange of dreams and desires.

    A poignant moment followed as Tessa introduced “I Don’t Know Who I Am Without You,” drawing from personal loss and connecting with the audience through a powerful and heartfelt performance. Throughout the show, her dynamic outfit changes, from the golden goddess dress to the iconic pink armor, added to the visual spectacle of the night.

    Her connection with her band members was evident, particularly with her fiancé Dante Cimadamore on guitar and Mike McKerracher on drums, who joined her on stage for an intimate dance during “I Don’t Know Who I Am Without You.” The live rendition of “When the Curtain Falls” was introduced with Tessa’s characteristic witty banter, giving a glimpse into the theme of her introspective and multi-dimensional album MY GOD!

    The set design, featuring a painting depicting Violet’s different personas, was a visually striking representation of her evolving artistry. Her acoustic take on “Bad Ideas,” with the crowd enthusiastically contributing to the ad-libs, showcased her effortless ability to engage and uplift the audience. Her candid speech on confidence, positive affirmations, and self-love resonated deeply, and the collective affirmation exercise led seamlessly into her empowering anthem “Bad Bitch.”

    Tessa Violet (photograph by Chinaza Ajuonuma)

    The show’s high-energy climax during “Crush” saw her stepping off the stage, mingling with the crowd, and sharing the microphone, creating an unforgettable moment of connection. The evening wrapped up with an encore featuring Frances Forever and their band, dancing, celebrating, and line dancing along with her during a spirited rendition of “Born This Way.” Tessa Violet’s performance was more than just a concert; it was an immersive journey through her music, emotions, and empowering spirit, leaving the audience inspired and invigorated.

    Tessa Violet Setlist: YES MOM, Breakdown, Play With Fire, Again Again, Good Things Go Bad, Haze / Wishful Drinking (entitled on the setlist, Hazeful Drinking), I Like (the Idea of) You, I Don’t Know Who I Am Without You, When The Curtain Falls, song without a title, Games, Bad Ideas + Liability by Lorde (Mashup), Honest, BAD BITCH, Kitchen Song (voice memo), Kitchen Song, MY GOD!, You Are Not My Friend, Crush

    Encore: Born This Way (Lady Gaga Cover)

    Tessa Violet (photograph by Chinaza Ajuonuma)

    In terms of upcoming shows, “MY GOD! The Tour” will be wrapping up on Sept. 7 in San Diego. If you find yourself in the UK later in September, you can also catch Tessa at Bittersweet Daze!

    Updates for any future Tessa Violet shows can be found on socials, and her website. The same goes for  Frances Forever, and you can find their socials and website linked here.

  • Madonna Announces Rescheduled Tour Dates, Adds Barclays Show

    After a scary health scare, pop superstar Madonna had to postpone her upcoming The Celebration Tour. However, she just announced that most of her North American dates have been rescheduled for the end and beginning of the year, including her MSG and Barclays Center dates.

    Madonna

    Her originally scheduled performance at Madison Square Garden on Aug. 27 had to, unfortunately, be canceled, however, to make up for it, an additional date at the Barclays Center was added on Dec. 16. Beginning Aug. 29, ticket holders for the previously scheduled Aug. 27 show at MSG will be able to purchase tickets for the new Dec. 16 show ahead of the public sale for those remaining tickets on Sept. 1. Those who purchased tickets to the canceled date will be refunded, and Ticketmaster will then provide all affected fans with a dedicated link and a unique code based on the quality of their previous seat locations to purchase tickets to the new date.

    The original tour dates were postponed following Madonna’s hospitalization in June for a serious bacterial infection. She has since made a remarkable recovery.

    For more information about the rescheduled dates, and to purchase tickets, visit here.

    Madonna – The Celebration Tour – UK-EUROPE

    Show Date:         City/Country                  Venue Name

    10/14/2023         London, UK                    The O2

    10/15/2023         London, UK                    The O2

    10/17/2023         London, UK                    The O2

    10/18/2023         London, UK                    The O2

    10/21/2023         Antwerp, BE                   Sportpaleis

    10/22/2023         Antwerp, BE                   Sportpaleis

    10/25/2023         Copenhagen, DK              Royal Arena

    10/26/2023         Copenhagen, DK              Royal Arena

    10/28/2023         Stockholm, SE                 Tele2 Arena

    11/1/2023           Barcelona, ES                  Palau Sant Jordi

    11/2/2023           Barcelona, ES                  Palau Sant Jordi

    11/6/2023           Lisbon, PT                      Altice Arena

    11/7/2023           Lisbon, PT                      Altice Arena

    11/12/2023         Paris, FR                         Accor Arena

    11/13/2023         Paris, FR                         Accor Arena

    11/15/2023         Cologne, DE                    Lanxess Arena

    11/16/2023         Cologne, DE                    Lanxess Arena

    11/19/2023         Paris, FR                         Accor Arena

    11/20/2023         Paris, FR                         Accor Arena

    11/23/2023         Milan, IT                        Mediolanum Forum

    11/25/2023         Milan, IT                        Mediolanum Forum

    11/28/2023         Berlin, DE                      Mercedes-Benz Arena

    11/29/2023         Berlin, DE                      Mercedes-Benz Arena

    12/1/2023           Amsterdam, NL                Ziggo Dome

    12/2/2023           Amsterdam, NL                Ziggo Dome

    12/5/2023           London, UK                    The O2

    12/6/2023           London, UK                    The O2

    Madonna – The Celebration Tour – 2023/2024

    New Date           Venue City                     Venue Name                   Rescheduled From

    12/13/2023         Brooklyn                        Barclays Center                Original Date (no change)

    12/14/2023         Brooklyn                        Barclays Center                Original Date (no change)

    12/16/2023         Brooklyn                        Barclays Center                MSG – 8/27/2023*

    12/18/2023         Washington                    Capital One Arena            Original Date (no change)

    12/19/2023         Washington                    Capital One Arena            9/2/2023

    1/8/2024            Boston                           TD Garden                      8/30/2023

    1/9/2024            Boston                           TD Garden                      8/31/2023

    1/11/2024           Toronto                          Scotiabank Arena              8/13/2023

    1/12/2024           Toronto                          Scotiabank Arena              8/14/2023

    1/15/2024           Detroit                           Little Caesars Arena          8/5/2023

    1/18/2024           Montreal                        Bell Centre                      8/19/2023

    1/20/2024           Montreal                        Bell Centre                      8/20/2023

    1/22/2024           New York                       Madison Square Garden         8/23/2023

    1/23/2024           New York                       Madison Square Garden         8/24/2023

    1/25/2024           Philadelphia                    Wells Fargo Center            12/20/2023

    1/29/2024           New York                       Madison Square Garden         8/26/2023

    2/1/2024            Chicago                          United Center                  8/9/2023

    2/2/2024            Chicago                          United Center                  8/10/2023

    2/5/2024            Pittsburgh                       PPG Paints Arena             8/7/2023

    2/8/2024            Cleveland                       Rocket Mortgage FieldHouse 8/2/2023

    2/13/2024           Saint Paul                       Xcel Energy Center            7/30/2023

    2/17/2024           Seattle                           Climate Pledge Arena         7/18/2023

    2/18/2024           Seattle                           Climate Pledge Arena         7/19/2023

    2/21/2024           Vancouver                      Rogers Arena                   7/15/2023

    2/24/2024           Sacramento                     Golden 1 Center               1/13/2024

    2/27/2024           San Francisco                  Chase Center                   10/4/2023

    2/28/2024           San Francisco                  Chase Center                   10/5/2023

    3/1/2024            Las Vegas                       T-Mobile Arena                10/7/2023

    3/2/2024            Las Vegas                       T-Mobile Arena                10/8/2024

    3/4/2024            Los Angeles                    Kia Forum                      Crypto.com – 9/27/23*

    3/5/2024            Los Angeles                    Kia Forum                      Crypto.com – 9/28/23*

    3/7/2024            Los Angeles                    Kia Forum                      Crypto.com – 9/30/23*

    3/9/2024            Los Angeles                    Kia Forum                      Crypto.com – 10/01/23*

    3/11/2024           Los Angeles                    Kia Forum                      Kia Forum – 1/7/24 & 1/8/24*

    3/13/2024           Palm Desert                     Acrisure Arena                 1/11/2024

    3/16/2024           Phoenix                         Footprint Center               7/22/2023

    3/19/2024           Denver                           Ball Arena                      7/25/2023

    3/24/2024           Dallas                            American Airlines Center    9/18/2023

    3/25/2024           Dallas                            American Airlines Center    9/19/2023

    3/28/2024           Houston                         Toyota Center                  9/13/2023

    3/29/2024           Houston                         Toyota Center                  9/14/2023

    4/1/2024            Atlanta                          State Farm Arena              9/5/2023

    4/4/2024            Tampa                            Amalie Arena                  9/7/2023

    4/6/2024            Miami                            Kaseya Center                  9/9/2023

    4/7/2024            Miami                            Kaseya Center                  9/10/2023

    4/14/2024           Austin                           Moody Center                  9/21/2023

    4/15/202             Austin                           Moody Center                  9/22/2023

    4/20/2024           Mexico City                    Palacio De Los Deportes     1/25/2024

    4/21/2024           Mexico City                    Palacio De Los Deportes     1/27/2024

    4/23/2024           Mexico City                    Palacio De Los Deportes     1/28/2024

    4/24/2024           Mexico City                    Palacio De Los Deportes     1/30/2024

    Canceled

    Tulsa                 BOK Center                    7/27/2023

    Canceled

    Nashville            Bridgestone Arena             12/22/2023

    Canceled

    San Francisco      Chase Center                   1/15/2024

    Canceled

    Las Vegas           MGM Grand Garden Arena  1/18/2024

    Canceled           

    Phoenix             Footprint Center               1/20/2024

  • Big Bliss Impress With New Album ‘Vital Return’

    Brooklyn band Big Bliss is set to drop their latest album Vital Return on August 18. Created by brothers Cory and Tim Race, and joined by Wallace May, Big Bliss has fostered an impressive and unique sound since 2015. Vital Return showcases the group’s ability to seamlessly incorporate elements of alt-rock, post-punk, indie-pop, and more into a cohesive body of work.

    Big Bliss by Kevin Condon

    The album is a profound and bold exploration into themes of sobriety, death, trauma, and recovery. Produced by Jonathan Schenke, Vital Return harnesses these difficult and unsettling ideas into a web of interconnected songs. While each track stands alone, there is an aura of anxiety and confusion that permeates each title on the project. Despite the intense nature of the topics, Big Bliss is still able to construct an enjoyable and hopeful album. 

    As a band, and also as individuals, were thrust into some massive changes starting around 2019… Many of which felt too heavy to surmount – the tumult of addiction/early sobriety and familial grief being at the top of the heap. We did make it though. Ultimately the record is about that: reemergence, about coming out the other side.

    Tim Race

    The Album 

    Marked by atmospheric layered sounds along with pounding drums, “A Seat at the Table” lays the foundation for what is to come in Vital Return. The opening track manages to be up-tempo and hypnotic, while also featuring tense and sincere lyrics. The song flows perfectly into the second track on the album “Sleep Paralysis.” Big Bliss expertly balances noisy instrumentation with melancholic and compelling vocals on the song. In “Sleep Paralysis,” the group details a decidedly confusing yet meaningful relationship. Poignant lyrics like “Am I falling or not? Hope I wake before landing” cut through the song’s catchy indie-rock soundscape. 

    While Big Bliss certainly doesn’t break down any walls with their vocal performances, the album is full of powerful and raw lyrics. Each song on Vital Return has a level of emotionality that can be heard with almost every breath. “Solace” is one of the band’s most moving songs and helps to show how versatile and varied the band can be. The track has an alt-rock sound but even features influences of contemporary folk-rock. “Solace” is laced with a frantic and inescapable feeling of being unable to escape from the past. The group is constantly searching for some reprieve from their trauma, singing “Nothing is just as it seems, some invisible violence arriving.” The song is haunting yet hopeful, a perfect representation of the album as a whole. 

    Big Bliss by Kevin Condon

    Big Bliss is at their post-punk best with “Tell Me When You’re Ready” and “Off Guard.” Both offerings include fast-paced driving instrumentation which injects a sense of positivity into the project. While the songs are by no means free of the distress and discomfort that is standard with Vital Return, they mark a steady shift in the album. Both tracks are keenly self-aware and acknowledge the issues that Big Bliss struggle with. Although  much of the album’s lyrics are abstract and symbolic, the writing starts to become more specific as the project progresses. “Tell Me When You’re Ready” is almost a call to action as the lyrics “I’ll figure out what I’m missing, I’ll draw it out of the ground, draw it out of my mouth” ring out as some of the first signs of recovery in the album. 

    As the ten-track project comes to a close, the group sonically and emotionally seem to turn a corner. “Vital Return,” the album’s title-track, caps off the project with a cathartic and dreamy sound. Big Bliss depart slightly from their often noisy production and opt for smoother, more stripped-back instrumentation. The writing on “Vital Return” indicates signs of stability and empowerment. The lyrics, “I have built a city and burned it down, now I know my grief is somewhere under the wreckage, for the first time I will dig it up” testify to how far Big Bliss has come. The song is not meant to represent complete closure but rather a sign that things are heading in the right direction. 

    Big Bliss by A.F. Cortés

    Conclusion

    Vital Return is a beautiful and authentic project that ultimately looks to tell the story of progress. Big Bliss don’t try to bite off more than they can chew and instead stick to the sounds, melodies, and lyrics that organically fit their performance range. While the instrumentation on certain songs can overpower the writing, each track still has a sense of emotion and purpose. The band’s varied musical influences spiral together to create a distinctive sound that resonates with each note. Vital Return is a truly cohesive and unified album that somehow manages to maintain the same earnest atmosphere throughout.

    Vital Return is out August 18th via Good Eye Records.

  • How Upstate New York Brought Back “East Coast” Hip-Hop

    There is perhaps nothing more synonymous with hip-hop than New York City. The genre was birthed, nourished, and has continuously evolved thanks to the five boroughs. From hip-hop’s Jamaican influence to its eventual inception on the streets of the Bronx, NYC has helped to propel hip-hop into the mainstream giant that it is today. 

    New York City has produced an endless list of iconic and influential hip-hop figures, from the all important Grandmaster Flash, to The Notorious B.I.G, and even to groups like Wu-Tang. The city has been a hotbed for rappers and hip-hop artists throughout much of the genre’s history. Acts like Nas, Jay-Z, 50 Cent, and Nicki Minaj have not just become rap superstars, but have elevated to some of the biggest names in all of music.

    NYC Rapper Nas performing

    NYC DOMINANCE

    Part of the aura and mythos surrounding New York is not just the artists that are associated with the region, but also the way that the city itself has influenced the music. Having originated in the Big Apple, hip-hop was inherently New York. From its embryonic stages in the ’70s to its “gangsta” personality in the ’90s, the genre’s identity has been linked to NYC for much of its lifespan. 

    For close to 30 years the “sound” of hip-hop was the “sound” of New York. Characterized by confident flows, lyrical versatility, classic samples, and an atmosphere of authenticity, “East Coast Rap” was the ultimate standard. 

    Historically, hip-hop acts from the city have dominated, whether it be commercially or critically. Seven of the top 25 highest selling hip-hop albums belong to New York artists, a mark higher than any other city . Additionally, of the twelve rappers/hip-hop artists currently in, or scheduled to be inducted into the Rock & Roll Hall of Fame, seven come from NYC, with two more representing Long Island.

    Grandmaster Flash
    Hip-hop pioneer Grandmaster Flash

    The popularity and success of hip-hop in NYC led to the genre’s diaspora throughout much of the United States. By the mid to late ’90s Los Angeles, Chicago, and Atlanta were all major players in the scene. Artists like Tupac, Snoop Dogg, Outkast, Lil Wayne, Common, etc. all had tremendous success being outside of NYC, however up until the last 10-15 years it was still the Empire City that really moved the needle.

    A CRUMBLING EMPIRE

    Despite NYC’s hip-hop pedigree, the “East Coast” sound that made it so influential has become quieter and quieter  in recent years. Instead, influences of trap, drill, cloud rap, and even reggaeton have filtered into the city to create a diverse, intricate, and hard to pin down sound from many NYC artists. Even with the likes of rappers like Joey Badass, Fabolous, and Roc Marciano, the often grimy, word play heavy, and sample laden sounds of the ’80s through early 2000s East Coast rap has largely dissipated from the city. 

    As NYC has lost its sound, other cities have refined theirs. Today, avid hip-hop fans will easily be able to identify where certain artists are from within seconds of hitting the play button. Acts like 21 Savage, Lil Baby, and Migos all have a distinct sound and atmosphere that connects them with Atlanta. Other artists like GloRilla, Moneybagg Yo, Key Glock, and the late Young Dolph boast specific features and elements that represent Memphis. 

    On Complex’s 2023 list of “The Best Rap Cities Right Now”, NYC sat at #2, yet there was no city with more of a musical or even social disconnect between its most prominent artists. In terms of musicality, and apart from maybe an accent, there is very little that artists like Ice Spice, A$AP Rocky, Fivio Foreign, and Nicki Minaj have in common. 

    Nicki Minaj

    “As a whole town we’re losing… I’m talking about the new New York, who do they have to look up to? We’re losing identity and it’s crazy because we was the treadsetters,” Queens legend N.O.R.E. said in a 2013 interview with DJ Vlad. 

    Not only has there become a stylistic schism in NYC but there has been a long standing adversarial attitude amongst many of its biggest artists. Of course there’s the well publicized beef between Jay-Z and Nas, then there’s 50 Cent taking on all of NYC, and in the 2010s it was Nicki Minaj and Cardi B. While other places were fostering and supporting new sounds, promoting upcoming artists, and building together, many New Yorkers were divided. 

    “The older rappers that were already situated in the city didn’t pay up-and-comers no mind if they didn’t sound like the old sound. Bobby Shmurda was the first one with a newer sound, a different sound, that was accepted by New York City hip-hop culture,” Jamel Robinson, the host of Brooklyn rap Youtube Channel Melz TV said in an interview with Complex. 

    The mention of Shmurda’s name also shines a light on another troubling aspect of NYC’s identity crisis. Controversy and tragedy have plagued the city’s biggest and brightest stars. Shmurda burst onto the national stage after the release of his mega-hit “Hot N*gga” in 2014. Proudly repping NYC, the then 19-year-old became an internet star, spawning viral trends and memes all around social media. Just two years later however, Shmurda would be sentenced to seven years in prison after facing conspiracy and weapons charges. The rapper helped to pave the way toward a renewed New York sound and image, but his untimely removal from the game left NYC without another trailblazer for years. 

    Bobby Shmurda
    Bobby Shmurda

    Unfortunately, the artist that would garner the same kind of attention as Bobby would also have a short run at the top. Fellow Brooklyn rapper Pop Smoke took hip-hop by storm in 2019. Blending Chicago and UK Drill with a distinctly New York attitude, the artist was hailed as one of the next Brooklyn legends. But, while renting a house in LA in February of 2020, Pop Smoke was tragically shot and killed during a botched home robbery. Once again the city was left without an artistic talisman.

    Warning signs of NYC’s eventual fall from hip-hop have been there for years. Even New York’s own have referenced the influence of other locations and subgenres. In A$AP Rocky’s 2011 song “Palace”, he sings “Harlem N*ggas gon’ be feelin’ this, East Coast n*gga but how trill is this?” alluding to the Houston slang term “trill”. Rocky goes onto praise the Texas city later in the track rapping “Influenced by Houston hear it in my music, a trill n*gga to the truest, show you how to do this”.

    The Harlem’ native’s love for Southern sounds helps to demonstrate the way in which New York artists have grown to accept and incorporate other attributes of hip-hop. While New York’s current sound may represent the diversity within music and the area’s population as a whole, it diverges from the hip-hop legacy that was crafted there. Without identifiable qualities and features, it makes it hard to discern a “New York City” artist from any other act. 

    Perhaps New York’s current lack of identity is due to the natural evolution of genres, especially in a place that has such deep roots in one specific kind of music. It may be the normal progression of any artistic originator to eventually move on from the elements and features that made it so special to begin with. 

    Whether it be because of a natural artistic change, tension between artists, or even just “bad luck”, New York City’s reputation in hip-hop has faded over the last 10-15 years. 

    Pop Smoke Murdered
    Pop Smoke

    UPSTATE IS THE NEW “EAST COAST”

    But, as the longstanding “East Coast” sound has begun to leave the blocks of New York City, a refurbished sound has traveled upstate, seeping into cities like Albany, Rochester, Syracuse, and most notably Buffalo. These cities have partially curated their own subgenre of hip-hop, characterized by many of the same ideas, trends, and themes that helped to establish NYC as a mecca. 

    The most notable of these artists hail from Buffalo and are a part of the “Griselda” collective. Spearheaded by Benny the Butcher, Conway the Machine, and Westside Gunn, the three have helped to carry the torch for the “new wave” of hip-hop coming out of Upstate New York.

    While they all certainly have their own individual characteristics, like Westside’s unique flow or Benny’s confident delivery, their music all shares similar themes and perhaps most apparent, a certain atmosphere. Defined by lyrics about drug dealing, street smarts, high fashion and systematic failures, their content is the musical offspring of acts like Wu-Tang, Mobb Deep, Onyx, and even early Jay-Z. 

    “I just do me and if you like it, you like it, if you don’t, you don’t… me being a real individual, people love that. It’s enough to build a cult following. It’s not a gimmick, this is just what we do for real, ” Westside Gunn said in an interview with Complex. 

    westside gunn
    Westside Gunn

    Conway’s authenticity and edge mirrors much of the sentiment that ’90s and traditional East Coast rappers were known for. The success of Griselda has helped to provide sustenance for a section of hip-hop fans who have been starving for a more gritty and dark sound. 

    It’s all the way left [west] from the City but the mindset is similar, very similar

    NYC rapper Murda Mook on Buffalo.

    It’s not just the lyrics and attitude of Griselda that calls back to the boom-bap era of East Coast rap, it’s also their production. For years the trio has enlisted the help of the producer Daringer, who has seemingly managed to hold onto all the unused samples, sounds, and techniques that legends like DJ Premier and RZA would’ve craved for. 

    In an era where hip-hop production is full of cheap snares, 808s, synths, overdone bass, and half-baked samples, Griselda and Daringer combine to create beautifully violent, vivid and foreboding records. Even lacking drums at times, their tracks provide a listening experience unlike anything in contemporary hip-hop. 

    Streaming apps like Spotify and Apple Music can easily expose lovers of Griselda to other similar artists. And after some quick research it’s clear to see that a lot of these “similar artists” come from Upstate New York.

    Whether it’s Syracuse’s Stove God Cooks, Rochester’s 38 Spesh, or the plethora of other Buffalo artists, there is a blossoming of rap talent in Upstate New York. While this vibrant and nostalgic subgenre has been making waves in and amongst hip-hop heads for years, it has yet to make a big splash in the mainstream. 

    “It’s more about being creative, making dope music, and just solidifying my name. I don’t give a fuck about none of the other shit,” Stove Good Cooks told Peter Rosenberg in a conversation with Hot 97. 

    Despite the individual success of some artists in the subgenre, there has yet to be a track or album that has crossed over into popular music. Benny The Butcher gained notoriety for having J.Cole on “Johnny P’s Caddy” while Conway and Westside appeared on Ye’s Donda. With that being said there is still a disconnect between mainstream hip-hop lyricists like Cole, Kendrick, Cordae, JID and many acts from the grimier subgenre. 

    Buffalo rapper Che Noir

    Although widespread commercial success has evaded the subgenre as a whole, the influence and inspiration that it has supplied cannot be ignored. Back in 2021 Tyler, The Creator credited Westside Gunn for “making me want to rap again”. Additionally, legendary comedian Dave Chappelle has gone on stage to shout out Griselda. 

    Thanks to the ground covered by some of the larger acts in the subgenre, rappers like Rome Streetz, Che Noir, Mach-Hommy, plus producers like Conductor Williams have all been able to shine. Even without large-scale commercial backing, the subgenre has provided some of the most talented and innovative artists in contemporary hip-hop. 

    As hip-hop celebrates its 50th anniversary, the genre has never been more accessible, popular, or accepted. While the future trends and sounds that will define New York hip-hop are unknown, it seems all but certain that artists outside of the traditional NYC metro will have an impact. Amongst a flurry of sonic changes and social media fads, there’s something refreshingly nostalgic about the style of hip-hop emanating from Upstate. Although NYC has relinquished its throne as the genre’s king, the state of New York is still an important thread in hip-hop’s cultural and musical web. 

     

  • Glenn Hughes to Perform Classic Hits on Tour with Yngwie Malmsteen

    Former bassist and singer of Deep Purple Glenn Hughes, known to millions as the ‘Voice of Rock,’ a Rock and Roll Hall of Fame inductee, and the front man for rock super group Black Country Communion, has just announced a tour devoted to celebrating music from BURN and other classic hits from Deep Purple’s rich back catalog – during a tour that will mostly see Hughes co-headlining with notable guitarist Yngqie Malmsteen. The tour across the U.S. will stop in several cities across New York, including Hudson Falls, Poughkeepsie, and New York City.


    Billed as “Glenn Hughes Performs The 50th Anniversary of Deep Purple’s BURN Live”, Hughes will perform classic hits from the legendary album, and the addition of Deep Purple MKIII and MKIV songs. Glenn’s band will feature Soren Andersen (guitar), Ash Sheehan (drums) and Ed Roth (keyboards).

    “It was 50 years ago, in the summer of 1973, that the BURN album by Deep Purple was written at Clearwell castle in Gloucestershire UK,” reminisces Hughes. “It was recorded in October in Montreux, Switzerland.”

    Continues Hughes, “We all became one in this centuries old castle in the UK countryside, it felt like Deep were a new band, with David (Coverdale) and I as new members, we couldn’t wait to start working on new song. The atmosphere was electric, in such amazing surroundings.”

    “All the songs on Burn were written in the crypt/dungeon, underneath the great hall. We worked on a new song every day, and we were in the flow. Musically we would play, and work out ideas, and David and I would come up with vocal melodies that would later have lyrics. I remember it like it was yesterday.”

    “As you could imagine, Ritchie Blackmore was in full prankster mode, Jon had warned me, and he rigged my room one night with a speaker that was hidden, and had ghostly voices delivered to my bedside.”

    “The title track was the last song to be written. We came back from the pub, and went down into the crypt, and magic happened.”

    Concludes Hughes, “It’s time to celebrate BURN, and I’m really looking forward to seeing you!”

    Glenn Hughes Biography

    Glenn Hughes is an inductee into the Rock and Roll Hall of Fame as part of the MK 3 line up of Deep Purple.  He spent the formative years of his career as the beloved bassist and vocalist of the group and performed on the classic albums Burn (1974), Stormbringer (1974) and Come Taste The Band (1975).

    The vocalist/bass guitarist/songwriter is a true original. No other rock musician has carved such a distinctive style blending the finest elements of hard rock, soul and funk. Stevie Wonder once called Hughes his favorite white singer.  The first important band Hughes was a member of that achieved notable success was Trapeze.

    In 1973, Hughes joined Deep Purple. The trailblazing hard-rock legends had just weathered the departure of vocalist Ian Gillan and bass guitarist Roger Glover, but guitarist Ritchie Blackmore, keyboardist Jon Lord and drummer Ian Paice continued with the addition of Hughes and David Coverdale.

    Since 1992, Hughes has toured extensively in Europe, Japan, and South America in support of solo albums.  He’s recorded four studio albums with the multi-award-winning supergroup Black Country Communion featuring guitarist Joe Bonamassa, keyboardist Derek Sherinian (Dream Theater) and drummer Jason Bonham, son of the late Led Zeppelin legend John Bonham.

    In 2016 he released his critically acclaimed solo album Resonate featuring the rock radio hit “Heavy” and in 2017 he released Black Country Communion’s fourth studio album BCCIV to ecstatic reviews.

    In 2019, Glenn joined the Dead Daises as their lead singer and bass guitarist, recorded two albums, Holy Ground (2021) and Radiance (2022) and toured the world.

    Tour Dates

    • 08.16.23 Landis Theater Vineland, NJ ***(Glenn Hughes Only)                  
    • 08.18.23      Strand Theater                            Hudson Falls, NY
    • 08.19.23      The Chance                                  Poughkeepsie, NY
    • 08.22.23     The Palladium Times Square    New York, NY
    • 08.23.23     The Paramount                            Huntington, NY
    • 08.25.23      The King of Clubs                        Columbus, OH
    • 08.26.23      Arcada Theater                            St. Charles, IL
    • 08.28.23      Granada Theater                         Dallas, TX***(Glenn Hughes Only)
    • 08.30.23      House of Blues                            New Orleans, LA
    • 09.01.23       House of Blues                            Houston, TX
    • 09.02.23     Tobin Center                             San Antonio, TX
    • 09.04.23     Marquee                                       Tempe, AZ
    • 09.06.23     House of Blues                            San Diego, CA
    • 09.08.23     Saban Theater                             Beverly Hills, CA
    • 09.09.23     Performing Arts Center            Oxnard, CA
    • 09.11.23       House of Blues                              Anaheim, CA
    • 09.13.23      Oriental Theater                          Denver, CO
    • 09.15.23      Emerald Theater                          Mt. Clemens, MI
    • 09.16.23      Blue Note                                         Harrison, OH***(Glenn Hughes Only)
    • 09.19.23      The Palladium                                 Worcester, MA
    • 09.20.23      Jergels                                         Warrendale, PA***(Glenn Hughes Only)
    • 09.22.23      Parker Playhouse                        Ft. Lauderdale, FL
    • 09.23.23      Capitol Theater                            Clearwater, FL

    For more information, visit Glenn Hughes’ website.

  • Jonathan Wilson Releases NYC-Inspired Single ‘The Village Is Dead’

    Jonathan Wilson released his latest single, “The Village is Dead,” ahead of the release of his upcoming album, Eat the Worm.

    Jonathan Wilson

    Wilson, a North Carolina native, moved to Los Angeles 15 years ago. There, he became an integral part of the music community as a respected artist and producer. Also in Los Angeles, Wilson recorded his previous albums Gentle Spirit (2011), Fanfare (2013), and Rare Birds (2018).

    Just prior to the pandemic, Wilson went to Nashville to record what would become Dixie Blur (2020). These were a collection of songs that harkened back to his Southern roots, both musically and personally. Dixie Blur found Wilson reaching back to the musical foundation of his upbringing while simultaneously moving forward by infusing the music with modern textures and aesthetic soundscapes

    Wilson also has his own Fivestar Studios in Topanga Canyon, CA. This allowed him to devote as much time as he wanted to fine-tune the tracks.

    “There are a lot of details to the songs,” Wilson said. “There’s a lot of experimentation, and almost none of the songs started as me with a guitar. I really wanted something that sounded fresh and new.”

    In “The Village is Dead,” Wilson laments the evolution of New York’s Greenwich Village. While folk clubs once reigned supreme in the 1960s, the area is now gentrified and more upscale.

    It’s my homage to the one-time folk revival of the ‘60s in Greenwich Village, with visions of Moondog and Dave Van Ronk crawling down MacDougal Street. But I’ve set it in 2021, where all you find is a few dozen vape shops, karaoke at the Gaslight, beer pong at the Cafe Wah, and wealthy young college boys strutting around NYU’s corner of Manhattan. At the end of the song, just as the strings rise and the music reaches a climax, two young Zoomers set fire in my narrative to Jimi Hendrix’s old guitar, at which point I throw in the towel, stating officially that ‘The Village is Dead.’

    Jonathan Wilson

    You can listen to Jonathan Wilson’s new song on all streaming services.

  • UAlbany Announces Upcoming Performances For 2023-2024 Season

    As colleges are preparing to welcome back students, the University at Albany is anticipating the music as its Department of Music and Theatre has announced its upcoming performances for the 2023-2024 season. The performances will begin on Sept. 19 and will take place at the UAlbany Performing Arts Center.

    The Music and Theatre programs have prepared for a year jam-packed with incredible musical talent. The Music program itself will present twenty-three performances while the Theatre Program will prepare three full productions offering five to six performances of each show plus its annual festival of new plays written and conducted by students.

    Tickets for all shows are now available for purchase here.

    Full 2023-2024 Schedule

    Viva Mexico

    Tuesday, September 19, 2023, at 7 pm

    Pianist Max Lifchitz celebrates the beginning of Hispanic Heritage Month performing a recital featuring music by Mexican composers.

    Tangos & More

    Thursday, October 12, 2023, at 7 pm

    Pianist Max Lifchitz marks the ending of Hispanic Heritage Month performing a recital featuring dance-inspired music from the Americas.

    The Glass Menagerie by Tennessee Williams

    • Wednesday, October 18, 2023, at 8 pm

    • Thursday, October 19, 2023, at 8 pm

    • Friday, October 20, 2023, at 3 pm

    • Saturday, October 21, 2023, at 2 pm & 8 pm

    • Sunday, October 22, 2023, at 3 pm

    This poetic drama, about the choices in the life of a young artist, made the yet-unknown playwright an overnight sensation. It’s an American classic: envisioned for our world today and our unique theatre in the round.

    UAlbany Symphony Orchestra & Concert Band

    Sunday, October 22, 2023, at 1 pm and Thursday, March 14, 2024, at 7:30 pm

    Two of the University’s large ensembles present a shared program.

    The Choral Hour

    Saturday, October 28, 2023, at 3 pm and Saturday, April 20, 2024, at 3 pm

    The UAlbany Chamber Singers and Community Chorale perform separately and combined in a program of music from a wide array of styles and cultures.

    Senior Recital

    Tuesday, November 7, 2023, at 7 pm

    This program of guitar music features solo classical pieces as well as jazz ensemble selections arranged by Sam Piazza.

    Clyde’s by Lynn Nottage

    • Wednesday, November 15, 2023, at 8 pm

    • Thursday, November 16, 2023, at 8 pm

    • Friday, November 17, 2023, at 3 pm

    • Saturday, November 18, 2023, at 2 pm & 8 pm

    • Sunday, November 19, 2023, at 2 pm

    The most produced play in America in 2022, this comedy, by the two-time Pulitzer Prize-winning author of Sweat and Intimate Apparel, is set in the kitchen of a truck stop where the art of making a sandwich is perfected by a group of formerly incarcerated individuals.

    Bach to Broadway

    Friday, November 17, 2023, at 7:30 pm

    Students in the vocal program perform staged versions of classical and contemporary song repertoire.

    Miolina: The Dueling Violinists

    Wednesday, November 29, 2023, at 4 pm

    Mioi Takeda and Lynn Bechtold perform music for two violins by contemporary composers including Capital District composers Hilary Tann, Max Lifchitz, and Rain Worthington. 

    Student Recitals

    Friday, December 1, 2023, and Wednesday, April 24, 2024, at 6 pm

    A host of performers showcase their vocal and instrumental talents as part of their departmental studies.

    Holiday Concert

    Sunday, December 3, 2023, at 3 pm

    Music Program ensembles (Chorale, Chamber Singers, Concert Band, Jazz Band, Symphony Orchestra) are joined by student groups (Serendipity, Pitch Please) for a concert celebrating the season.

    UAlbany Percussion Ensemble & Jazz Band

    Monday, December 4, 2023, at 7 pm

    Two of the University’s large ensembles present a shared program.

    American Romantics

    Tuesday, January 30, 2024, at 7 pm

    Pianist Max Lifchitz performs piano music by American composers.

    Albagli & Friends

    Friday, February 16, 2024, at 7 pm

    Faculty member Richard Albagli and his top students perform a percussion recital.

    “To Refresh Their Spirits” – Keyboard Music of Bach and Handel

    Wednesday, February 28, 2024, at 7:30 pm

    Pianist Kuok-Wai Lio presents two great works side by side: the Handel Chaconne in G Major, HWV435, and Bach’s Goldberg Variations, BWV 988.

    The Taming of the Shrew by William Shakespeare

    • Wednesday, March 6, 2024, at 8 pm

    • Thursday, March 7, 2024, at 8 pm

    • Friday, March 8, 2024, at 3 pm

    • Saturday, March 9, 2024, at 2 pm & 8 pm

    • Sunday, March 10, 2024, at 2 pm

    Unfolding with music and merriment, a nearly all-female cast of players takes on Shakespeare’s classic comedy about the politics of empowerment and who wears the pants when two fabulously headstrong individuals fall in love.

    Festival of Contemporary Music

    Monday, March 11, 2024, at 7 pm

    This concert of percussion music features four ensembles.

    Music by Women Composers

    Wednesday, March 27, 2024, at 7 pm

    Pianist Max Lifchitz marks Women’s History Month by performing music by women composers.

    Fresh Acts

    •  Wednesday, April 10, 2024, at 8 pm

    •  Thursday, April 11, 2024, at 8 pm

    •  Friday, April 12, 2024, at 3 pm

    •  Saturday, April 13, 2024, at 2 pm & 8 pm

    This spring festival of brand-new plays is written, directed, and performed by students, the future of American theatre.

    Showcase Concert

    Friday, April 12, 2024, at 7:30 pm

    Vocal students complete their study of the operatic and oratorio repertoire with this staged production.

    Youth Movements XVI

    Sunday, April 14, 2024, at 3 pm

    The annual festival includes musicians of all ages from around the Capital Region.

    UAlbany Jazz Band

    Monday, April 22, 2024, at 8 pm

    Directed by Keith Pray, this student and community ensemble presents a concert featuring classic and contemporary jazz.

    UAlbany Symphony Orchestra

    Sunday, April 28, 2024, at 3 pm

    With conductor Christopher David Neubert, this large ensemble performs works representing outstanding repertoire from the Baroque, Classical, and Romantic periods of the 20th and 21st centuries.

    The Sound of the Trumpets, The Roar of the Drums

    Monday, April 29, 2024, at 7 pm

    The UAlbany Concert Band and UAlbany Percussion Ensemble present a shared program.

  • Bittersweet Daze Leaves a Mark in Central Park

    Central Park‘s SummerStage was a vibrant sphere of music and camaraderie on Aug. 3, as the “Bittersweet Daze” Tour took the entire park by storm. Cavetown and an ensemble of incredibly talented friends — Grant Perez, mxmtoon, and Ricky Montgomery — transformed the iconic outdoor venue into a musical haven. Just as the sun began its descent, casting a warm golden glow over the park, the stage came alive with a promise of extraordinary performances.

    With the collective energy of the artists and the eager anticipation of the audience, it was evident that this evening held the potential for an unforgettable musical experience. The air was filled with palpable excitement as dedicated fans eagerly awaited the musical journey about to unfold, setting the stage for an enchanting evening of diverse talents, heartfelt melodies, and captivating harmonies.

    Under the enchanting twilight at Central Park’s SummerStage, the stage ignited with the promise of a remarkable evening. As the opening chords reverberated through the air, the audience’s anticipation was met with a fusion of talents — Cavetown and friends, including Grant Perez, mxmtoon, and Ricky Montgomery. Each artist brought their unique musical essence, weaving together emotion and melody that resonated with the crowd. Cavetown’s introspective lyrics, Grant Perez’s authenticity, mxmtoon’s charming melodies, and Ricky Montgomery’s soulful performance merged seamlessly, creating an electric atmosphere of unity and creative camaraderie. The audience’s collective energy mirrored the artists’ passion, forging a night that celebrated the power of music to forge connections and leave lasting memories.

    Grant Perez, the spirited singer-songwriter hailing from Sydney, Australia, is making waves with his emotive musical storytelling and genuine connection to his audience. Combining his diverse influences and personal experiences, Grant weaves poignant narratives through his melodies, delving into themes of love, growth, and the human experience. With tracks like “Confusing Girl” and “Why I Love You,” his candid lyricism and distinctive sound have captured listeners’ hearts, setting him on a path to carve his name in the music scene.

    In September 2021, Grant released his debut single “Cherry Wine,” a track that would go on to achieve gold certification in Australia by 2023. The resonance of this achievement was a testament to his growing presence in the industry.

    Continuing his musical journey, in June 2023, Grant released his fourth EP, “When We Were Younger.” A seven-track song cycle centered around the theme of nostalgia, this EP delved into the complexities of looking back on moments that have shaped his journey. With each release, he cements his position as an artist capable of capturing the essence of life’s intricacies through his authentic and relatable music.

    Grant Perez burst onto the stage with infectious energy, launching his performance the moment the doors opened at 6:00, drawing fans into his electric world. His distinctive accent added a unique charm as he delivered a tight 20-minute set that oozed dynamism. Between songs, Perez engaged the crowd with playful banter, keeping them hooked with countdowns and witty interactions. His invitation to start a mosh pit just before the balladic “Cherry Wine” led to a surprisingly amusing slow-motion mosh in the front. The unexpected trumpet noises during the instrumental break further highlighted his exuberance and unpredictability. Perez even led the audience in a lighthearted “guided meditation.” Wrapping up precisely on time, his performance was a vibrant kick-start to the evening, amplifying the anticipatory atmosphere as more fans streamed in from the winding lines outside.

    Grant Perez Setlist: Confusing Girl, Old With You, Stuck On You, Ego, Why I Love You, Cherry Wine

    Ricky Montgomery, a relatable star in the indie-pop realm, has been capturing hearts with his music that strikes a unique chord between introspection and vibrant storytelling. Hailing from a musical background, his artistry has been shaped by a myriad of influences that seamlessly blend into his signature sound. With lyrics that cut deep and melodies that resonate, Ricky’s songs embody raw emotion and introspection, resonating with audiences seeking authenticity.

    His breakout singles like “Line Without a Hook” and “Mr. Loverman” have garnered widespread acclaim for their unfiltered approach to themes of love, heartbreak, and the human experience. Beyond just crafting captivating tunes, his music has become a refuge for those seeking solace in relatable narratives. Whether it’s his debut album or his intimate live performances, Ricky Montgomery’s journey in music continues to captivate listeners, firmly establishing him as an artist whose profound storytelling and emotional vulnerability are second to none.

    When Montgomery took the stage with boundless enthusiasm, he weaved his way around the platform. He launched into silly antics, including engaging in a mock beatdown with his guitarist, evoking laughter and excitement from the audience during the intro of “Black Fins.” An endearing highlight was his impromptu participation with the drummer, borrowing a drumstick to whimsically “assist” during the initial moments of “Talk To You.” The set took an unexpected and delightful turn as he transformed into a fervent merch advocate, shouting out about his new merchandise and playfully complying with his team’s promotion requests. The culmination of this merchandise extravaganza was a slingshot-assisted distribution of his merchandise into the crowd – an unprecedented gesture that Ricky declared was a first-time experience for everyone.

    Yet, the pinnacle of connection came during “Line Without a Hook” when Ricky defied the stage barrier, leaping into the space between the stage and the audience. His direct interaction with fans encapsulated his dedication to creating an intimate experience and left an indelible mark on the concertgoers. The setlist, featuring hits like “This December,” radiated Montgomery’s emotive songwriting and resonated deeply with the captivated crowd. Ricky spirited performance, infused with playfulness and authenticity, set an exhilarating tone for the night ahead, leaving a lasting impression on the Bittersweet Daze crowd.

    Ricky Montgomery Setlist: Talk to You, Line Without a Hook, Black Fins, Don’t Say That, Out Like a Light, This December, Mr. Loverman

    mxmtoon (aka Maia), a rising indie-pop sensation, has been making waves with her distinct blend of sincerity, vulnerability, and hilarious wit. With a musical background that embraces a wide spectrum of influences, from classic rock to 90s R&B, mxmtoon has cultivated a sound that stands out in the industry. Her breakthrough tracks such as “prom dress” and “fever dream” have earned widespread acclaim for their unfiltered and genuine approach to songwriting, addressing themes of love, heartache, and self-discovery with remarkable openness.

    Since the release of her debut EP plum blossom in 2018, mxmtoon has established herself as a compelling force in the music scene, captivating listeners with her intimate and evocative storytelling. Her latest releases, including the EPs dawn and dusk, showcase her exceptional songwriting skills, delving into the complex emotions and experiences of the Gen Z generation. With an ever-growing fan base and a series of successful tours, mxmtoon’s infectious energy and self-deprecating charm continue to win over audiences worldwide, solidifying her status as an artist to watch and a voice that resonates with authenticity.

    mxmtoon’s performance was an enchanting blend of playful energy and heartfelt connection that lit up the Summerstage. From the moment she stepped onto the stage, her charismatic presence was undeniable. With a mischievous grin, she engaged the crowd, coaxing them to join in on a collective cry before launching into the captivating “feelings are fatal.” The intimate banter continued as she introduced “cliche,” a love song born from a singular interaction, playfully dedicating it to “all the delusional people.”

    With a touch of self-deprecating humor, mxmtoon offered a glimpse into her creative process, describing her music as “sad songs that sound happy.” This artistic juxtaposition was beautifully evident in her performance, where her melodies exuded a bittersweet charm that resonated with fans.

    Demonstrating her affinity for meaningful connections, mxmtoon dedicated “seasonal depression” to Tater Tot, a feline TikTok sensation, and playfully shouted out, “This one’s for the gays! Because me too!” before launching into the spirited “kaleidoscope.”

    Adding to the hometown flair, the Brooklyn-based artist embraced the crowd with warmth, reminding everyone that this was a sort of pseudo-hometown show. She encouraged the audience to channel their inner “European nightclub spirit”, injecting vibrant and jumpy energy into the venue during “sad disco.” In a touching moment, she introduced her band members, solidifying the sense of camaraderie that permeated the night.

    Her setlist, including hits like “coming of age,” and “mona lisa,” blended seamlessly into the next. With her infectious charm, mxmtoon created an atmosphere that transcended the stage, uniting the crowd in a shared experience of joy, introspection, and the magic of her distinctive sound.

    mxmtoon Setlist: fever dream, sad disco, kaleidoscope, ok on your own, seasonal depression, cliché, feelings are fatal, prom dress, bon iver, coming of age, mona lisa

    Cavetown, the musical project of British singer-songwriter Robin Skinner, has emerged as a prominent figure in the indie music landscape, characterized by his unique blend of introspective lyrics and melodic arrangements. From his humble beginnings on platforms like YouTube, where he gained a devoted following for his heartfelt original songs and covers, Cavetown has transformed into an artist who resonates deeply with audiences around the world. His music, often centered on themes of self-discovery, identity, and mental health, strikes a chord with listeners seeking solace and connection. Cavetown’s discography is a testament to his evolving sound, marked by poignant compositions such as “This Is Home,” which have become anthems for a generation grappling with their place in the world.

    Notably, Cavetown’s impact extends beyond his musical offerings. The creation of Bittersweet Daze, a collaborative project, showcases his dedication to fostering a sense of community and providing a platform for like-minded artists. Through Bittersweet Daze, Cavetown orchestrates a multi-artist event that celebrates the diversity of talent within the indie music sphere, creating an unforgettable experience for fans and artists alike.

    Furthermore, Cavetown’s commitment to social change shines through in his philanthropic efforts. A powerful example is his initiative to donate a portion of ticket sales from the Bittersweet Daze tour to the This Is Home Project. Founded by Cavetown himself, this project channels funds towards organizations that support LGBTQ+ youth in need, reflecting his determination to give back and create positive change.

    With his sincere lyrics, catchy melodies, and unwavering dedication to making a difference, Cavetown’s journey continues to inspire and resonate deeply with audiences worldwide. As he navigates the music industry with authenticity and a passion for both art and advocacy, Cavetown’s influence is undeniable, cementing him as a true artist to watch.

    Cavetown’s performance was a whirlwind of energy and heartwarming interactions that left the audience completely captivated. Amidst the joyous melodies, an unexpected moment of concern arose as a lady passed out just before “Fall in Love With a Girl.” Robin promptly halted the show to ensure her well-being before resuming the set. The stage was adorned with imaginative cardboard mountains, creating an enchanting backdrop that perfectly complemented Cavetown’s whimsical vibe. Throughout the night, Robin’s engagement with fans was nothing short of endearing. During “Guilty,” he playfully accepted a stuffed cow from an eager fan in the front row, and in “heart attack,” he infused the stage with exuberance by clapping, jumping, and swirling a pride flag.

    Robin’s connection with the audience deepened with each anecdote. Prior to performing “Juno,” he queried the crowd about their loyalty since his earlier days, invoking nostalgic camaraderie. The giggle-inducing revelation of his skewed sleep schedule for the initial tour dates added an extra layer of relatability. The tender moment when he introduced “Nobody Loves Me” and invited Ricky and Maia back on stage, followed by their heartfelt rendition, showcased not only artistic collaboration but a genuine sense of camaraderie.

    “frog” became a standout as Robin interacted playfully with the crowd, plucking up a plush toy frog and delivering the song’s captivating melodies while experimenting with cool, distorted synth samples on the keyboard. Amid the diverse array of pride flags bestowed upon him, Robin donned a trans flag as a cape during “This Is Home,” a touching gesture of solidarity. His words before this song, admitting the evolution of his connection to it while dedicating it to the fans, underscored the sincerity he brings to each performance. The night culminated in a breathtaking display of talent during “Boys Will Be Bugs,” where Robin’s guitar prowess and commanding vocals resonated, leaving an indelible mark on the audience and concluding a remarkable evening.

    Cavetown Setlist: worm food, Fall in Love With a Girl, Lemon Boy, Pigeon, Guilty, better, 1994, heart attack, juno, Nobody Loves Me (ft. mxmtoon and Ricky Montgomery), frog, Juliet, Home

    Encore: Boys Will Be Bugs, Devil Town

    In terms of upcoming shows, you can catch mxmtoon at plus63 festival if you happen to find yourself in Manila, Philippines this October. In the meantime, keep up with Maia on Twitter and Instagram.

    You can also catch Grant on tour this fall when he swings through NYC at Webster Hall on Nov. 1.

    Bittersweet Daze is heading to the UK with new artists! Cavetown will remain the headliner, but he’ll be joined by Alfie Templeman, Tessa Violet, Dodie, and Cafuné.

  • Snow Ridge, Former Home of moe.down in Turin, Damaged by Tornados

    Snow Ridge Ski Resort, the former home of moe.down, in Turin, NY, was recently hit by a confirmed EF-3 tornado, causing extensive damage to several lifts, outbuildings, the cat, and more.

    Snow Ridge damage, photo courteous of moe.

    One of the longest-running music festivals in New York State, moe.down, was started in 2000 by the jam band moe. No one knew what to expect, and the first installment featured a hodgepodge of talent including, of course, moe., Martin Sexton, Les Claypool, David Grisman, and Charlie Hunter, among others at Snow Ridge in Turin.

    The festival ran for three days and took place every Labor Day Weekend since 2000, however, the last one was in 2019. It attracted nearly 12,000 revelers a year. moe.down not only drew crowds because of its epic lineup of music but for its hilarious and quirky events that are fit for all ages such as its annual Campaign for Mayor or the opportunity to take part in overnight community camping.

    The festival attracted a diverse array of established and up-and-coming musicians, featuring an eclectic mix of jam, pop-rock, jazz, and other genres. Past performers have included Dr. Dog, Grace Potter and the Nocturnals, TV On the Radio, Slightly Stoopid, The Black Keys, The Flaming Lips, and more.

    More of the damage, photo provided by Snow Ridge.

    With hundreds of trees down and their base area covered in debris, Snow Ridge will be holding a volunteer day on Aug. 26 starting at 10 a.m. to aid in the efforts of cleanup. They ask you to bring your own equipment, with lunch provided. If you’re unable to help clean up, there is a fundraiser set up to cover the things insurance won’t.

    Snow Ridge is a staple among the famoe.ly, and needs the community’s help to rebuild. For more information about the resort and to help out, visit here.

  • The Story of Roxanne Shanté: Hip Hop’s First Female Icon

    The milestone anniversary of one of the most influential and diverse music genres in history is here, as August 11th marked Hip Hop 50. In light of the anniversary, legends ranging back from the ’70s until now have been resurfacing to pay tribute, revisit the past, as well as stake their claim as hip hop luminaries. Today we lay out the history of a hip hop icon who helped shape the genre as one of the first ever female MC’s, the Queen of Queens: Roxanne Shanté.

    Lolita Shante Gooden, better known to the world as Roxanne Shanté, was born and raised on the streets of New York City, just like hip hop itself. Coming out of Queens, the spit-fire herself was introduced to the rising genre at an early age and possibly more lucrative was the genre being introduced to her. At eight years old, Shanté discovered her love and talent for spitting rhymes whilst watching the witty celebrity wordsmith Nipsey Russel on TV. What’s more, is that the streets called to her as rhyme was just a sign of the times and battles were the name of the game. After her substantial discovery, the little girl would rhyme all day every day, and by the age of ten years old, Shanté won her first battle, securing a cash prize of $50. From there on, Roxanne battled her way to the top beating out her competition one by one leaving a clearer path for those brave enough to follow. Her confidence, fearlessness, and pure talent all came together, leading her to become one of the most popular and sought after female rappers of her time.

    Roxanne’s popularity, however, truly began at 14 with a passing interaction with long time acquaintance Marley Marl – American DJ, record producer, rapper, and so much more. Soon after getting out of her two year stretch at multiple girl’s homes and returning to her mother and sisters, Roxanne was walking up the street in the midst of doing her mother’s laundry when Marley called to her. Hearing that she was the best around, the DJ asked Shanté to rap over a track he was working on. Shanté told him she could only give him seven minutes of her time – the time remaining on her laundry.

    Marly Marl, Mr. Magic, and Tyrone Williams, all members of the soon to be hip hop collective, the Juice Crew, had been working on a special track using the original beats from group U.T.F.O.’s hit song “Roxanne, Roxanne,” which tells the story of a woman who rejected the group’s advances time and time again. Marl’s track was always meant to be an answer record as U.T.F.O. backed out of a concert promoted by Mr. Magic and lost him a substantial amount of expected income. As Marl laid down the track, Shanté was free to do her thing, taking on the persona of “Roxanne” and putting every member of U.T.F.O. in their place one after another saying, “He ain’t really cute, he ain’t really great, He don’t even know how to operate.” Every second, every word, and every rhyme was free-styled by that 14 year old talent in seven minutes, making history as one of the first moments a female took to hip hop and forced the male dominated genre as a whole to sit down, listen, and show some respect.

    The song was officially named “Roxanne’s Revenge” and became a massive hit selling over a quarter of a million copies in the New York area alone. Not only that, but the track spawned a series of answer-back records, possibly the most in history, numbering well over a hundred as artists and fans received Shanté’s free-style as a challenge, including U.T.F.O. who produced another track along with a law suit. This time, the trio’s response highlighted the female rapper Elease Jack who they deemed “The Real Roxanne.” This third track on the same woman took hip hop into uncharted waters, as in that day in age most answer records ended with a second recording. The controversy and attention was quickly named the “Roxanne Wars” resulting in perhaps the first ever ‘rap beef’ between two artists in hip hop history.

    With the song’s success, Lolita was fittingly Roxanne and became an official member of the Juice Crew. Throughout her stretch of tours and live performances with the collective, Roxanne’s battle image and mindset never faded, as Shanté came out with numerous recorded battle tracks including “Round One: Roxanne Shanté vs Sparky Dee” alongside rapper Sparky Dee who not long before released a diss-track about Roxanne herself.

    “Even after I started making records, I still had such a battle mentality,” says Shanté. “I didn’t want to be second best, I didn’t want to be the best girl — I wanted to be the best.”

    Unfortunately, time and time again the artist faced challenges due to her age and role as a woman in a male dominated career and world. In 1985, Shanté battled it out with Busy Bee Starski for the title of “Best Freestyle Rapper” but lost to Kurtis Blow’s bias admitting his vote went to Starski since Roxanne was a girl.

    By the age of 25, with two completed studio albums Bad Sisters and The Bitch Is Back along with over 18 critically acclaimed singles, Shanté had taken a huge step back from the music scene and largely retired from recording. The MC faced physical and sexual abuse on many accounts resulting in hospital visits and the birth of her first son by the time she was sixteen years old. Not only that, but Shanté had been cheated out of money by managers and various others who she believed she could trust the most. These challenges along with the evolving scene of the hip hop industry all led to her hiatus.

    Today, Roxanne is still doing her thing, staying busy, and most importantly staying connected to her roots. Shanté, who now lives in New Jersey, co-leads an education nonprofit, is known to occasionally perform, and has done a series of press events where she comments on hip hop and rap artists of today. Additionally, she hosts Sirius XM’s Have A Nice Day on Rock The Bells Radio along with DJ Cool V where the pair sit down together, crack jokes, and play the music that they love. The rapper also continues to make impressive live appearances as just on July 21st of this summer she participated in DJ Cassidy’s Pass The Mic Live! at the one and only Radio City Music Hall.

    For years, Roxanne has gone on to be an unsung hero when it comes to the history of hip hop and its evolution, yet the artist refuses to live in spite, saying, “I’m not the female Hip Hop artist people talk about. I’m not invited to the awards. I’m the person who people would assume would be angry at home. And I’m the total opposite of that. I love life so much. I’m a breast cancer survivor. I know what it’s like to go through lumpectomies, through everything. Life is amazing to me. I enjoy every minute of it.” 

    Even though the rapper may not take her lack of recognition to heart, the world of music and the world of hip hop have begun to right its wrongs and give Roxanne the attention she truly deserves. In 2017, Netflix released a biopic named “Roxanne Roxanne” which tells the story of her beginnings in the genre along with the struggles she faced as a woman of color in NYC. The movie not only highlights the hurdles she jumped through and her immense talent but also displays her impact on the genre itself and rappers that have gone on to find their own success because of her. One of these artists is the Grammy Award-winning rapper Nas who credits Roxanne with being the person to first get him to take rap seriously.

    “Roxanne Shanté was a young teenage girl who had heart ’cause she would just be out in the projects, hanging, and I would see her,” he explains. “We heard about her and she was a hood star at first. She heard me doing some little rhymes and she was interested, and she was like, ‘Yo, I want you to participate in something. I want you to do some stuff. I want you to work on your craft and when I see you again, have it together.’”

    Roxanne’s story, influence on others, and connections with the hip hop world are impossible to write on one page as the artist has history with legends such as Big Daddy Kane, Biz Markie, and Queen Latifah; however, as Roxanne has shown time and time again, she can prove herself to anybody, anyplace, anytime with a beat and a microphone.

    Roxanne is a hip hop icon and deserves to go down in music history appreciated as a true luminary. Not only did she defy odds as a young woman of color on the streets of Queens, the splash Shanté made with her immense talent, street cred, and her seven minutes helped push the entire genre into the mainstream. Hip hop artists today can’t ever fully comprehend their complete history unless they recognize the Queen of Queens: Roxanne Shanté, the blueprint for hip hop MC’s.