Delaney Silvernell is known best in New York State for ascending from a Queensbury local to a sensational contestant on NBC’s The Voice. Delaney has made notable strides in her musical career since her debut at age 21.
Playing shows in Los Angeles and New York, Delaney has put her singer-songwriter skills on display, amassing over 350k streams on Spotify alone through her signature blend of pop and R&B. Five years – and many captivating singles – since the voice, Delaney is planning a Northeast Tour at the end of the summer, which will feature her newest EP, Blue Dream.
While Delaney Silvernell is currently an independent artist based in Los Angeles, her journey began many miles away. Originally from the Adirondack region of Queensbury, Delaney knew from a young age that music was her passion.
I’ve been a musician for as long as I can remember, and it doesn’t really feel like a conscious decision I made to become one. Music was really the only thing that fueled me and helped me make sense of the world around me. So, it seemed like my natural path.
Delaney Silvernell
Following her natural trajectory, Delaney moved away from her hometown at 17 to pursue her musical education, studying Songwriting at Berklee College of Music. After graduating in 2017, Delaney was immediately cast as a contestant on season 15 of NBC’s The Voice. Her audition immediately caught the attention of coach Kelly Clarkson. Primarily coached by Kelly Clarkson, Delaney was further coached on screen by music industry greats such as Mariah Carey, Adam Levine, and Thomas Rhett.
After Delaney’s debut at age 21, Delaney has spent the past few years crafting her own space in music. She has played shows in Los Angeles and New York, while independently releasing original music which has been widely successful – amassing over 350k streams on Spotify alone.
Delaney’s music explores her emotions in a real, raw way that captivate audiences with a combination of vulnerable lyrics and powerful vocals. She rides rebelliously on the borders of genres such as R&B/Soul, Pop, Alternative, Blues, and more as she doesn’t believe her artistry can be confined by the boarders of one category. Delaney tries to create music that gives people space to feel deeply and unapologetically, and find peace in those emotions. Such music is often created alongside those who support her musical growth.
I draw inspiration from my life experiences, as well as that of those around me. I find inspiration in sorting out complicated emotions, and truly hope my songs help others do the same. My creative process varies, but my creative team is a pretty consistent group of my friends, which makes it that much more fun.
Blue Dream
Delaney’s most recent EP, Blue Dream, features 4 songs ranging from folk-pop to soulful genres. The project has already been premiered at one of LA’s most famous venues, The Troubadour, and will be performed in multiple cities throughout New York State through Delaney’s upcoming Northeast Tour.
While each song featured in Blue Dream is a work of art in its own right, when asked about her favorite piece, Delaney described her favorite song as one that has truly come full circle.
It’s impossible to pick a favorite, because they all have a special place in my heart. I do love “Wildflower,” though, because it was such a unique process to create it. “Wildflower” originated as a poem I wrote during a sleepless night back in college. A few years later, I stumbled upon the lyrics with a whole new perspective on life, and was able to put them to music and grow the song into what it is today.
Upcoming Projects
Blue Dream is only the first of many ambitious projects Delany’s future holds. Delaney has already begun writing her first full length album, and plans to return to the studio to finish recording it following her tour at the end of the summer. In the meantime, she will be releasing a live album from her recent performance at one of Los Angeles’ most famous venues, The Troubadour.
Delaney’s successful singles and EPs hold promise for equally engaging full length albums. In her continuous journey of exploring complicated emotions, Delaney detailed one of her unreleased songs as one of the most difficult to write in her career.
My most difficult song to write is actually still unreleased. It’s called “Dark Side of the Moon,” and I co-wrote it with my friend and producer, Alisse Laymac. “Dark Side of the Moon,” details my healing process from self-sabotaging the good things in my life. Being honest about that and putting that feeling into words was difficult, but so healing and cathartic.
Tour Dates
Currently, Delaney Silvernell is building a tour around the following dates in New York State:
Additionally, Delaney is securing a date at Rockwood Music Hall in NYC in late August or early September, the date to be announced. She plans to visit other New England-area venues as well. Once all tour dates have been secured, an official press release will be announced.
Delaney’s authentic approach to music, alongside her captivating, soulful lyrics and sound truly make her one of a kind. Be sure to listen to her music on Spotify, and check out her website for more tour updates.
The Brunswick Summer Concert Series is back for its 23rd season. The performances are held on each Tuesday at the Brunswick Community Center from June 27 to September 5.
With concerts scheduled to run 6:30-8:00 PM, the community center’s vast lawn provides a perfect backdrop for summer evenings. In addition to live music there will also be food trucks and other refreshments available.
The Brunswick Summer Concert Series looks to provide guests with quality music from all different kinds of genres. This year’s lineup features acts from all over the region. Local standouts include New York’s favorite horn band The Refrigerators, Celtic-rock outfit Get Up Jack, as well as country-rock group Whiskey Highway.
Located northeast of Albany, Brunswick has a long and storied history. The town’s first inhabitants settled in the early 18th century and were originally considered to be part of Troy. Positioned near the Hudson River, Brunswick and its neighboring towns became stopping points during the Revolutionary War. Famed American writer Herman Melville was a school teacher in the town during the mid 1800s.
Concerts are free and open to the public. Guests are encouraged to bring their own chairs and/or blankets. Here for more details and information.
Summer Lineup
6/27 The Refrigerators- Funk/ R&B/Rock
7/11 The Tichy Boys- Country/Rokabilly
7/18 The Lustre Kings- Country/Rokabilly
7/25 Big Fez and The Surfmatics- Surf and Beach Music
8/1 Harmony Rocks- One Hit Wonders
8/8 Get Up Jack- Celtic / Americana
8/15 The Hammerhead Horns- Roots, Ragtime and Blues
In the summer of 1999, amid an extensive tour, Phish held a two-day festival in the small town of Volney, NY at the Oswego County airport. While reliable numbers are not available, somewhere between 15 and 20,000 attended the two day show, arriving a full day early in some cases to enjoy the scene that set up on the tarmac for a mere 60 hours, before the band moved towards the Midwest and the end of the tour a week later.
Phish had played three prior festivals at the end of large tours, but never a festival during a tour. The result were two memorable nights amid the most unbearable heat and humidity, leaving fans with a lasting memory of guests sitting in with Phish and an “Icculus” for the ages. Editors Pete Mason and Tim O’Shea attended Camp Oswego, albeit separately. Below is their look back at Camp Oswego.
Phish Oswego poster by Pete Tschudy
The Ride in and Arrival
Pete Mason: I happened to have no issues with arrival, and managed to avoid nearly all traffic. I was living in Syracuse, taking summer classes at SU, and proceeded to leave the day before the festival starts, on July 16th, a Friday. We left around 4pm and were at the gates by 5pm. Syracuse to Oswego is about 45 minutes, so getting to the festival, without much traffic, was a pretty nice start to the weekend. We camped about one car length in from the tarmac, about a five minute walk to The Green, where there was a wall of payphones and place to leave messages for friends. Ah, the days before cellphones.
This was also the last time I encountered little to no traffic arriving at a Phish show. 13 hours for Big Cypress was a comeuppance in a way, for dealing with no traffic getting to the Oswego and Lemonwheel festivals
Tim O’Shea: The two hour drive started off just fine with all parties wildly throwing out predictions and wishes for the weekend. Beeps and head nods from other like-minded cars on the road were aplenty and increased in frequency the closer we got. Towards the end of the two hour drive, as festival traffic began to pile up and the sun was at its peak, the bus’ engine temperature began to skyrocket. In an effort to prevent it from overheating and making sure we had a ride back on Monday, we actually wound up pushing the bus for the last half hour of our journey through the stop and go traffic with the engine off. What better way to get stretched out for long weekend of music than with some cardio and light weights? It would certainly not be the last time all weekend that heat played a factor.
The Heat
TO: For anyone who attended Camp Oswego, the first words out of their mouth generally have something to do with the ridiculous temperatures that weekend. To say it was a dry and steady heat would be doing it a disservice. Roasting and oven-like are two of the words that initially come to my mind. Shade was at an ultra premium and there were constantly long lines for the few communal water spigots. If you weren’t staying hydrated, you had no chance. In addition to the blazing temperatures, discovering this communal atmosphere and something that was way bigger(and more fun) than just myself really resonated with me since this was all so new at the time.
PM: The heat was unbearable, oppressive and constant. It was humid and well into the 90s. There was no relief either. We had 3 tents among myself, Madison and Dave. No tarp, no EZ-Up, nothing. Not that that would have helped either, but we did find solace in the air conditioned car, only to walk out into the heat moments later. Hydration was key, and led to little drinking of alcohol that weekend. It was just too damn hot to do much of anything but see Phish, just as the sun was getting lower in the sky and started to cool down.
A week later, I attended Woodstock 99. The weather was almost as bad, but the result of patrons who had to deal with the heat was far different. At Oswego, people were misting you as you walked by, offered water to strangers, my friend Madison used a Supersoaker to hose down random passersby, with a reaction of ‘Whoa WTF?!’ followed immediately by ‘Ah, that feels great! Thanks!’ At Woodstock, it was pure hell. Little running water, expensive bottled water ($4 even then was highway robbery) and patrons were not as kind as you would find at Phish. More than a few late 90s bros found their way to the front of the drinking line without waiting, didn’t take care of their neighbors and more or less let the festival community and vibe go to shit. Phish fans took care of one another – that was my big take away from the two weekends, and one that drew me into the Phish community.
Phish Oswego inspired art by Alfred Sohn
Day 1 Music
PM: I honestly recall little of the show on the 17th. Two sets, and all I can definitively remember was Son Seals sit-in, which made me wonder if the other guests at The Green stage were going to sit-in the next night. “Down with Disease” was solid, but I was still somewhat new to Phish and hadn’t yet enjoyed the long jams. Beyond that, I became a fan of “Squirming Coil” in the encore. I blame the heat and adult beverages.
TO: While my memory certainly isn’t pristine as it pertains to all the music that weekend, there are certain moments and images that still resonate strong. I remember baking in the sun (literally) as the first night’s sunset was accompanied by a scintillating Tweezer jam and hearing the first of many, many Character Zeros to end the first set. I remember legendary bluesman Son Seals gracing the stage in the second set for ‘Funky Bitch’ and being amazed at how well he was able to manage that Phish song.
Phish Oswego sticker
Day 2 Music
TO: I remember being delighted at the Del McCoury sit-in the following day and feeling a real strange sense of pride as I danced along to ‘The Meatstick’ in the Guinness Book of World Records attempt that was in vain. And above all else, I remember a mind bending ‘Piper’ in the third and final Sunday set that I still consider one of the best ever played which seemed to seal the proverbial deal for me. Throw in a hilarious ‘Smoke on the Water’ jam/banter and the ever whimsical ‘Icculus’, and you’ve got a set for the ages.
PM: I could write a book on the music from Sunday, but I’ll keep it short. Set 1 was pretty solid, with the sun setting and a ‘Punch’ opener. I was still a noob back then, so “Farmhouse, Water in the Sky, Bathtub Gin” were all familiar and made me happy. I was far more focused and rested than the night before, and recall a great deal of the show to this day. When Del McCoury and sons came on stage, I smiled because I sort of predicted that, heard a bunch of bluegrass songs, which I credit to my initial interest in bluegrass music, and a sweet ‘Reba’ that was a highlight of the set for me.
Second set was fun because “Runaway Jim > Free” meant more music I knew, then finally, this ‘Meatstick” song that I had heard about, which had a dance. Complicated music interests me, and dancing to such music was just feeding the addiction. I danced around with what I thought was the Meatstick dance and loved every second. The rest of the set I was just smiling like I never had before.
Third set, which I had no idea was happening – I thought second set was it – started out with more music I knew, “My Soul > Piper”, the latter of which went on for a while, and had the slow start. “Prince Caspian” was kinda cool to me back then, and then shit got weird. “Wilson > Catapult > Smoke on the Water > Icculus” and “Quinn the Eskimo” were pretty mindblowing, for the banter alone. Whatever was going on onstage, I wanted more of. Fluffhead finale and Hood encore as we walked back to the car, beating all traffic, I was in my apartment by 2am, learning of David Cone’s perfect game earlier that day.
Takeaways from the Festival
PM: Oswego was simply the best Phish festival experience I have had, after Big Cypress of course. It was the right time and place for me, right mindset, friends, and music, all in one place. I go back there every so often and find that same giant smile, every time.
TO: 111 shows later, I guess you can say I took a shining to this band and all they can deliver. But for me, Oswego will always hold a special place in my heart not only because it was my first Phish festival in my first string of shows, but because it was my first large scale festival of any kind which opened my eyes to a whole new way of experiencing music. After Camp Oswego, I knew what I wanted to do every summer for the rest of my life. And how to do it in frying pan-like conditions.
Download both nights of Oswego here (July 17/July 18) – recording by Lenny Stubbe
The West Side Tennis Club welcomed Weezer to Forest Hills in Queens with open arms this past Thursday night (July 13) for the SoCal quartet’s 22nd stop on a 30-date “Indie Rock Road Trip” summer tour that launched in Huntsville, Alabama on June 4. Dubbed the Indie Rock Road Trip, Weezer’s tour is divided into three legs, the first of which saw them link up with indie rockers Modest Mouse and Momma. Future Islands and Joyce Manor took over support duties for Rivers Cuomo and Co. at the Columbia, Maryland gig back on June 23, and tonight’s show marked the magical end to the tour’s second leg.
Rivers Cuomo of Weezer | Photo: Michael Dinger
One of NYC’s best concert venues – indoors or out – Forest Hills Stadium has a rich, storied history that is celebrating 100 years this season. Originally designed in the 1920s as the home of the U.S. Open tennis tournament, the Romanesque stadium and its grounds hosted 60 editions of the major tournament before it moved to its current home in Flushing Meadows in 1978. In the 1960s, the tennis club began booking concerts and attracted some of the most culturally significant artists of our generation – The Beatles, Jimi Hendrix, Frank Sinatra, Barbra Streisand, The Rolling Stones and Bob Dylan, to name just a few.
However, by 2011, the 14,000-capacity facility had fallen into a “crumbling ruin.” After narrowly escaping demolition, the stadium re-opened on August 28, 2013 with Mumford & Sons performing the inaugural concert (my wife and I were there!). Although the music that night was fantastic, the overall experience, not so much. But over the next four years, Forest Hills Stadium underwent multi-million dollar state-of-the-art renovations including optimized acoustics, patching up concrete exterior walls, old seats were removed and replaced, a permanent stage was installed, the concourse was redesigned and expanded to twice its original size, the General Admission central tennis courts were replaced and easier access to concessions and restrooms was provided, finally!
Scoreboard Marquee | Photo: Michael Dinger
Arriving early to guarantee a painless parking experience (parking is limited in the surrounding area), I also wanted to explore the stadium and its grounds ahead of the first opening act. After securing my media credential at the box office, I proceeded through the main entrance where I was greeted with a plethora of things to do, along with welcoming staff at every turn. Although the craft beer huts and local food eateries were tempting, I opted to walk the periphery of the cherished coliseum to discover for myself what had changed since my last visit nearly a decade ago. The answer, a lot!
A history buff, I was pleasantly surprised to see banners, plaques and artwork depicting the images of past rock iconswho played here. As I made my way to the bands’ merch table, I came upon a WFUV kiosk – a non-commercial radio station owned by Fordham University and an affiliate of National Public Radio (NPR) who presents Forest Hills Stadium’s live broadcasts – offering patrons free goodies such as stickers and beverage Koozies. An avid fan of all sports, it was also thrilling to witness the hanging banners of by gone tennis legends including Stan Smith, Althea Gibson, René Lacoste, Billie Jean King, Rod Laver and Arthur Ashe.
An hour after doors, Joyce Manor took the stage promptly at 6:00 pm. Despite the sweltering, 90-degree heat, the band formed in 2008 and hailing from Torrance, California did not seem to mind very much, if at all. Named after an apartment building that co-founder Barry Johnson would often pass by on his walks, as Joyce Manor’s pop-punk sound has evolved, their feverish fanbase has grown right alongside them.
Barry Johnson of Joyce Manor | Photo: Michael Dinger
Over the course of 30 minutes, the trio of Johnson (singer-songwriter, guitar), co-founder Chase Knobbe (guitar) and Matt Ebert (bass), who were also joined by touring musicians Neil Bertheir (acoustic guitar, synthesizer) and Neil Hennessy (drums), performed songs with inspiration drawn from emo acts like Weezer themselves. The band of thirtysomethings offered up tracks spanning four of their six studio albums, with the heaviest dose coming from 2014’s Never Hungover Again.
The showstopper, however, which incited a mosh pit (albeit short-lived) near stage left half-way through their pummeling set, was ripped from their sixth and most recent album 40 Oz. to Fresno (Epitaph Records) released in June of last year. Titled “NBTSA,” short for Never Be The Same Again, the number perfectly exemplified Joyce Manor’s signature blend of melodic guitar leads, rock-solid bass and driving drums in a no-filler, concise package.
In keeping with the strict, mandated curfew of 10:00 pm due to the stadium’s location within a residential neighborhood, the party kept rolling along in a timely fashion. At 6:55 pm, next up were Future Islands, a synth-driven pop band based in Baltimore, Maryland. Formed in 2006 and fronted by Samuel T. Herring, the quartet is rounded out by Gerrit Welmers (keyboards and programming), William Cashion (bass, acoustic and electric guitars) and Michael Lowry (drums).
Future Islands | Photo: Michael Dinger
Ahead of tonight, I knew very little about Future Islands, other than their live performance of “Seasons (Waiting on You)” on the Late Show with David Letterman, the lead single from their fourth studio album (Singles, 2014), became the television show’s most-viewed video on their YouTube page. But after tonight, which included witnessing firsthand a live performance of the same song, I knew much, much more.
Backed by a supremely talented band, I was most blown away by Herring and his stage persona. Despite the heat, he was dressed head-to-toe in black, and it did not take long for him to become drenched in his own sweat. Once Future Island’s first song of the night kicked in, “For Sure” from 2020’s As Long as You Are, Herring feverishly jumped, kicked, spun and fist pumped his way from one end of the stage to the other, repeatedly, and for all 13 songs in the emotionally thrilling set. When Herring finally stopped to catch his breath, he engaged directly with the audience members, staring intently while continuing to gesture with his arms and hands in continual flowing motions. I would later learn that Future Islands was originally meant to be a performance art piece, which completely makes sense to me now.
Herring’s vocal delivery is also something of a marvel. Despite being diagnosed with Reinke’s edema (vocal cord swelling) nearly 10 years ago, his delivery is striking and distinct. Along with an extensive background in hip-hop and rapping that began as a teenager, a solo act that he engages in via the moniker Hemlock Ernst, it is also not uncommon for a loud, stadium-shaking growl to be thrown into his vocal recipe.
Weezer Fans | Photo: Michael Dinger
With the time approaching 8:30 pm, the stage roadies were putting the final touches on the stage, most of which was being performed behind the gigantic opaque curtain swallowing the stage ahead of the big reveal. Making my way back into the pit with my fellow photographers for the third time, Toto’s “Africa” came across the stadium’s PA system. If you are not an avid fan of Weezer, you might ask “Where’s the connection?” Long story short, back in 2018, the two bands released reciprocal covers of each other’s hits, with Weezer covering the perennial 1982 classic and Toto covering “Hash Pipe” from 2001’s The Green Album. Then suddenly, the curtain dropped and it was time to hit the road!
Brian Bell of Weezer | Photo: Michael Dinger
One by one, our lovable, geeky power-pop kingpins entered stage left. Brian Bell (rhythm guitar, keyboards) led the charge, followed closely by Cuomo who was sporting his staple Buddy Holly-esque retro specs. Bringing up the rear were Scott Shriner (bass) and Patrick Wilson (drums), the latter taking to his stool atop an elevated riser. The Los Angeles foursome played in front of an impressive and clever set design built to resemble a stage-sized car dashboard, complete with a steering wheel emblazoned with a Weezer logo, a radio with a tuner and a volume knob. And if that wasn’t cool enough on its own, video graphics were displayed across the massive windshield and a rearview mirror.
Rivers Cuomo of Weezer | Photo: Michael Dinger
The nostalgia shifted into high gear with the adrenaline inducing “My Name is Jonas” from 1994’s The Blue Album. A smooth segue transported the stadium to “Beverly Hills” (Make Believe, 2005), with Cuomo substituting the song’s closing lyrics with an homage to the neighborhood of “Forest Hills.” There was also a special guest appearance for two songs from 1996’s Pinkerton – “El Scorcho” and “I Just Threw Out the Love of My Dreams” – as the indie rock solo project of singer-songwriter Lindsey Jordan (better known as Snail Mail) joined Cuomo atop the dashboard.
Scott Shriner of Weezer | Photo: Michael Dinger
For a show that could have lasted hours longer with all the career-spanning material that Weezer has to offer – a three decade discography comprising 15 studio albums, and as per Cuomo during his introduction to “Falling for You,” 672 songs! – they did a wonderful job of gifting their fans the classics (“Undone – The Sweater Song,” “Island in the Sun,” “Say It Ain’t So,” “Hash Pipe” and “Surf Wax America”), deeper cuts outside of their studio catalog (“Susanne” and “Blast Off!”) and newer material (“All My Favorite Songs”), including a couple of tracks from two of their four seasonal inspired EPs released in 2022, “Thank You and Good Night” from SZNZ: Summer and “Run, Raven, Run” from SZNZ: Autumn.
Patrick Wilson of Weezer | Photo: Michael Dinger
The festive evening closed with a three-song encore capped by fan favorite “Buddy Holly.” With Cuomo perched at the edge of the stage apron, he soaked in the applause raining down on him from the sold-out house engulfing him on all sides. After several moments, before the band took their final bow, he ripped off his shirt and hurled it into the front rows before throwing down the signature “W” hand sign. And with that, we had all been officially Weezer’d, and better for it. Now it was time to take it easy brah.
Up next for Weezer is a trek to Naeba, Japan for Fuji Rock on July 30, followed by shows in Osaka and Tokyo on August 1 and 2, respectively. Then, it’s on to West Vancouver, Canada for the Ambleside Music Festival on August 19. The next night, August 20, the third leg of the Indie Rock Road Trip resumes in Auburn, Washington where the boys will be accompanied by Spoon and White Reaper as opening support.
Forest Hills Stadium | Photo: Michael Dinger
The 2023 summer tour culminates at PETCO Park in San Diego, California on September 3, at which time the band will take a much needed rest to refill their collective gas tank. And in case you missed the Forest Hills Stadium show, or just cannot get enough of these darling alt-rockers, Weezer will be traveling back to the tri-state area for an appearance at the Sea.Hear.Now Festival in Asbury Park, New Jersey on September 17.
Joyce Manor Setlist: Heart Tattoo > Beach Community > Gotta Let It Go > Ashtray Petting Zoo > Don’t Try > Schley > Falling in Love Again > NBTSA > Big Lie > Victoria > Constant Headache > Christmas Card > Catalina Fight Song
Future Islands Setlist: For Sure > Hit the Coast > Plastic Beach > Peach > Walking Through That Door > Light House > A Dream of You and Me > Before the Bridge > Long Flight > King of Sweden > Seasons (Waiting on You) > Vireo’s Eye > Little Dreamer
Weezer Setlist: My Name Is Jonas > Beverly Hills > Return to Ithaka > The Good Life > Pork and Beans > Pink Triangle > El Scorcho > I Just Threw Out the Love of My Dreams > Blast Off! > Undone – The Sweater Song > Falling for You > Susanne > Only in Dreams > The Greatest Man That Ever Lived (Variations on a Shaker Hymn) > Island in the Sun > Perfect Situation > All My Favorite Songs > Say It Ain’t So > Run, Raven, Run > Hash Pipe > Thank You and Good Night > Encore: The Waste Land > Surf Wax America > Buddy Holly
The Binghamton Philharmonic is set to kick off its free summer concert series, Concerts in Every Corner with four beautiful and unique performances by the Empire Saxophone Quartet. The series will begin on July 20th at 11:20 AM with performances by the quartet stretching into the 21st.
The Binghamton Philharmonic is no stranger to introducing their community to rich and tasteful music as the group presents an annual series of classical, pops, and chamber music concerts in Downtown Binghamton and throughout Broome County. Concerts in Every Corner will feature the Quartet in four locations throughout the city including the Ross Park Zoo, Columbus Park, Cheri A. Lindsey Memorial Park, and Fairview Park.
Bringing home the Empire Saxophone Quartet is quite the treat for the orchestra as the chamber music ensemble has a repertoire that includes classics from the Renaissance Era through the 21st century as well as pop, jazz, and ragtime selections. Their diverse musical abilities and delightful performances have astonished audiences for years and Binghamton should be prepared for nothing less. The quartet was originally founded by April Lucas who is now joined by saxophonists Daniel Miller, Crystal Fisher, and Nicole Mushalla.
The concerts will be a family-friendly mix of jazz, pops, and contemporary classics suited and welcome to all ages, so come and celebrate the summer through the sweet sounds of music.
Concerts in Every Corner
July 20, 2023:
11:20am: Ross Park Zoo, 60 Morgan Road, Binghamton
12:30pm: Columbus Park, 26 Columbus Park East, Binghamton
July 21, 2023:
11:20am: Cheri A. Lindsey Memorial Park, 1 Truesdell Street, Binghamton
12:30pm: Fairview Park, 58 Fairview Avenue, Binghamton
The upcoming Zamna Festival on Saturday, August 5th at The Brooklyn Mirage is where the jungle meets lasers, and raves meet paradise. A one-of-a-kind outdoor venue in East Williamsburg, The Brooklyn Mirage will be transformed into an immersive experience, Zamna’s signature oasis of electronic music, art, and culture.
Since its beginnings in 2017, Zamna Festival has since become an epicenter of electronic music. What EDM.com called “Tulum’s premier dance music experience,” Zamna draws tens of thousands of attendees from more than 110 countries around the world every year. Now, Zamna will debut their bears for their very first New York City, bringing the spirit of Tulum to Brooklyn with a complete venue takeover of The Brooklyn Mirage.
The Brooklyn Mirage prominently boasts a state-of-the-art KV2 sound system in addition to stellar three-dimensional video projection mapping technology. Part of the Avant Gardner complex, the multifaceted events space was nominated for ‘Best Club’ in the 2019 International Dance Music Awards. Forbes says “World-renowned venue The Brooklyn Mirage delivers some of the world’s hottest talent such as Kaskade, Zedd, Alesso, Charlotte de Witte, Dillon Francis, Tae of Us, Adam Beyer, Excision and Fisher.”
Brooklyn-based singer-songwriter Maya Donovan has just released her latest single “Lenox,” a contained ballad that recounts the residual emotions created through trauma. This track sees Donovan embrace rich bass lines, complex vocal harmonies, and a uniquely electric piano tone to establish her signature sonic environment.
Following her 2018 debut EP and her new successful single “We Should Get Dinner,” Maya Donovan is hopeful to bring her mellow compositions to audiences through a string of upcoming single releases. Her music is beautifully made, blended with her heartfeltly modern lyricism.
Maya Donovan is a 24-year-old singer-songwriter raised and based in Brooklyn whose style draws on a host of genres: folk, soul, pop, and jazz. A masterful storyteller, Donovan writes of the most painful parts of life with unflinching honesty, empathy, and humor. Her rich voice, armed with delicate control, will pull you into her music and keep you there.
Since almost as early as she could talk, Maya Donovan has been writing tunes to express her innermost feelings. Most recently, Donovan continues to utilize songwriting to chronicle her battles with anxiety and her constant re-discovery of herself through adolescence and young adulthood.
A graduate of New York City’s prestigious LaGuardia High School for Performing Arts (the “Fame” school), Donovan has been making music for as long as she can remember. Some of her first songs she wrote before the age of 10, hunched over a first-generation iMac computer. Donovan comes from a long line of creatives: daughter of Academy Award-winning documentary filmmaker Vanessa Roth, and granddaughter of screenwriter Eric Roth, whose prolific work includes the Forrest Gump screenplay.
To enjoy Maya Donovan’s charismatic presence live, you can find her as a resident artist at The Bitter End in Greenwich Village, which has been graced by some of her biggest musical influences, such as Carole King, Billy Joel, and Lady Gaga. Additional inspiration for her art comes from fellow contemporary singer-songwriters such as Fiona Apple, Sara Bareilles, and Julia Jacklin.
As the Phish Summer Tour nears its seven-night run at Madison Square Garden (MSG) in NYC from July 28 to August 5, pre-shows and after-parties have been announced orbiting around Phish’s showings at MSG. Many of these events are being held by Creative Entertainment Group (CEG) with two additional events by PhanArt.
July 28
The six-piece rock band Kendall Street Company will be playing live at the Cutting Room at 11:55 p.m., with a $25 fee and an age limit of 21 and over. The band is based out of Charlottesville, VA, and incorporates elements of jazz, folk, bluegrass, and funk in their songs. Tickets and more information can be found here.
July 29
July 29 will feature one of two shows by PhanArt as a part of its Summer in the City event at Hill Country Barbecue. With music be Sweeping Views, PhanArt will include artists and vendors from across the jam scene and country selling wares made by the fans, for the fans. Admission is free, with doors opening at 1:00 p.m.. More information can be found on PhanArt’s website.
Also at Hill Country is the free after-party with One Time Weekend, an “innovative shred-funk” quartet out of Connecticut. Known for high-energy live shows, “We Grove – You Move” is the mantra of One Time Weekend. Doors open at 11:00 p.m., with the show starting at 12:00 a.m.. More information can be found here.
At the Cutting Room will be Duane Betts and Palmetto Motel, a guitarist and singer-songwriter from Sarasota, FL. Playing alongside Dickey Betts, his father, in his band the Great Southern, Betts would later act as one of the founders for the Allman Betts Band. Doors open at 11:30 p.m. and the show starts at 12:30 a.m.. More information can be found here.
July 30
Pre-Phish at the Cutting Room will be the 50th Anniversary of Watkins Glen Summer Jam. With 600,000 in attendance, the original Watkins Glen Summer Jam in 1973 won the Guinness Book of World Records entry for “Largest audience at a pop festival.”
The 50th Anniversary Event will feature the music of The Grateful Dead, The Allman Brothers Band and The Band through The Allmost Brothers Band, ALEO productions performance of The Band, and Near Dead Experience. Doors open at 1:00 p.m., the show starts at 2:00 p.m., and more information can be found here.
A Phish After-Party Elton Jawn: Philly Phunk x Elton Dance Party will be held at Hill Country Barbecue. The Knotty G’s will be joined by Felix Pastorius, Neal “Fro” Evans of Dopapod, and Jeremy Kaplan of Dogs in a Pile. Doors open at 11:30 p.m., the show begins at 12:30 a.m., and tickets are $15. More information can be found here.
At the Cutting Room will be Space Bacon, with doors opening at 11:30 p.m. and the show starting at 12:30 a.m.. Tickets are $18. More information can be found here.
August 1
Grateful Dead tribute band Stella Blue’s Band will be holding two shows on Aug. 1, with the latter being a Phish after-party. Both are being held at the Cutting Room. Committed to recreating the authentic experience of being at a Grateful Dead show, they are based in the Tri-State area. The show is for all ages, with doors opening at 11:30 p.m. and the show starting at 11:59 p.m.. It is an all-ages show with $25 tickets. More information can be found here.
Art Thief & LINKS will be holding their After-Party at Hill Country Barbecue. Art Thief is a science fiction rock band from New Paltz, and LINKS is a 10-piece electrofunk futureband from Brooklyn. Tickets are $18 with doors opening at 11:00 p.m. and the show starting at 12:00 a.m.. More information can be found here.
August 2
At the Cutting Room will be LaMP, a band from Burlington, VT. Combining the talents of Russ Lawton, Scott Metzger and Ray Paczkowski, the trio has played together since 2018. Doors will open at 11:30 p.m. and the show will begin at 12:30 a.m.. Tickets are $25. More information can be found here.
Also that night, the Phish After-Party featuring Dizgo will be held at Hill Country Barbecue. It will feature the music of Talking Heads, Gorillaz & Dizgo. Doors open at 11:00 p.m., the show begins at 12:00 a.m., and tickets are $15. More information can be found here.
August 3
Since Phish isn’t playing this evening, why not check out an up and coming band you might not otherwise get a chance to see? Mercury Lounge will host Hilltop on August 3rd, with the Albany-based band bringing Thursday night funk and jams to those looking to keep boogieing down in between Phish shows. Joining Hilltop at Mercury Lounge will be Whaley + Ernie & The Band opening the night. Tickets available here.
August 4
Perpetual Groove, a rock band from Savannah, GA, will be playing at the Cutting Room. Doors will open at 11:30 p.m. and the show will begin at 12:30 a.m.. Tickets are $25 for the event, and are available here.
Also on this day is Lava Party, a pre-show event from 4:20-6:20 p.m. Admission is free with great food and beer selections.
August 5
PhanArt’s second show of the MSG run will take place on Aug. 5, also at Hill Country Barbecue. Different vendors and artists will be present, with Sweeping Views spinning live for this event as well.
Admission is still free, with doors also opening at 1:00 p.m. for the Aug. 5 show. More information can be found on PhanArt’s website.
Later that night at the Cutting Room, the improv rockers Eggy will be playing. The band is comprised of guitarist and vocalist Jake Brownstein, keyboardist Dani Battat, bassist Michael Goodman and drummer Alex Bailey. Doors will open at 11:30 p.m. and the show will begin at 12:30 a.m.. Tickets are $20, available here alongside more information.
Cutting Room is located at 44 East 32nd Street between Madison & Park Avenues. It is a five minute walk from MSG. Hill Country, meanwhile, is located at 30 W 26th St between 5th and 6th Avenues. It is also a five minute walk from MSG.
Porno for Pyros has announced their Horns, Thorns en Halos tour, which will feature stops in Manhattan and Port Chester. This tour marks 30 years since the release of Porno for Pyros, and is the first tour for the band in 25 years.
Credit: Andi K. Taylor
Porno for Pyros was originally founded in 1992 by members of Jane’s Addiction, vocalist Perry Farrell and drummer Stephen Perkins, as well as vocalist and guitarist Peter DiStefano and bassist Martyn LeNoble. The band went on hiatus in 1998 after releasing Porno for Pyros in 1993 and Good God’s Urge in 1996.
The original members reunified in 2022, performing at a sold-out show in Los Angeles, CA. Following this, the Porn for Pyros has performed at Rockville, the Chicago Metro, and Lollapalooza. They have also been working on new material that they expect to release sometime this year.
Upcoming Tour Dates
Oct. 8 – Hard Rock Live Sacramento – Wheatland, CA
Oct. 10 – The Masonic – San Francisco, CA
Oct. 13 – The Wiltern – Los Angeles, CA
Oct. 15 – The House of Blues Las Vegas – Las Vegas, NV
Oct. 17 – The Union – Salt Lake City, UT
Oct. 19 – Fillmore Auditorium – Denver, CO
Oct. 21 – Steelhouse Omaha – Omaha, NE
Oct. 23 – The Sylvee – Madison, WI
Oct. 24 – Byline Bank Aragon Ballroom – Chicago, IL
The Great South Bay Music Festival 2023, one of the most highly anticipated events of the summer, is set to make a triumphant return this year after facing numerous challenges due to the COVID-19 pandemic. The festival begins on Thursday, July 20 and runs through Sunday, July 23rd.
As Long Islanders emerge from quarantine and yearn for the joy of live music, this family-friendly festival promises to deliver an unforgettable experience for music enthusiasts of all ages. I had the pleasure of speaking with James Faith, the festival’s producer, about the festival’s journey and what attendees can expect this time around on The Long Island Sound Podcast
The Great South Bay Music Festival, held in the picturesque Patchogue, Long Island, has always been a celebration of local talent alongside renowned artists from various genres. What sets this festival apart is its commitment to creating a family-friendly environment, where attendees of all ages can enjoy music from both local acts and big-name performers across multiple stages.
James Faith – Producer of the Great South Bay Music Festival
James Faith, the festival’s producer, emphasized the importance of creating an inclusive atmosphere, stating, “We want to make sure that families can come and enjoy the music together. It’s not just about the headliners; it’s about showcasing the incredible talent from our local community as well.” This unique blend of local and established acts allows for a diverse range of musical styles and ensures that there’s something for everyone to enjoy.
Putting the Pandemic in the Past
Reflecting on the impact of the pandemic, Faith described the challenges faced by the festival and its organizers. Despite the uncertainties and setbacks, they remained committed to delivering a memorable experience for attendees. “We had to adapt and overcome numerous obstacles, but we never lost sight of our goal: to bring people together through the power of music,” Faith explained.
We want to provide a platform for emerging artists to shine alongside the big names. It’s about fostering a sense of community and giving these talented musicians the exposure they deserve.
James Faith
Now, as the festival gears up for its 2023 edition, attendees can look forward to an impressive lineup that embodies the festival’s spirit. A few of the local artists have been my guests on The Long Island Sound Podcast, including, Matt Marshak, Kerry Kearney, Lex Grey and Phil Firetog.
Among the artists set to grace the stages are Phil Lesh and Friends, Gov’t Mule, Dave Mason, Hot Tuna, Dirty Heads, Cassandra House, Kerry Kearney, Gold Finger, The Fabulous Thunderbirds, Duane Betts, Bad Fish, Tauk, Neighbor, Miles to Dayton, Lex Grey and the Urban Pioneers, oogee Wa Wa, Clifdiver, Harbour, The Joni Project, Phil Firetog Trio, Shecky and the Twangtones, Adam and the Metal Hawks, Jules Radino, Jack Licitra, and Matt Marshak.
The Great South Bay Music Festival goes beyond just the music, offering a range of activities and amenities to enhance the overall experience. Attendees can explore artisan craft vendors, indulge in delicious food from local vendors, and engage in interactive workshops and activities for all ages. From art installations to face painting, there’s something to captivate the entire family.
Faith encouraged attendees to immerse themselves in the vibrant Long Island music scene by exploring the Long Island Music Hall of Fame in Stony Brook. This esteemed institution showcases the island’s rich musical legacy and pays tribute to iconic musicians such as Billy Joel, Eddie Money, Joan Jett, and many more.
The Great South Bay Music Festival promises to be a thrilling experience for music lovers and a testament to the resilience of the Long Island community. With its four-day duration, family-friendly atmosphere, and a diverse lineup of local and renowned acts, this festival is set to reclaim its place as one of the region’s premier summer events.
I have my tickets to the Festival! So when you see a white haired guy, who looks like the picture below, make sure you say hello.
