As hip hop’s 50th anniversary nears (August 11, 1973), the yearlong celebration of the world’s most popular music genre has been ramping up. However, hip hop is more than just rhyming over drum patterns. After all, the graffiti artists, breakdancers, b-boys, fashion and street culture are what the music reflected. It was only fitting that more than 4,000 people gathered at the Brooklyn Public Library for the philosophy of hip hop one of the largest celebrations of hip-hop’s anniversary to take place this year.
KRS One was a keynote speaker at The Philosophy of Hip-Hop
About the Event
As part of the BPL’s “Night in the Library” initiative, the philosophy of hip-hop brought together dozens of artists and thinkers for a dynamic all-night exploration of the genre. The event took over the iconic Central Library from 7 p.m. to 2 a.m. with keynote addresses, musical performances, discussions, debates, and activities inspired by the genre’s music and culture.
KRS-One was a keynote speaker at The Philosophy of Hip-Hop exhibition
Co-curated by LeBrandon Smith founder of Really Just Hip-Hop, Kelly Harrison, and April R. Silver, founder of AKILA Worksongs, Night in the Library: The Philosophy of Hip-Hop featured a number of Roc Nation artists, including GRAMMY-nominated rapper Rapsody, Johnny Cocoa, HDBeenDope, and Rueben Vincent.
The event tied in together several decades of hip hop history from its inception up to the present. All the while interpolating various parts of the culture and showcasing some of the less-heralded figures that have spearheaded hip hop. In addition, a host of legendary cultural figures made appearances including the likes of Dapper Dan, Angie Martinez, performers and rap legends Smif-N-Wessun, Dead Prez and Keynote speaker KRS-One. The Philosophy of Hip Hop was a time capsule into hip hop’s roots as various deejays serenaded the audience with classic hip hop cuts, culminating in a performance by Dead Prez.
Fashion has long been an integral part of Hip-Hop culture.
Dapper Dan made an appearance at The Philosophy of Hip-Hop
Discussions & Lectures
Similarly, there were several panels and discussions with key hip hop figures. Roc Nation artist Rapsody provided insight while leading a discussion on “Women in Hip-Hop: Sexuality, Empowerment, Competition, Success & A Fight for Respect.” Chiefly, Rapsody and Dr. Kathryn Sophia Belle discussed the pressures women face when it comes to their presentation. “I’ve learned to see it in different lights and overall, we’re just dope MC’s at the end of the day,” Rapsody Summarized.
Rapsody participated in a discussion on Women in Hip Hop
Panels
Other notable panels and lectures included “Which American Region Is the Most Important in Hip-Hop?” Where a panel of journalists which include journalists Mitchell S. Jackson, Alvin Blanco, Chad Sanders and musical acts Jazzy Lo and DonWill. The panel answered questions on the trendsetters and groundbreaking acts from their respective regions (the East Coast, South, West Coast and the Mid-West). All the while a lively audience were eager to offer insight.
“Which American Region is the Most Important in Hip Hop?” was one night’s liveliest discussions.
In like manner legendary music journalist Bill Adler took the stage with Pete Nice of 3rd Bass for “The Expansion of Hip-Hop: How Non-Black Players Built a Home in the Genre.” A Brooklyn native, Adler has covered hip hop since the very wee points of its inception and shared stories on being one of the first writers to cover Kurtis Blow. By the same token, Pete nice shared his experiences as a Caucasian making his way through a black art form, having been on the Def Jam label during its formative years. The Long Island native shared stories of the joint-hunger and pursuit of success between him and the rest of Def Jam’s early roster.
Bill Adler and Pete nice led a discussion on The Expansion of hip hop
The evening closed with a performance from Dead Prez, who performed their cult-favorite “Hip-Hop.” With lyrics that see the Brooklyn duo criticize the capitalist nature of the music industry and its exploitation of black people, Dead Prez doubled-down with an intensified, acapella rendition of the record to hone in the message. Afterwards, the Deejay ended the night with a run of classic 80’s and 90’s tracks as the crowd celebrated hip hop in unison.
Dead Prez closed the night out with their hit-record “Hip-Hop.”
Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear new music from Merci Van, Caity Gallagher, and Kirsti Blow.
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Merci Van – “Oppenheimer”
Merci Van is from Saratoga Springs and makes synth post-folk music. Members are Alicia Macier Van Scoy, Ed Cormac, and Katlyn Celentano. Their new single “Irrational Anthems” is out now.
Caity Gallagher – “Worth Remembering”
Caity Gallagher is a rootsy singer/songwriter based in Albany, who uses lifting vocals and empowering lyrics to tell universally relatable stories. She started playing piano at age seven and guitar at sixteen, and has been compared to the likes of Jackson Browne and Carole King. Her newest EP Something Worth Remembering is out now on streaming platforms, with the song “Worth Remembering” having a spot on Sunday’s EQXposure.
Kirsti Blow – “Last Cigarette”
Kirsti Blow is a singer/songwriter hailing from Upstate New York, recognized for her soft voice and unforgettable instrumentals. Her new album Loose Ends, written over the course of two years, explores the feelings of of elation and fear, love and disillusionment, and the changing seasons while traveling in the US and Spain. “Last Cigarette” will hold a spot on EQXposure this Sunday.
If it’s summertime and your 7 train is unusually filled with riders in tie-dye, you can be sure Dead & Company is playing at Citi Field.
Since forming in 2015, the Grateful Dead spinoff act featuring an assortment of old band members (guitarist Bob Weir, percussionist Mickey Hart, and (until this tour) drummer Bill Kreutzmann) and accompanying musicians (bassist Oteil Burbridge, keyboardist Jeff Chimenti, drummer (and Kreutzmann replacement) Jay Lane, and guitarist John Mayer) has roamed annually—with the exception of 2020’s COVID hiatus—around the U.S., playing stadiums and inspiring fervor in fans both old enough to have seen the Dead in their prime and young enough to have been born after Jerry Garica died.
Discover Grateful Dead shows from over the years across New York State with our interactive map below
Every summer tour the group has embarked on has included a marquee stop at the large Queens venue, a homecoming of sorts for New York area Deadheads and the fanatical followers who hop from city to city to catch the band live.
For a band with songs in their repertoire that were written before the moon landing, Dead & Company has been very successful. Their 2021 summer tour sold the third highest number of tickets of any act in America; GQ noted that while there have been “lots of post-Jerry [Grateful Dead] iterations,” Dead & Co. have “created a nationwide flower-child wave so big that the whole traveling Deadhead apparatus sprang back to life in all its ’80s–’90s glory.” But nothing lasts forever, not even Mayer’s silky smooth solos during “Scarlet Begonias.” In September of last year, the guitarist announced on Instagram that the upcoming 2023 Dead & Company upcoming tour would be the group’s last, with stops in New York City on June 21 and 22, and a week prior at SPAC on June 17 and 18.
Given the advanced ages of the original band members, this tour could very well be the last chance to see what remains of the Grateful Dead as a traveling stadium enterprise. And since the 80s, no large-scale Dead event is complete without Shakedown Street, the impromptu vending area outside each show named after the much beloved song of the same name. I attended the June 21 show and saw fans transform Citi Field’s parking lot into an open air psychedelic bazaar. The stands and vendors were straight out of central casting, selling vegetarian food, floral dresses, homemade jewelry, and dancing bear and turtle doormats, though some were original like the person charging $2/min for back massages. My father-in-law, a Deadhead himself, said Shakedown Street is known for its burritos. After eating one prepared by a guy who looked like Post Malone, I see his point.
As I stood enjoying my dinner, I absorbed the lot’s soundscape: speakers playing “Jack Straw” and what I think was “Cold Rain and Snow” were dueling for aural supremacy, the music punctuated by the sucking and popping of nitrous balloons. Compared to concert concession stands where you have to use your elbows to get what you want, Shakedown Street was wide-open and welcoming, like visiting your hippie aunt and uncle except there are 2000 aunts and uncles, and 100s of cousins, all family here.
Getting to my seat after 40 minutes on Shakedown, Dead and Company opened the first night at Citi Field with an appropriate “Shakedown Street.” As the song’s opening guitar chord and drum pattern gave way to its well-known staccato bop, the entire stadium got on its feet and started dancing. I was sitting in the bleachers in Section 524, with “Shakedown” reducing the surrounding audience chairs and stair railings from helpful objects to obstacles impeding movement, as the audience swayed to the tinsel-tinted disco beat. Even from afar, the sound was crystal clear, each instrument discernible—Burbridge’s bass in particular guided the track through its choruses and jams. Next came “Bertha,” another crowd pleaser with an instantly recognizable intro, maintaining “Shakedown’s” danceable pace: for the duration of both songs, the crowd was in motion, flailing like inflatable tube men outside a used car dealership as band sang “I had to mooooove / Really had to move.”
“Ramble on Rose” slowed the set down, letting the crowd relax and sing along to its memorable, playful words. Dead & Co. concerts are social events too, and the slower moments give the audience time to connect with friends and family (or total strangers) at the show. This is, of course, unless you are one of the spinners nestled in left field who, barring terrible weather, just do not stop. They kept twirling during “Ramble’s” undanceable groove and a handful even persisted through to the gig’s end. Salut! Chimenti’s piano chops were on full display in the song’s outro, his fingers crashing on the keyboard with ragtime-like intensity.
Every year, John Mayer seems to get more comfortable playing Garcia’s ghostly role as the band’s lead guitarist. His arpeggiated lead lines are smooth and he’s even nailed down Jerry’s idiosyncrasies, using chromatic notes outside the given chord progression. But on songs like “It Hurts Me Too” and “Althea,” Mayer reminds you that he’s still his own man. During the former, he slaps listeners in the face a little bit with his bluesy note bends, sounding almost as much like Eric Clapton as he does Garcia. On the latter, he leads the band toward a synthesis of the Dead’s straight-ahead 80s rock and his own more in-your-face playing, steering the jam into aggressive directions Jerry’s restrained style was never able to reached “Althea” showed Mayer’s ability to develop his own voice within the confines of a well-established group, taking the song to newfound electric heights. Notably, “Althea” was the first Dead song he got into, he’s made it his own.
Even on the longest day of the year, the sun eventually goes down, and come “Dancing in the Street,” Dead & Co.’s incredible light show began in full swing, reaching a first set climax with “Let It Grow,” a slippery track verging on prog rock with lots of opportunities for jams to go off in different directions. Swirling beams featuring every color of the rainbow radiated behind the band, switching on a dime to visually match the group’s jazzy improvisations. According to Adam Josselson, a fan in attendance from South Jersey, “Let it Grow” was the “jam of the night.” I concur; its force and complexity were unmatched. The stadium, nearly packed to the brim, was most focused during “Let It Grow,” the show’s most technical, least poppy number.
Right before the second set began, Mayer had an announcement to make: he was going to play the rest of the show sitting down because he had hurt his back. After joking that he took a “white pill” and a “blue pill” to ease the pain and asking for sympathy from the middle-aged attendees with back problems of their own, the bouncy opening notes of “China Cat Sunflower” started and the set was off. “It’s nice to see that John Mayer is human and that he suffers from the infirmities that we all do,” said Rich Zweiback, a New York native who saw over 200 Grateful Dead concerts starting in 1979. “The only drugs I took yesterday were Advil and Aleve,” he said. Maybe Mayer should have spent time in Shakedown Street at that makeshift massage parlor?
Naturally, “China Cat Sunflower” flowed directly into “I Know You Rider.” The two songs have been a staple second set pairing since 1969. When “China > Rider” is having a good night, the exact point at which “China” turns into “Rider” is indeterminable. I tested myself, sitting down and listening closely, to see if I could identify the moment when the tunes changed over, and was relieved to have failed. “China > Rider” crams Dead & Co.’s dynamic and emotional range into one song, slowly building toward a loud exclamation.
“St. Stephen” soon followed. After a ferocious jam that rivaled “Let It Grow” in its vigor—one which received loud applause—the song stopped abruptly: some member(s?) missed the re-entry point out of the jam into a verse that caused the band to sound like a skipping CD. Wrapping up early before the famous “William Tell Bridge” could finish, Dead & Co., looking a little frazzled, started strumming “Uncle John’s Band”—it took them time to settle back down. For “Drums,” Mickey Hart played a xylophone-style instrument and was joined by guest percussionist Jeff Russo. Stretching out “Drums” with Russo’s addition led to a shorter “Space,” which soon curled into “The Eleven” jam I was expecting to hear after “St. Stephen.” I love these exploratory parts of the set, but I understand the concertgoers who use them as stretch or bathroom breaks.
Weir’s preeminent moment came in the form of “Stella Blue.” “[He’s] finally old enough that he can lend [the] gravitas that’s needed to that song,” said Zweiback. A tune of solemn wisdom that understands that time vanquishes us all, Weir’s ragged baritone vocals perfectly transmit the song’s pain. Finishing off set two with an upbeat “U.S. Blues” got the crowd hollering and jumping together again, and the encore, “Black Muddy River,” followed right after – performed without a break to accommodate Mayer’s back. Mayer lead the tune, singing in a way that was reminiscent of his soft rock solo albums.
“I was pretty much blown away,” said Greg Schmalbach, a fan who had seen Dead & Co. three times already on this tour. “They’ve been bringing it and they brought it.” Schmalbach caught the Dead in the 90s but was underwhelmed. In 2015, however, he revisited the band around the time of the Fare Thee Well 50th anniversary celebration and has since seen Dead & Co. around 40 times. He claims this recent string of concerts is the best he’s seen the band.
“I can’t argue in good faith that [Dead & Co.] is better than Jerry Garcia, but it’s like a parallel universe where it’s very, very pleasing to my ear,” said Jamie Bliss, a Canadian Dead fan following the band around for five shows with a friend. Dead & Co. gets criticized by some Deadheads who consider them a pale, slow imitation (Dead & Slow is a popular pejorative nickname) of a legendary act, a nostalgia-driven cash-in for corporate rockstars. Bliss isn’t buying it. “When people dismiss older bands as essentially being a nostalgia act, I like to remind them that sometimes nostalgia is all we have left,” he said. To my ears, a jumpy, uptempo song like “Dancing in the Street” was too slow to be effective—it lost its punchy might—but groovy numbers like “Shakedown Street” and “Bertha”—ones with a beat you can settle into—were fine slowed down, as they leave room for the musicians to jive around and explore new sonic territory.
“I didn’t go to a Dead & Co. show until 2020 when I met my wife because I was like, “John Mayer, I just can’t do that, I can’t get on board with this,”” said Josselson. “I basically was dragged there by her and I was pleasantly surprised by his emulation of Jerry. I think the biggest thing about Dead & Co. shows is that the Grateful Dead concert vibe is there, that family culture, you feel that when you’re at that show.”
As I re-boarded the 7 train home after the show, I was surrounded by a true cross-section of Deadheads: old hippie true believers; corporate 50-somethings; bros looking to dip their toes in the counterculture; Gen-Zers sporting Steal Your Face-branded streetwear. All of them had gathered together, differences aside, for roughly four hours to see the remnants of an American institution approaching 60 years. I cannot think of anyone or anything else in this country that can do the same.
Dead and Company – Citi Field – Queens, NY – June 21, 2023
Set 1: Shakedown Street > Bertha, Ramble on Rose, It Hurts Me Too, Dancing in the Street, Althea, Let It Grow
Set 2: China Cat Sunflower > I Know You Rider, St. Stephen, Uncle John’s Band > Drums > Space > The Eleven > Stella Blue, U.S. Blues
Encore: Black Muddy River
Dead and Company – Citi Field – Queens, NY – June 22, 2023
Set 1: Feel Like a Stranger > Franklin’s Tower, Mama Tried, Alabama Getaway, Dear Mr. Fantasy > Hey Jude (Reprise) > Truckin’ > Deal
Set 2: Scarlet Begonias > Fire on the Mountain, Estimated Prophet > Drums > Space > All Blues > Cumberland Blues > All Along the Watchtower > Morning Dew
Continuing to tour in support of their fourth consecutive critically acclaimed album Shore (Anti-Records, 2020), Fleet Foxes visited College Street Music Hall (CSMH) in New Haven, Connecticut this past Tuesday night for the fifth show on a 28-date trek of North America that kicked-off in Chesterfield, Missouri a few days prior.
Robin Pecknold
Formed in 2006, the indie folk darlings hailing from Seattle, Washington are the quintet of frontman/guitarist Robin Pecknold, Skyler Skjelset (guitar), Casey Wescott (keyboards, mandolin, backing vocals), Christian Wargo (bass) and Morgan Henderson (multi-instrumentalist, including upright bass and saxophone). Since last year, Fleet Foxes have also been joined by touring drummer Christopher Icasiano.
Despite the distance from their home on the west coast, the Pacific Northwesterners – particularly Pecknold – share a strong connection to New York State. To make a long story short (too late!), the recording of Shore got underway at Aaron Dessner’s (The National) Long Pond Studios in Hudson, New York back in September 2019. Although the majority of Shore was subsequently recorded at Woody Jackson’s Electro-Vox Studio in Los Angeles, California from late-2019 to early-2020, progress was halted in March 2020 – due to what else – COVID-19 of course. With Shore conceptually complete from a music standpoint, Pecknold was not satisfied with his writings and was struggling to find the right words to match the music. However, it would not be for too long, as he eventually found the lyrical inspiration he craved during time spent on long drives from his Greenwich Village apartment, where he had been quarantined, to Lake Minnewaska in Ulster County, and further north into the Catskill Mountains.
College Street Music Hall
A few ticks past 7:00 pm, doors to the historic venue constructed in 1926 and located in the heart of New Haven’s downtown arts district opened to the loyal Fleet Fox fans that had been queued a half block south of Yale University, many since the early afternoon. As throngs of patrons hurriedly began to file into the concert hall’s lobby, many headed straight for the merch table to purchase a t-shirt, hoodie or signed tour poster. Others were seen grabbing a craft beer on tap or a cocktail before securing a spot on the General Admission floor or heading to the upper balcony.
Uwade
Fittingly opening the show at 8:00 pm, as it’s her voice you hear opening “Wading in Waist-High Water” on Fleet Foxes’ Shore, was Uwade Akhere. A Nigerian born singer-songwriter based in New York City, Uwade is an indie-folk artist whose star has been on the rise since the release of her very first single, “Nostalgia,” in 2019. Performing a 30-minute solo set, she favored stage right as she played a six-string Torino Green Gretsch that nearly matched her dress perfectly. With an angelic onstage presence – her songs are fittingly spiritual in nature as well – she relinquished sublime versions of her only other singles released to date, “The Man Who Sees Tomorrow” (2021) and “Do You See the Light Around Me?” (2022). As the venue was nearing its 2,000-capacity, Uwade played “One Way Trigger,” a cover that her fellow New York City natives The Strokes released in 2013. With Uwade’s set nearing its conclusion, and much to the delight of Fleet Foxes fans, she welcomed to the stage Wargo and Icasiano for her two final songs.
Skyler Skjelset
After a brief intermission to address the stage’s final preparations, Fleet Fox took the stage a few ticks past 9:00 pm to raucous applause from the now packed house. With Pecknold snapping a few shots of the adoring fans in front of him with a disposable camera, he announced immediately, “Thank you so much New Haven, thank you. And thank you so much to Uwade, that was an incredible opening set.” The night’s festivities officially got underway with “Sun Giant,” a soft, harmonic piece written in 2008 that began a cappella, before fading into full accompaniment, including a two-man horn section. Reprising her role from Shore, Uwade reappeared onstage to contribute backing vocals to “Wading in Waist-High Water.” It would not be the 22-year old’s last appearance of the evening, as she would later join the band during the encore for exquisite backing deliveries of “For a Week or Two” and “Going-to-the-Sun Road.”
Christian Wargo
For the entirety of the massive, 24-song set that encompassed Fleet Foxes’ rich and diverse catalog over the past 17 years, the Seattle musicians were in top form across the board, in particular, Pecknold’s unique baritenor voice. Hailed for their refined instrumentation and vocal harmonies, their music was meant to be executed in a place such as CSMH – the destination for concertgoers looking for a venue within spitting distance of Boston and Manhattan – renowned for its world-class acoustics and lighting.
Casey WescottMorgan Henderson
Because Fleet Foxes’ two hour plus gig was filled with stand-out moments, picking the top song highlights is not easy. However, if I could choose only three, they would have to be (in order by appearance): Pecknold’s solo acoustic performance of “Silver Dagger” (a traditional American folk ballad popularized by Joan Baez); “Blue Ridge Mountains,” my favorite Fleet Foxes tune taken from their self-titled debut studio album (2008); and the impressive show’s finale, “Helplessness Blues,” the title track from their sophomore studio album (2011).
Christopher Icasiano
In the coming days and weeks, the North American leg of Fleet Foxes’ Shore Tour 2023 will sweep through Pennsylvania, Wisconsin, the Carolinas, Florida, Alabama, Louisiana, Oklahoma, Nebraska, Minnesota, Indiana and Maine. And in case you missed the CSMH show, or you just cannot get enough of Fleet Foxes in a live setting, they will be playing Beak & Skiff Apple Orchards in LaFayette, New York on July 12. The tour finale is slated to occur near Fleet Foxes’ old stomping grounds, at Thing Fest in Port Townsend, Washington, on August 25. To date, the only additional public appearance on the calendar for Fleet Foxes is the Festival Corona Capital in Mexico City on November 17.
Fleet Foxes Setlist: Sun Giant > Wading in Waist‐high Water (with Uwade) > Sunblind > Can I Believe You > Ragged Wood > Your Protector > He Doesn’t Know Why > Featherweight > Third of May/Ōdaigahara > Phoenix (Big Red Machine cover) > Bedouin Dress > White Winter Hymnal > Mearcstapa > Mykonos > Silver Dagger (traditional cover) > Montezuma > Cradling Mother, Cradling Woman > Maestranza > Blue Ridge Mountains > Grown Ocean > Encore: Someone You’d Admire > For a Week or Two (with Uwade) > Going-to-the-Sun Road (with Uwade) > Helplessness Blues
Caramoor Ground’s American Roots Music Festival returns this Summer with a packed music lineup performing throughout the grounds, as artists coming from blues, Americana, folk, and bluegrass will hit the stage Saturday, June 24.
Including nine different musicians, with ten-time Grammy nominee Brandy Clark as the evening headliner, the festival at Caramoor Grounds expects to be another fantastic experience like past years.
The Mike Block Trio, who will be performing at the American Roots Music Festival on June 24.
For the schedule, the grounds open at 12:00 pm, music starts at 12:30 pm, headliner starts at 7:30 pm. Concert-goers will need to reserve seats for the evening headliner. The daytime performances will not have reserved seating and the festival suggests bringing your own seats during this time.
There will be a free shuttle from Metro North’s Katonah train station to and from the American Roots Music Festival, running before and after every summer afternoon and evening concert.
For tickets to evening, daytime, or both showings, visit here.
Daytime & Evening Schedule
12:30 pm–1:15 pm / Divining Rod (Friends Field) 1:00 pm–1:30 pm / Family Set: Our Band (Sunken Garden) 1:30 pm–2:15 pm / Nefesh Mountain (Venetian Theater) 1:30 pm–2:15 pm / Hayley Reardon (Spanish Courtyard) 2:30 pm–3:15 pm / Leon Timbo (Friends Field) 2:30 pm–3:15 pm / Mike Block Trio (Sunken Garden) 3:30 pm–4:15 pm / Miko Marks (Venetian Theater) 3:30 pm–4:15 pm / Sunny War (Spanish Courtyard) 4:30 pm–5:15 pm/ Mike Block Trio (Friends Field) 4:30 pm–5:15 pm / Leon Timbo (Sunken Garden) 5:15 pm–6:00 pm / Miko Marks (Spanish Courtyard) 5:45 pm–6:30 pm / Sunny War (Friends Field) 7:30 pm–9:00 pm/ Brandy Clark (Venetian Theater) – Evening Show
It’s tough to Google “Zoomo” and find anything other than World Class E-Bikes. Perhaps intentionally and synonymously, Zoomo – from the New York hip-hop group Real Recognize Real – maintains a low profile. Operating as a soulful crate digger, Zoomo achieves success through a subtle, steady emergence onto the scene.
Left to Right: Starker, YL and Zoomo sell merchandise at Supply and Demand 2021 Hosted by Top Shelf Premium and Peter Rosenberg [Photo By Mos Neammanee [img.mos]
Zoomo glues the R.R.R. Music Group with gorilla cohesion. His meticulousness leads him to piece through countless old-school records to find and fine-tune the exact sound he provides. The works of art speak for themselves as anyone can see his name often placed right alongside the artist in album titles. Technicalities aside, Zoomo stands out because he creates timeless art bound to leave a legacy.
Let the Beat Build
Zoomo often finds one word or phrase and lets that serve as the basis for the entire beat structure. Then at the end, sporadically in the middle or even at the beginning he plays the entire phrase sequence to give the listener a better idea as to the source of that word loop.
Working your way up through tinkering, crate-digging and experimentation proves worthwhile for any producer. The difference inlies within the fact that not just any producer loops soulful melodies together the way Zoomo does in New York.
While Zoomo’s beats definitely have a theme – you could never consider them repetitive! Beat structures in modern mainstream hip-hop regurgitate the same hi-hats, sounds and patterns – Zoomo always infuses something new. Whether that be different placement or rotating the parts where he draws emphasis – this man carries many tools in his arsenal.
Hence, his latest project – Cloydrepresents a milestone for this man. As every Zoomo-stamped project adds value to the underground ecosystem – this one seems like a culmination of several aspects of his career. Zoomo hosted this mixtape release and multiple different artists hopped on the track. Most times – the artist hosts/promotes the mixtape and the producer receives a credit.
Let the Beat Speak
Zoomo makes the beat sing. What does that mean? Well, consider the songs “Oh Boy” by Cam’ron [Prod. by Just Blaze] “By Your Side” by Jadakiss [Prod. by Baby Grand] or “Hold You Down” by Prodigy [Prod. by and feat. Alchemist]
In each of these songs, the artist may take a breath or irregular pause to let the beat complete their sentence. Thus, these types of songs like prove innovative and allow Zoomo to fulfil his role masterfully as his beats provide a story of their own.
Furthermore, as a hip-hop head I wake up with a different song floating through my cranium daily. Whenever a R.R.R. song makes its way through those precious grooves – the Zoomo sing-sample almost always pops up and plays on loop.
Undoubtedly, Zoomo carved his own path and continues to kick down doors for him and his team. To hear his latest offering, check out, “More Life” with YL from recent album, Don’t Feed the Pigeons which hit the airwaves on June 16, 2023.
The New York State Fair has announced that Skid Row will close out the Fair on Sept. 4 at 6 p.m. at the Suburban Park Stage.
Founded in 1832 by a group of local farmers for agriculture and local fairs, The Great New York State Fair did not become a musical showcase until the 1950s and 1960s, when the fair began gearing towards entertainment.
Touring in support of their newest album, The Gang’s All Here, Skid Row will play through new songs as well as the fan favorites that first put them on the map, like “18 and Life,” “Youth Gone Wild,” and “I Remember You,” as well as new singles too, including “Tear it Down,” “Time Bomb,” and “The Gang’s All Here.” The band features original members Rachel Bolan (Bass), Dave “Snake” Sabo (Guitar), and Scotti Hill (Guitar), with Rob Hammersmith (Drums), and the newest member and longtime fan of the band, Erik Grönwall (Lead Vocals), a Swedish Idol winner (2009).
All shows, including Skid Row, are included in the New York State Fair admission.
New York State Fair Lineup
Chevy Court
Aug. 23 at 1 p.m.- Chubby Checker
Aug. 24 at 6 p.m.- Quiet Riot
Aug. 26 at 1 p.m.- Peppa Pig Live! Peppa Pig’s Adventure
Aug. 26 at 6 p.m.- Julio Iglesias Jr.
Aug. 27 at 1 p.m.- The Prodigals
Aug. 27 at 6 p.m.- Matt Stell
Aug. 28 at 1 p.m.- Herman’s Hermits starring Peter Noone
Aug. 28 at 6 p.m.- Anne Wilson
Aug. 29 at 1 p.m.- Tommy James and the Shondells
Aug. 29 at 6 p.m.- Bret Michaels
Aug. 30 at 1 p.m.- Danielle Ponder
Aug. 30 at 6 p.m.- Chapel Hart
Sept. 1 at 6 p.m.- The Fray
Sept. 2 at 12-9:45 p.m.- JAMS Funk Fest Featuring: Brick (6:45 p.m.) & Dazz Band (8:15 p.m.)
Sun. Sept. 3 at 1 p.m.- Disney Junior Live On tour: Costume Palooza
Sept. 4 at 12 p.m.- The High Kings
Suburban Park
Aug. 23 at 2 p.m.- Steven Page
Aug. 23 at 8 p.m.- Lainey Wilson
Aug. 24 at 8 p.m.- Theory of a Deadman
Aug. 26 at 8 p.m.- George Thorogood and the Destroyers
The Peach Music Festival 2023 has announced the set times for each artist performing at the festival, some include Goose, Ween, Tedeschi Trucks Band, and many more.
With almost a week left until the first day of the festival, set times for the highly anticipated event are now available. The Peach Music Festival was created in 2012 as the first-ever Allman Brothers Band-inspired festival in the Northeast and has quickly evolved into one of the most highly-anticipated summer musical events loved by music enthusiasts from across the nation. It is a one-of-a-kind festival, as it features food and craft vendors on the grounds and access to the scenic Montage Mountain Ski Resort’s large water park.
Headlining is Goose, performing two sets, on Thursday, June 29; Ween on Friday, June 30; My Morning Jacket on Saturday, July 1; and Tedeschi Trucks Band on Sunday, July 2, with Joe Russo’s Almost Dead, Les Claypool’s Fearless Flying Frog Brigade, Mike Gordon, Lettuce, Twiddle, and Ripe. Featured at this year’s festival will be a performance of the Allman Brothers Band record Brothers & Sisters, with founding member Jaimoe performing as Jaimoe and Friends and duo Brother and Sister. There will also be a special appearance by Trouble No More, featuring Brandon “Taz” Niederaurer (Guitar, Vocals), Daniel Donato (Guitar, Vocals), Dylan Niederaurer (Bass Guitar), Jack Ryan (Drums), Lamar Williams Jr. (Vocals), Nikki Glaspie (Drums), Peter Levin (Keys) and Roosevelt Collier (Pedal Steel Guitar).
Goose, performing at Peach Festival 2022, photo by Andrew Hutchins.
Newly added to the Peach Festival lineup include Ziggy Marley, Australian Pink Floyd performing a 50th-anniversary tribute to Dark Side of the Moon, Jupiter & Okwess, Broadband featuring Kanika Moore, The National Reserve, J.D. Simo, Little Bird, and Mountain Grass Unit. Late-night sets at the Peach Music Festival will feature LP Giobbi presenting Dead House and Daniel Donato’s Cosmic Peach on Friday, June 30, The Australian Pink Floyd Show, and Magic City Hippies on Saturday, July 1.
For more information about the festival and to purchase tickets, visit here. Set times can be found below.
Central Park’s SummerStage played host to an extraordinary evening of blues music as the legendary Buddy Guy took to the stage as part of his “Damn Right Farewell Tour.” The event featured an exceptional lineup of opening acts, including Christone “Kingfish” Ingram and Samantha Fish, who set the stage ablaze with their own brilliant performances. But it was Buddy Guy himself who stole the show, leaving the crowd in awe of his virtuosity and stage presence.
Buddy Guy at SummerStage Central Park 6.18.23
Samantha Fish, the incredibly talented blues-rock artist, opened the show. Adding to the excitement, she brought along her collaborator and fellow Texas guitarist, Jesse Dayton, with whom she had recently released their first collaborative album, “Deathwish Blues.” The electrifying night began with the title track, which instantly captivated the audience. Throughout the set, the duo showcased their musical chemistry, delivering standout performances of Dayton-led songs like “Down in the Mud.” The set reached its climax with the powerful and infectious “Riders,” a song that left the crowd craving for more. Together, Samantha Fish and Jesse Dayton left a lasting mark, celebrating the blues and leaving everyone in awe of their extraordinary talents.
Samantha Fish at SummerStage Central Park 6.18.23
Next up was Christone “Kingfish” Ingram, a young prodigy who has been making waves in the blues world. Despite his age, Ingram’s guitar playing showcased a depth of skill and emotional maturity. His soulful vocals and lightning-fast fretwork on “She Calls Me Kingfish” drew thunderous applause from the crowd, establishing him as a force to be reckoned with. The fiery energy continued with the blues-infused “Midnight Heat,” showcasing Kingfish’s impressive command over his instrument. Closing his set with the powerful “Long Distance Woman,” Kingfish left a lasting impression, proving himself as a true blues artist to watch out for.
Christone “Kingfish” Ingram at SummerStage Central Park 6.18.23
And then, the moment everyone had been waiting for arrived. Buddy Guy emerged with his iconic Fender Stratocaster in hand. The crowd erupted with thunderous applause and cheers as he launched into his set, effortlessly transitioning between blistering guitar solos and heartfelt vocals. Backed by his incredibly talented Damn Right Blues Band, they created a mesmerizing atmosphere of blues and rock that resonated throughout the park. The audience was treated to a repertoire of his greatest hits, including “Damn Right, I’ve Got the Blues,” “Skin Deep,” and Muddy Waters “Hoochie Coochie Man.” Each song was met with resounding applause, highlighting the timeless appeal of his music.
Buddy Guy at SummerStage Central Park 6.18.23
But the surprises didn’t end there. Blues icon Bobby Rush and his son joined Buddy Guy on stage for a rendition of “Chicken Heads.” The trio brought a new dynamic to the performance, seamlessly blending their styles and creating a magical musical synergy. To conclude the evening, all the artists gathered on stage for an impromptu jam session. The stage was alive with energy as each artist took turns exchanging riffs, trading solos, and sharing the spotlight.
As Buddy Guy bids farewell to the stage, his music will continue to inspire generations to come. His virtuosity, passion, and undeniable talent have left an indelible mark on the blues genre.
The Bronx Music Heritage Center has announced the return of their signature Bronx Rising! with the addition of various music performances, a film screening, and moderated conversations exploring Congolese influences in Caribbean music and dance. Bronx Rising!is set to begin on June 24th and will stretch to the end of August with three Congolese events scattered throughout.
Bronx Rising! is an annual series that brings the Bronx’s cultural riches, past and present, to life. The kick-off event on June 24th will begin the Congolese series with ‘The Congo Influence in Puerto Rican Bomba’ at 3:00 PM in the Bronx Music Hall Plaza. This conversation will be open to the public and be presented by musical artist Nkumu Katalay and Alex LaSalle, bandleader of the Afro-Puerto Rican Alma Moyo, followed by a performance of both their ensembles.
The next event in the series will take a different direction in exploring Congolese influence as it will feature a special screening of “Kumina Queen.” The film follows Imogene Queenie Kennedy, a priestess in post-colonial Jamaica, as she shares the African spiritual practices of Kumina with the world. Kumina’s basic elements are song, dance, and trance possession which is a driving force in Jamaica’s culture and identity as the music and rhythms employed during Kumina ceremonies have heavily influenced Jamaican popular music including reggae and dancehall. Today, artists such as Nyasha Laing, the film’s director, producer, and screenplay writer, are reimagining Kumina in part because of the constantly changing mysteries of spirit possession. Taking place on July 22nd at 7:00 PM in the BMHC Lab, the event will continue with a moderated discussion and Q&A with Laing and anthropologist Dr. Kenneth Bilby pertaining to the Congo influence present in popular Jamaican music. Tickets for the event will be sold for $10 for adults and $5 for students and seniors.
On August 26th, the series will conclude back at the Bronx Music Hall Plaza with ‘Congo Roots in the Diaspora: “Quien no tiene de Kongo tiene de Karabal픑 which will feature a performance by the Román Díaz Ensemble. Román Díaz himself will remain after the free performance to converse with cultural historian Dr. Ivor Miller and BMHC co-artistic director Bobby Sanabria. The men will examine how Congolese influences have shaped Cuban traditions thus producing some of the most famous performance ensembles of the island.
Despite having such a large impact, Congolese influences and connections have been emphasized less both in the music world and within the Latin American and Caribbean communities in the United States, but their presence pervades many of the music, dance, and artistic traditions. Throughout this summer’s Bronx Rising! Congolese events, the Bronx Music Heritage Center will work to bridge this gap and highlight the connections between cultures, music, religion, and art present in the Bronx.
Bronx Rising! Participating 2023 Artists and Scholars
Nyasha Laing is a documentarian who works to transform our understanding of diverse social and cultural movements and practices. Her independent storytelling—which has appeared in and on the Los Angeles Pan-African Film Festival, BBC World Service, YES Magazine, The Art Museum of the Americas, IMZ International Festival, and European Traveling Showcase—explores loss, regeneration, identity, and freedom.
Dr. Kenneth Bilby is an American anthropologist, ethnomusicologist, and author. His published works include the books Words of Our Mouth, Meditations of Our Heart: Pioneering Musicians of Ska, Rocksteady, Reggae, and Dancehall (2016), Enacting Power: The Criminalization of Obeah in the Anglophone Caribbean, 1760–2011 (2012; with Jerome S. Handler), True-Born Maroons (2005), and Caribbean currents: Caribbean music from rumba to reggae (1995; with Peter Manuel and Michael Largey).
Nkumu Katalay is an artist, orator, multi-instrumentalist, and social activist whose main objective is to promote humanity. Born in Kinshasa, the capital city of the Democratic Republic of Congo, he lives in New York City. Nkumu’s vision highlights the contribution of Congolese cultures in modern world history. He is the founder of The Life Long Project Band, a musical group and a project which focuses on pushing the positive narrative of the Congolese culture via music and social-cultural and educational initiatives. He is also founder of the Afro Congolese Dance program and company which offers weekly dance activities throughout New York City, in schools, corporations, or cultural centers for all ages from children to adults and seniors.
Alex LaSalle is a high priest (Tata Nkisi) to one of the oldest houses of Kongo-Cuban Palo in Cuba and now New York City—Batalla Sacampeño Mayombe. His teacher and mentor is Florencio Miguel Garzon (“Loanganga”) from Cuba. In addition to serving as a diviner and priest, Alex is also a specialist in hundreds of Afro-Cuban Kongo Mambo songs and rituals. Alex is fluent in the Afro-Cuban Bantu/Kongo language, is an avid researcher and oral historian. He has presented lectures for educators and students at Yale, Columbia, New York University, Long Island University, and others. A teaching artist in New York City public schools, Alex is the founder and director of Alma Moyo Afro-Puerto Rican Bomba group, and member of Grammy Nominated Los Pleneros de la 21 and Grupo Folklorico Experimental Nueva Yorquino. Alex has performed with such groups as Roberto Cepeda’s Bomba Aché, William Cepeda’s Afro-Boricua, Felix Alduén y su Tambores, Pa’lo Monte, Nchila Ngoma Mayombe, and 21 Division.
Román Díaz is a Cuban born master percussionist and a living repository of Afro-Cuban culture. He is a noted scholar of Cuban religious and folkloric music as well as a composer and performer of contemporary Afro-Cuban music and Jazz. He has performed and recorded with Cuban diva Mercedíta Valdes, Canadian Jane Bunnett, Juan Carlos Formell, Paquito D’Rivera, and folkloric artist, Orlando “Puntilla” Rios, and Pianist Danílo Pérez. He has also recorded with the Afro-Cuban folkloric groups; Yoruba Andabo, Raices Profundas and Los Marqueses de Atares. He has also performed at Jazz at Lincoln Center, The Kennedy Center, and the Smithsonian Museum. As a member of the seminal Rumba ensemble, Yoruba Andabo, Díaz aided in the creation of the sound that has defined contemporary Rumba since the 1980’s in Cuba and around the world. Díaz continues to innovate the song style as well as migrating the conical two-headed Bata drum from religious music into contemporary Jazz.
Dr. Ivor Miller is a cultural historian specializing in the African Diaspora in the Caribbean and the Americas. He was a Senior Fellow at the National Museum of African Art at the Smithsonian Institution (2011-2012), a Fulbright Scholar to Nigeria (2009-2011), and teaches in the Bassey Andah Institute for African and Asian Studies at the University of Calabar, Cross River State, Nigeria. His most recent book, “Voice of the Leopard: African Secret Societies and Cuba” (UP of Mississippi 2009/ CBAAC Lagos 2011) was awarded Honorable Mention by the Association for Africanist Anthropology. Based upon fieldwork in Nigeria, Cameroon, Cuba, and the USA, it documents ritual languages and practices that survived the Middle Passage and evolved into a unifying charter for transplanted slaves and their successors.
Bobby Sanabria is Bobby Sanabria is co-artistic director of The Bronx Music Heritage Center and an eight-time Grammy-nominated drummer, percussionist, composer, arranger, conductor, producer, educator, and bandleader. He has performed and recorded with legends such as Tito Puente, Mongo Santamaría, Ray Barretto, Cándido, Henry Threadgill, Larry Harlow, and the Godfather of Afro-Cuban jazz, Mario Bauzá. A South Bronx native of Puerto Rican parents, Sanabria was inducted into the Bronx Walk of Fame in 2006. He holds a B.M. from the Berklee College of Music and is on the faculty of the New School and the Manhattan School of Music, conducting the Afro-Cuban Jazz Big Bands at both schools.
