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  • Godsmack Bringing the Best of Times to the Oakdale Theatre

    Hard rock fans piled into the Toyota Oakdale Theatre in Wallingford, Connecticut on Wednesday, October 25, where Godsmack brought their Best of Times World Tour. This show is Godsmack’s second show of the four additional fall dates that were added in August in support of their new record, Lighting Up The Sky, which was released this past February.

    Godsmack is made up of Sully Erna on guitar and lead vocals, Robbie Merrill on bass guitar, Tony Rombola on lead guitar and Shannon Larkin on the drums. Erna, Merrill, and Rombola have been in the band since the recording of the band’s debut record, with Larkin joining in 2002.

    As fans were still finding their seat, the house lights dimmed and EXTREME hit the stage. Like Godsmack, EXTREME is also from Boston. EXTREME is made up of lead vocalist Gary Cherone, guitarist Nuno Bettencourt, bassist Pat Badger, and drummer Kevin Figueiredo.

    EXTREME delivered a bombastic set of new songs off their most recent record, SIX, as well as classic hits like “Get the Funk Out,” and “More Than Words.” Throughout the entire set, Cherone was interacting with the crowd, getting them to sing along while dancing around the stage. Bettencourt shredded away on guitar with a slight nod to the late Eddie Van Halen and the band plowed through their opening set.

    As two curtains were raised while the road crew swapped out equipment, a video montage of The Beastie Boys with Queen’s “We Will Rock You” blasted through the theatre, the excitement was building for the New England natives.

    When the curtain fell and the first song “When Legends Rise” blasted through the row of speakers, Godsmack took the stage with a thunderous cheer from the crowd. In a theatre that typically doesn’t showcase pyrotechnics, Godsmack showed off their theatrical side with fire during their first few songs. Throughout the hard rock extravaganza, Godsmack blasted through a setlist of newer material from their aforementioned Lighting Up The Sky record as well as classics off of their older records.

    Throughout the show, the general admission section became a sea of bodies. From the start of the show till the band said their final goodbyes at the end, concertgoers were crowd surfing, attempting to form mosh pits and fist bumping.

    As Larkin’s drums were pushed forward at the start of “Batalla de los Tambores,” a second drumkit was hauled forward and Erna hopped on the drums for a drum battle. At the end of the battle between bandmates, the band jumped into a jam that included short covers from artists like Aerosmith, Metallica, AC/DC, and Led Zeppelin. With each new recognizable riff from Rombola, the fans all clapped and cheered in applause. Some fans were so enthusiastic about some of the covers being played that they took out their air guitars and played along.

    Towards the tail end of the set during “Whatever” which is off their self-titled debut album, Erna brought up the “future of rock and roll.” Children like one boy, Michael, and his sister Amy joined other kids that ranged from eight to 17. With Erna prancing around the stage, he riled the crowd up hailing the next generation of rock and roll.

    The band’s second to last song, “Under Your Scares,” featured Erna playing the piano that had a QR code to a link to Scaresfoundation.org which is the band’s foundation that fights mental health. As the band jumped into the song, Erna dedicated the track to some of the musicians that the music world had lost like Chris Cornell, Chester Bennington, and Van Halen.

    As fans walked out of the theatre, smiles were on their faces as they witnessed Godsmack deliver a hard rock performance that was unforgettable. Fans were leaving the building singing their favorite songs, air guitaring, or looking at the new concert t-shirt they bought to add to their collection as they filed out into the cool Connecticut night.

    Setlist: When Legends Rise, 1000hp, Cryin’ Like a Bitch!, What About Me, Surrender, You and I, Red, White & Blue, Awake, Keep Away, Voodoo, Batalla de los Tambores, Whatever, Under Your Scars, Bulletproof, I Stand Alone

  • Video Premiere: Ryan Liberty Megan “Sweep”

    New Paltz native Ryan Liberty Megan just released his chaotic video for his dreamy and melodic song “Sweep.”

    The track hits your ears in all the right places with a groovy trumpet instrumental in the back as well as Ryan’s semi-raspy nostalgic voice. An alt-country track, “Sweep” is a song you can put on when you need a release, swaying back and forth to the guitars and harmonies dancing together in harmony.

    Speaking of “Sweep,” Ryan Liberty Megan said “Imagine it like a phone call that’s being made to the most fragile part of you, giving you instructions on how to survive other humans, how to survive humanity. And in the end, the most important part of that advice or sage wisdom is to be able to just sweep it away. You need to be able to let things go.”

    Ryan Liberty Megan is a New Paltz native, a doting father who gave up music to provide for his son, returning to music after about ten years, giving him that familiar relief. He started as a noise rock artist known for chaotic and rowdy shows, and turned the page into the simpler yet complex artist he is today. Reminiscent of acts such as Mr. Bungle, Ween, and Melvins, he transcends also into acts like Beck, Wilco, and The Flaming Lips.

    Photo by Matthew Hersch.

    The video accompanying “Sweep” is chaotic and brings the viewer on a journey. With a kaleidoscope of dark purples and lighter colors, the music video features Ryan singing the sweet tune, transitioning in and out of backgrounds that include things like dogs, horses, and the highway. The most intriguing part of the video is random trivia strewn throughout.

    Some say things like “A snail can sleep for three years,” or “The eye makes movements 50 times every second.” About the video, Ryan said “I loaded this video with useless trivia, so no matter what, people will walk away with something they didn’t have before. My buddy owns a float spa, and he filmed me floating in a tank for some of this!”

    The music video for “Sweep” by Ryan Liberty Megan is out now.

  • Hearing Aide: TAUK release new LP “Equalizer”

    Long Island natives TAUK officially released their new album, Equalizer, today, October 27. This marks the band’s 9th studio record and 15th official release. 

    tauk equalizer

    This will be the band’s second official release in 2023; TAUK Moore, a joint release and collaborative LP featuring vocalist Kanika Moore, was released just four months ago in June. An electric performance with Moore at Electric Forest in 2018 sparked the flame that birthed the project and eventual record. TAUK consists of Matt Jalbert, Charlie Dolan, A.C. Carter and Isaac Teel.

    Equalizer returns to the band’s original roots; prog rock, electronic and funk influenced instrumentals. Ethereal melodies, atmospheric textures, peaking guitar solos and the addition of horns only scratch the surface of what Equalizer has to offer. Tracks like “Traverse” change time signature effortlessly, while “The Fly” returns to its central theme to bring the listener back home. A melting pot of musical ideas, instrumentation and genre are explored throughout the LP.

    Their songwriting does not follow your typical verse-chorus structure on a lot of their songs. Instead, they take the listener on a compositional journey, with each section seamlessly weaving itself into the next. 

    Photo courtesy of progarchives.com

    TAUK is currently on tour in support of their new album. Dubbed the “Equalizer Tour”, these 29 shows will feature Kanika Moore, as well as Dopapod on select dates. Although they don’t make any stops in New York this time around, you can catch them on the East Coast this December. Visit taukband.com/home for more info. 

    Listen to the three singles off Equalizer below.

    Key Tracks: Melvin’s Mind, Sound the Alarm, Home of the Beast

    Equalizer becomes available on all major streaming platforms Friday, October 27.

  • Orchestra of the Southern Finger Lakes Presents “Music Meets Art” This November

    The Orchestra of the Southern Finger Lakes (OSFL) has announced the first show of the 2023-24 Musicians’ Choice Chamber Music Series, titled “Music Meets Art” on November 10. The show features the Chrystallum Quartet, alongside visual artist Suyen Lau, performing live alongside each other onstage.

    Members of the Chrystallum Quartet (left to right): Anita Pawlak (oboe), Nolan 
DeSanto (piano), Martha Weber (bassoon), and Angela McBrearty (flute/piccolo). 
Orchestra of the Southern Finger Lakes
    Members of the Chrystallum Quartet (left to right): Anita Pawlak (oboe), Nolan DeSanto (piano), Martha Weber (bassoon), and Angela McBrearty (flute/piccolo). 

    Suyen Lau, a fine arts and design student at SUNY Corning Community College and alum of the OSFL’s Youth Orchestra, will create a new charcoal artwork onstage during the performance. The Chrystallum Quartet will play alongside her, featuring pieces by Telemann, as well as composers Alyssa Morris, and Nicole Chamberlain.

    Suyen Lau (visual artist)
    Suyen Lau (visual artist).

    The visual representation of the aural perception of music has always intrigued me. Some people are wired with strong associations between music and visual art. Suyen is gifted this way.

    Karen Dusek, Managing Director of the Orchestra of the Southern Finger Lakes

    The Chrystallum Quartet will play a selection of pieces inspired by the visual arts. “Brush Strokes” by Alyssa Morris is a musical representation of visual arts, with each movement representing artists such as Monet, Seurat, and Van Gogh. In addition, Nicole Chamberlain’s piece will be set to the silent film LeCharmeur.

    As common practice in the Musicians’ Choice Chamber Music Series, oral program notes will be presented by the artists throughout the program, as part of a relaxed, intimate setting for the performance. In addition, Lau’s artwork will be featured on display for audience members to view before and after the show.

    “Music Meets Art” will be presented on November 10 at 7:30PM at North Presbyterian Church at 921 College Avenue in Elmira, NY. Doors open at 6:45 for audiences to see Suyen Lau’s artwork on display. 

    Tickets are $40 for adults, $20 for students with ID, and free for veterans and children under 18. Seating is general admission. Purchase tickets in advance at OSFL.org, call 607-936-2873, or in person at the Orchestra of the Southern Finger Lakes office, 49 Bridge Street, Corning. Ticket sales at the door will be available until sold out.

  • Golden Era of New York Experimental Music Captured in New Book, “Transfigured New York”

    In 1980, Brooke Wentz landed her dream volunteer job as host of WKCR-FM’s late night radio show, “Transfigured Night.”  Billed as an “exploration into the world of new music,” this Columbia University broadcast allowed the then-student free reign to conduct candid interviews with dozens of avant-garde pioneers in free jazz, no wave and electronic and world music before they emerge as internationally-renowned artists.

    Transfigured New York

    Thanks to the downtime afforded this busy music executive due to the Covid lockdown, these long unheard interviews are now contained in a fascinating new book: Transfigured New York: Interviews with Experimental Artists and Musicians, 1980-1990 (Columbia University Press). Wentz’ latest writing is a virtual and very vivid time capsule of musical and artistic creation from 1980-1990 – a juncture when New York’s uptown and downtown converged to birth bold new sounds and a new generation of sonic visionaries.

    The musicians and artists tell their stories and share their thoughts about the creative process, capturing the ambition and energy that animated their work against all odds.  Legends in the making like Bill Frisell, Philip Glass, John Lurie, Laurie Anderson and Glenn Branca convey what it was like to be a struggling artist in 1980s New York, a time when the city was alive with possibilities and affordable for artists. Others who were well known at the time, including John Cage, La Monte Young and Ravi Shankar, advocate for their distinctive ideas about art and open up about their creative lives.

    Transfigured New York contains an astonishing range of interviews covering the waterfront of creative musical genres – all rescued from dusty cassettes and reel-to-reel tapes of interviews that were only heard once, at their initial airings.  Morton Subotnick, Joan Tower, Steve Reich, Joan La Barbara, Vernon Reid of Living Colour, Arthur Russell, Eric Bogosian, Bill T. Jones and many more are included.  The scene is set with a forward written by someone who was in the thick of the experimental action, former Sonic Youth guitarist Lee Ranaldo. These interviews are also accompanied by a collection of historic black & white photos, captured by renowned photographers of the era. This book is a one-of-a-kind account of one of the most exhilarating and inventive periods for art and culture in New York City’s history.

    Wentz is launching the book at a November 13 event at the home of the New York avant-garde music scene, Roulette (info here)  The event will include conversations with many of the artists profiled including Peter Gordon, Zeena Parkins, Brandon Ross, Tim Berne and Ikue Mori. Several, including Don Byron, Elliot Sharp and Shelley Hirsch, are also scheduled to perform.

    Wentz is a Billboard Music Award–winning music producer, music supervisor and founder of Seven Seas Music and The Rights Workshop.  With Seven Seas, Wentz is a key supplier of world music from 145 countries for licensing in prestige film and television productions including Anthony Bourdain: Parts Unknown. The Rights Workshop has handled music supervision for films including Melancholia and Bill Cunningham New York.  Wentz is a leading expert on music copyrights and former ESPN music director. Her other books include Hey! That’s My Music: Music Supervision, Licensing, and Content Acquisition (2007) and Music Rights Unveiled: A Filmmaker’s Guide to Music Rights and Licensing (2017).

  • The Newly Reimagined “The Who’s TOMMY” Will Open on Broadway Spring 2024

    Producers Stephen Gabriel and Ira Pittelman announce that the newly reimagined production of The Who’s TOMMY will open on Broadway March 28, 2024, with casting yet to be announced.

    Three decades after the epic pop-culture musical theatre sensation first bowed on Broadway, original Tony Award®-winning creators Pete Townshend (music, lyrics, book) and Des McAnuff (book, direction) have reunited to bring the story of Tommy Walker to today’s audiences.

    Following a critically acclaimed, award-winning run at Chicago’s Goodman Theatre (where it was the highest grossing production in the history of the Goodman), The Who’s TOMMY will open on March 28, 2024 at the Nederlander Theatre (208 West 41st Street). Preview performances will begin March 8, 2024.

    The Who’s TOMMY creative team includes choreographer Lorin Latarro (Into the Woods, Mrs. Doubtfire and Waitress); music supervision and additional arrangements by Ron Melrose (Jersey Boys on Broadway, London and National Tour); musical direction and additional orchestrations by Rick Fox (RentJesus Christ Superstar); set design by David Korins (Hamilton, Beetlejuice, Here Lies Love ); projection design by Peter Nigrini (Here Lies Love, MJ and Dear Evan Hansen); costume design by Sarafina Bush (for colored girls…, Pass Over on Broadway); lighting design by Amanda Zieve (Broadway associate on Escape to Margaritaville and Allegiance); sound design by Gareth Owen (Back to the Future, & Juliet and MJ); and wig and hair design by Charles LaPointe (HamiltonBeautiful). Casting is by Tara Rubin Casting/Merri Sugarman, CSA. Additional Chicago Casting by Lauren Port, CSA and Rachael Jimenez, CSA. Tripp Phillips is the Production Stage Manager and Bespoke Theatricals is General Manager. 

    “In many ways, I think the world has caught up to Tommy Walker, which makes it exciting to revisit The Who’s TOMMY for a new generation who, possibly more than any other, has a broad appetite for all kinds of music and story-telling.”

    Des McAnuff

    Pete Townshend (Music, Lyrics, Book) is known principally as the lead guitarist and composer for The Who, as well as for his own solo career. His career with The Who spans over fifty years, during which time Townshend wrote well over a hundred songs for The Who’s eleven studio albums, including the rock operas Tommy and Quadrophenia and the well-regarded rock radio staple Who’s Next.

    From early classic singles, such as ‘My Generation’ and ‘Substitute’ to ‘Tommy’, ‘Lifehouse’ and ‘Quadrophenia’, Townshend has always been at the forefront of his profession. Though known mainly as a guitarist, he is an accomplished singer and keyboard player, and has played many other instruments (banjo, accordion, synthesizer, piano, bass guitar and drums) on his solo albums and on certain The Who albums.

    As an author, he has written Horse’s Neck, a collection of short stories (Faber & Faber, 1985); Who I Am, a memoir (Harper Collins, 2012), and his latest artistic project, The Age of Anxiety, is simultaneously a novel and a rock opera about passion and ambition, good drugs and bad drugs, and loves lost and found (the novel was published by Hodder & Stoughton, 2019).

    His numerous awards for The Who’s Tommy include a Grammy Award (1993), Tony Award for Best Score (1993), Dora Mavor Moore Award (1994) and Olivier Award (1997).

    The Who’s website

    Des McAnuff (Book, Director) is a two-time Tony Award-winning director and former Artistic Director of Canada’s Stratford Festival. He is also Director Emeritus of La Jolla Playhouse, whereas Artistic Director he staged over 30 productions of classics, new plays and musicals: Ain’t Too Proud; Summer; Doctor Zhivago; Jesus Christ Superstar; Guys and Dolls; Aaron Sorkin’s The Farnsworth Invention; Jersey Boys (Tony and Olivier Awards: Best Musical); Billy Crystal’s 700 Sundays (Tony Award: Best Special Theatrical Event); Dracula the Musical; and many, many more.

    Playbill

    “Being asked to join the creative team of TOMMY is a dream come true. It’s the OG rock musical. Des and Pete are visionaries,” said Lorin Latarro. “I’m focused on creating a contemporary movement vocabulary that feels like it could be from any era. I am interested in pushing story inside the dances, and still building to dance breaks that have high velocity. I’m also a mother and I see the domestic aspects of this family as both brutal and profound. The work of motherhood without the joy of a hug from your child is sobering.” 

    Larin Latarro’s website

    The Goodman production of The Who’s TOMMY recently won 9 Joseph Jefferson “Jeff” Awards, the most for any show this season, including Best Director for Des McAnuff and Best Production.

    TOMMY is the first musical in years to feel completely alive in its own moment. No wonder that for two hours it makes the world seem young.

    Frank Rich, New York Times 1993

    Presale for those who sign up will be available here, beginning on Wednesday, November 8 at 10:00am ET through Friday, November 10 at 9:59am.

    General Onsale begins Friday, November 10 at 10am ET. For more information, visit TOMMY’s website.

  • Psymon Spine Release Kinetic Single “Boys” Ahead of Hometown Brooklyn Show

    Psymon Spine, a Brooklyn-based alt-pop group, recently embarked on their US tour, finishing with a hometown show at Alphaville on October 26. The group recently released their newest single, “Boys,” alongside an official music video on October 10.

    Psymon Spine

    Psymon Spine developed as members Noah Prebish and Peter Spears were in college, later adding Brother Michael to the group. Vocalist and former member Sabine Holler lends her voice to the new track, “Boys,” since her relocation to Berlin during the COVID-19 pandemic.

    “Boys” is an upbeat alt-pop track, featuring a new-wave-inspired melodic riff. The track features Sabine Holler’s light yet hypnotizing vocals against a synth-heavy dance rhythm. The group cites influences such as Talking Heads, Os Mutantes, and the NYC dance music scene.

    By nature every Psymon Spine song must be a little cheeky to bypass our own self-criticism, but in reality ‘Boys’ is just a very earnest song about friendship.

    Psymon Spine
    Psymon Spine live photo
Photo Credit: Alyssa Gisselle
    Photo Credit: Alyssa Gisselle

    Psymon Spine will make their way home for a show at Brooklyn’s Alphaville on October 26, as well as a show in Troy on November 8. The group will play new tracks like “Boys,” as well as hits from their most recent album, 2021’s Charismatic Megafauna. Tickets are on-sale now.

    Psymon Spine Tour

    10/13 – Madison, WI @ UW Madison

    10/14 – Northfield, MI @ Carleton College – The Cave (private event)

    10/15 – Galesburg, IL @ Knox College

    10/16 – Chicago, IL @ Color Club

    10/17 – St Louis, MO @ The Sinkhole

    10/18 – Nashville, TN @ The Basement

    10/21 – Memphis, TN @ Wiseacre Festival

    10/26 – Brooklyn, NY @ Alphaville

    11/8 – Troy, NY @ No Fun

  • Hearing Aide: MVW and Valee Bring VALEEDATION To the Rap Game

    MVW and Valee have combined their idiosyncratic styles to bring about their latest avant-garde endeavor, VALEEDATION. The join-effort sees the duo make good on years of collaborations, with their like-minded approach bringing the best out of one another. The 14-track project — exclusively produced by MVW — offers a minimal yet expressive approach to hip hop. Moreover, in a boisterous genre, Valee and MVW present themselves through a colorful-yet subtle hue.

    Valee (left) & MVW (right) bring Valeedation to the game

    After all, Valee’s unconventional style and infectious energy, along with his distinctive lyrical delivery and unwavering commitment to artistic exploration has led to his own niche existence within a fickle music indutry. Meanwhile, MVW’s expertise in contemporary classical composition is showcased as he weaves together intricate musical arrangements. All in all, their unique blend of classical-trap music is part of the connection they’ve developed through their shared artistic vision.

    VALEEDATION Review

    “The music feels like scenes in a movie more than tracks on an album, highlighted by different lighting on a thematic, subtle vibe. There is this sense of installation.”
    – MVW on VALEEDATION

    Ultimately, VALEEDATION serves as another installment in the series that is MVW’s hip hop voyage. Notably going away from contemporary rap music’s in-your-face production style — where the beats usually outshine the artist — MVW has countered with a a more subtle, complementary style. Since embarking on his hip hop journey in the fall of 2021, the former classic composer has featured a myriad of rappers on his classical-trap beats. However, none have quite meshed with his musical ethos quite like the Chicago-bred Valee.

    Comparatively, his own musical exploits have seen the former Good Music signee depart from mainstream conventions. Rather, he immerses himself in innovative aesthetics that challenge the status quo. This avant-garde approach serves as a guiding beacon for MVW. In effect, VALEEDATION offers hip hop fans a unique lens through which to navigate uncharted territories in music.

    Another key point is the continuation of MVW and Valee’s symbiotic musical relationship. With this latest effort serving as the final stamp of approval in MVW’s hip hop passport. Through 14 unique records, the duo charter through a wave of unexplored, genre-bending possibilities. Record like “Tailor Swift” and “Could Be” offer an alternative, unsaturated production style, which Valee does his best to command. All the same, songs like “Pistachio” and “Yo Yo” see the duo share the stage between MVW’s spacey prodcutions and Valee’s colorful metaphors and one-liners. Overall, the album follows a theme of internal dichotomy between conventional ear-catching tunes versus unconventional beats and flows that challenges the microwave music consumption of today.

  • The Allman Brothers Band & Owsley Stanley Foundation to Release Exclusive 2-LP “Orange Sunshine” Vinyl

    The Allman Brothers Band in tandem with the Owsley Stanley Foundation is offering a special release exclusive 2-LP limited run of electric “Orange Sunshine” vinyl on November 3.

    Presented by the Owsley Stanley Foundation and The Allman Brothers with members including Duane Allman, Gregg Allman, Dickey Betts, Berry Oakley, Johanny Johnson and Butch Trucks. The vinyl displays a collection of restored and mastered recordings of the ABB’s performances at New York City’s Fillmore East captured by the legendary Grateful Dead soundman Owsley ‘Bear’ Stanley.

    The 2-LP exclusive “Orange Sunshine” vinyl is essential to listen to for Allman Brothers fans, showcasing the original tapes from the Owsley archive, a seven-song set blues masterpiece featuring “Hoochie Coochie Man,” “Statesboro Blues”, the spin-off of Donovan’s “Mountain Jam,” and the ominous Gregg Allman composition “Whipping Post.”

    I had no prior experience with mixing their music, so I hope you don’t mind the rough edges in my mixes here. There was a wonderful feeling at these concerts that made the shows a lot of fun for us all…I had a good time working at these shows, and I hope you will have a good time listening to this historic early Allman Brothers Band.

    – Owsley “Bear” Stanley

    The Allman Brothers were on the brink of stardom in the 1970s and became best known for a wicked blend of rock, jazz, and R&B creating a unique groundbreaking sound. While only together for 11 months, promoter Bill Graham booked them in San Francisco and New York, inviting them back to the Fillmore East on a triple bill with Grateful Dead and Love. Fortunately for us, the Dead’s soundman Owsley “Bear” Stanley had his tapes rolling.

    Bear’s Sonic Journals: Allman Brothers Band Fillmore East February 1970 tracklist:

    LP Side 1:

    In Memory Of Elizabeth Reed 9:22

    Hoochie Coochie Man 6:04

    Statesboro Blues 4:16

    LP Side 2:

    Trouble No More 4:11

    Outskirts Of Town 8:29

    Whipping Post 8:11

    LP Side 3:

    Mountain Jam 15:20

    LP Side 4:

    Mountain Jam (continued) 15:46

  • Bad Religion Rocks the Paramount in Huntington, Long Island

    On the evening of Tuesday, October 24, Huntington, Long Island was treated to a blistering performance by the legendary punk rock band Bad Religion. The Paramount, a renowned venue on Long Island, was almost sold out as fans eagerly awaited a night of high-energy music and a setlist spanning the band’s impressive 40-plus-year career.

    Formed in 1980 by a group of punk rock enthusiasts in Los Angeles, California, Bad Religion has since become a driving force in the punk and alternative music scenes. Known for their thought-provoking and socially-conscious lyrics, the band has released numerous albums that have left a lasting impact on the genre. With a unique blend of punk and melodic sensibilities, they have earned a dedicated fan base worldwide. The current lineup includes Greg Graffin as the lead singer, Jay Bentley on bass, Brian Baker on guitar, Mike Dimkich on guitar, and Jamie Miller on drums.

    The October 24 show was part of Bad Religion’s 2023 North American tour, which consisted of an impressive 22 shows. This leg of the tour was set to culminate at the Starland Ballroom in New Jersey on October 29, after which the band was scheduled to take their electrifying act overseas to Argentina, Brazil, Chile, Peru, and Colombia in December.

    Bad Religion took the stage to raucous applause and immediately launched into their set. They opened with “The Defense,” and from that moment on, it was non-stop punk rock euphoria. The band expertly weaved their way through their extensive discography, performing fan favorites like “Against the Grain,” “Infected,” “No Control,” “Sorrow,” “Generator,” and many more.

    One remarkable aspect of the performance was the relentless mosh pit that raged at the center of the floor, where bodies surged and collided in a frenetic dance of exhilaration. People were continually crowd surfing, their figures soaring over the rail, borne aloft by a sea of outstretched hands. In the midst of this chaotic fervor, Bad Religion displayed their unwavering energy and enthusiasm, traits that have been the hallmark of their live shows for over four decades. Their music, often delving into pressing societal and political issues, struck a deep chord with the crowd. Fans not only sang along and shouted their approval but also joined the relentless mosh pit, passionately responding to the band’s contagious punk anthems.

    The climax of the night came with the encore, which featured one of their most iconic songs, “American Jesus.” In total, Bad Religion played an impressive 26 songs, showcasing the depth of their catalog and their enduring ability to captivate audiences.

    A special mention must be made of the opening act, Speed of Light. Comprised of a group of young, talented musicians, this band had the honor of warming up the crowd for Bad Religion. Riley Christensen, a 16-year-old prodigy, took center stage as the lead singer, bassist, and songwriter. Her older brother, Cameron Christensen, at 19 years old, played guitar, sang backup, and also contributed to the band’s songwriting. Completing the trio was Tyler Christensen, the drummer, who not only kept the rhythm but also provided backup vocals and songwriting.

    The night of October 24 at The Paramount in Huntington, Long Island, was a memorable one for punk rock enthusiasts. Bad Religion delivered a performance that not only showcased their enduring talent but also underlined the continued relevance of their music. As they continued their North American tour and looked forward to their international dates, it was clear that Bad Religion’s legacy in the world of punk rock remained as vibrant as ever. The show was a testament to the timelessness of their music, and fans left the venue with a sense of satisfaction, knowing they had been part of something truly special.

    Setlist: The Defense, Against the Grain, Past is Dead, Anesthesia, Wrong Way Kids, To Another Abyss, Fuck You, Requiem for Dissent, Infected, My Sanity, Portrait of Authority, Delirium of Disorder, No Control, Do What You Want, Recipe for Hate, We’re Only Gonna Die, Los Angeles is Burning, 21st Century (Digital Boy), Drunk Sincerity, Candidate, I Want to Conquer the World, Sorrow, You, Fuck Armageddon…This is Hell, Generator, American Jesus