Ireland-based cinematic, melancholic pop group The Coronas have supported Bruce Springsteen in front of more than 65,000 people in London’s Hyde Park, played for President Joe Biden in County Mayo during his visit to his ancestral home in Ireland, and made chart history as being the first independent Irish band with three consecutive topping the charts. They have announced they are celebrating St. Patrick’s Day with a special show at the Bowery Ballroom.
Voted #1 Live Act of the Year by Hot Press Magazine, one of Ireland’s best-loved bands The Coronas has no intention of slowing down, continuing tours in Europe and the States this March. They are fresh off a series of huge summer shows and festival appearances that included the iconic Electric Picnic Festival and Glasgow’s TRNSMT.
The Coronas is comprised of lead vocalist/guitarist Danny O’Reilly, bass guitarist Graham Knox, and drummer Conor Egan. They are returning to North America to begin a run of shows on March 5, 2024, culminating with St. Patrick’s Day at the Bowery Ballroom. They last toured the U.S., a year ago, but this past March performed at the celebrated pre-Academy Awards “Oscar Wilde Party” in Los Angeles and squeezed in an SRO nightclub show in Hollywood as part of this extraordinary year.
Last month the band released The Best of the Early Days, a compilation of records from the band’s first three albums, plus a special never-before-released album closer “One Last Time.” All of the tracks were released on vinyl for the first time, in addition to CD format, and via all digital platforms. Four songs each come from their 2007 debut Heroes or Ghosts, their 2009 breakthrough Tony Was an Ex-Con (winner of Best Album at 2010’s Meteor Awards, for which they beat U2 and Snow Patrol) and 2011’s Closer To You, their first Irish chart-topper, all chapters in an extraordinary, near 20-year career.
We loved listening back to our early albums and remembering the wild times we had making them. The three of us met at school, and we were still kids when we started the band. Choosing which songs to include was the hard part – each of us has our favourites. All of the songs are packed with memories of gigs we played, places we’ve been and the mates we’ve made along the way. We couldn’t make music like that anymore, but we wouldn’t change a thing. Every song has its place in The Coronas’ history. Hearing them together is a reminder of what we’ve achieved and how far we’ve come.
Danny O’Reilly.
The new song “One Last Time,” once known as “Bonus Night,” was recorded during the Tony Was An Ex-Con sessions. “We always loved it,” explained Danny, “but at the time we felt that ‘Warm’ was the album’s acoustic moment and having another stripped-back song would have been too much. It has a beautiful string arrangement by James Hallawell. It’s a Coronas gem that I’m delighted we can finally share with our fans.”
An eighth Coronas studio album is in the works to kick off the next 20 years. For more information about the band, visit here.
The Coronas Tour Dates
December 21—Vicar Street, Dublin, Ireland December 28—INEC Arena, Killarney, Ireland March 5, 2024—Empty Bottle, Chicago March 6—Shank Hall, Milwaukee, WI March 8—The Great Hall, Toronto, ON, Canada March 12—The Foundry, Philadelphia March 13—Atlantis, Washington, DC March 15—Brighton Music Hall, Boston March 17—Bowery Ballroom, New York City
In August’s blurry end of sweltering heat and constant music in New York City, NYS Music and the band HOKO found a summer second to have a chat. The day following their Bowery Ballroom show, on their debut tour with almost monday and Weathers, band members Nathaniel Hoho and Jesse Kotansky gathered to discuss a vast expanse of topics with myself, Kali Kugler.
From the band’s first tour experience, to the pandemic effect, to New York City recommendations and their upcoming residency, HOKO provided a rich dialogue on their transient spot in the music industry.
HOKO was formed in New York City, but the band pulls in flair from many places and faces. Jesse Kotansky, the vital melody of HOKO, is from New York. As lead singer Nathaniel put it, “he’s the go to guy for strings in New York.” Nathaniel himself was born in Pennsylvania but claims New York City as his homebase. The two of them met through mutual friends, and the rest of their connection unfolded naturally through the development of their sound.
“Freaky-pop!”
– Nathaniel Hoho
When asked how to describe themselves through the niche language of genre, there were many categorical dialects tossed around: experimental, alternative, rock, pop. Jesse spewed a vast yet accurate platter of descriptors – “Experimental is the key word to describe us, because experimenting is our process.” Nathaniel chimed in and stamped the label, “freaky-pop!” Having attended their show at the ballroom just the night before, I can back the freaky nature they brought to the familiar pop sound.
When posed the question about the evolution of HOKO since their first release “OK OK” back in 2020, every performing artist’s black cloud entered the conversation – the pandemic. Jesse spoke on their blooming process as a band and the halting choke COVID had on their initial exposure. Prior to the pandemic, HOKO had worked with EQT Studios and produced over forty songs they were ready to release. They put out an EP and their single “OK OK” that reached top 20 on the radio only a week before the universal shut down. Like everyone else HOKO remained indoors, but their time proved fruitful, for they spent two years writing and merging and learning about themselves and their tastefully ephemeral style.
“We find the more often we dive in, the deeper we go… as we grow as humans our sound is also growing. While things around us change we are influenced by it all.”
– Jesse Kotansky
HOKO’s creative process is an observant one. They are in a constant state of listening, sensing, reading, talking – living, really. Being human – the great collaboration. A lot of their inspiration comes from sharing a sound, having a conversation and “diving deep.” Jesse couldn’t pinpoint their inspiration on one person or place: “…what makes us wanna dance; everything we’ve ever listened to; every book we’ve ever read; every color we’ve ever seen all go into it.”
“I depend on the energy the crowd gives back – it’s a conversation.”
– Nathaniel Hoho
Coming back to the music community and getting to tour for the very first time, HOKO found the crowd’s energy to be an additional member in their band. Touring with almost monday and Weathers informed their style, for they were finally able to experiment and explore their sound with an audience. Jesse spoke on Nathaniel’s stage presence in relation to their fans: “I feed off of his energy.” He went on to state his pride in being an opening band and holding the responsibility to win a crowd.
“It has been lovely seeing our music interact with people.”
– Nathaniel Hoho
New York City is a lucky spot, because HOKO established their return date. On Thursday, September 21st, HOKO will be performing at Berlin Under A in East Village (tickets are still available, and are worth the purchase)! New York City is crawling with esteemed musicians, which is a positive factor according to Jesse as he reflected on their Bowery Ballroom performance: “There was a physical energy in New York, and there were a lot of musicians at the show that we look up to. That definitely added some nerves.”
Both Jesse and Nathaniel expressed gratitude for the hometown show crowd. It’s always sweet to see familiar faces and display growth in the place that raised you. Even though Jesse and Nathaniel still live in the city, they hold a heightened degree of excitement for their shows here. Both agreed the Bowery Ballroom show was their favorite of all their stops on tour. At the end of our conversation, HOKO even graced me with their sacred New York City recommendations: Bar Victoria, The York, Treasure Club, Cozy Royale for a burger, C&B Coffee, and Taco Ramirez.
HOKO was as kind as they were impressive, eager to speak on their artistry and to compliment their audience. Having witnessed their eclectic, colorful, and boundary breaking performance, I can confidently encourage anyone to get the chance to see them live. They are a group to keep your eye on – they are a blow up no one will want to miss.
The Bowery Ballroom hosted the Brooklyn-born band, HOKO, on the evening of Wednesday, August 23rd. On tour in support of almost monday and the WEATHERS, HOKO branded their name into the minds of their modest but curious New York City audience. This fifteen stop USA tour is HOKO’s first tour debut, and they are making sure to impress along the way. Through the vehicle of their experimental style, they are refreshing the palettes of listeners with a sound unlike anything they’ve ever heard.
Photograph by Sophie Gurwitz
Bodies trickled into the ballroom as time climbed towards HOKO’s set. Conversation vibrated across the floor, people expressing their excitement about the headliners and a few eager to watch HOKO’s set, while others volleyed HOKO’s name around with intrigue.
When the lights dimmed, everyone’s attention was pulled towards the darkness resting on stage. Blue light hues swirled across faces of the crowd while the band presented themselves on stage. Bass came through the floor, tugging at peoples’ bones, demanding their presence. After a minute long introduction of pure sensation, the first guitar riff electrified the atmosphere to kick-off a night of music.
Photograph by Sophie Gurwitz
HOKO opened with their song “Pretender.” Dense guitar riffs and confident vocality drew the audience into captivation. Their sound projected something heavier than the typical pop-rock song. The tones and intensity of the instrumentals almost felt dark – not in a dangerous way but in an enticing manner.
It was impossible to name a comparable sound to them, they felt fresh. Listeners bounced around artist names, “COIN,” “Bleachers,” “B-52’s,” “Zeppelin.” That vast of a name pool proved testament to their individuality.
Photograph by Sophie Gurwitz
It’s difficult to be truly unique in the music industry, to not fall into the coddle of a niche, to not be a genre artist. HOKO has taken the liberty of demolishing musical barriers, and redefining flexibility in relation to their production. Their sound cannot be labeled, for they are rock, they are electric, they are pop, they are psychedelic. They are ever-evolving. As the night progressed, it became evident that something of impressive massivity is to come from HOKO.
Photograph by Sophie Gurwtiz
Lead singer, Nathaniel Hoho, absorbed the ballroom’s energy and gave a rockstar level performance. He got in the crowd to mosh with the audience. He climbed atop speakers, and entertained the cameras. He engaged with fans in between songs. Half way into their set, it became hard to believe HOKO had never toured prior to this, for their presence suggested years of being fluid and daring on the stage. Their performance felt too big for a stage the size of Bowery’s.
Photograph by Sophie Gurwitz
One of HOKO’s most popular songs, “Candy Eyes,” gripped the evening when it made its way through the setlist. Guitarist and esteemed string player, Jesse Kotansky, brought out his violin for the song. To hear the harmony of the violin with Hoho’s powerful voice was a beautiful display of musical juxtaposition. Versatility receives respect from concert goers. Though a handful of the audience didn’t know of HOKO before the show, they were sure to remember them after the night the band gave them.
Photograph by Sophie Gurwitz
Their production value implied experimentation and play as a priority. The boldness, the confidence, the yearn to perform created a high that everyone suspended in. People finally began to move their bodies and sing along with the band, as if they developed a sort of trust with HOKO’s sound. A sureness between the classicality of rock and the future of pop.
Photograph by Sophie Gurwitz
Unfortunately, HOKO’s set was merely a half hour long. The show could have carried into the next set and closed out the night, alas Weathers and almost monday had shows of their own to put on. Hoho brought the evening to a clean close when he jumped down into the crowd, parted the mass of bodies in half, and disappeared through the back of the crowd.
Ahead of their new album, Ghost of Vroom 3 releasing on Sept. 1, 2023, critically-acclaimed band Ghost of Vroom has announced its dates for the group’s North American Tour. From Nov. 3 to Nov.19, including three stops in New York, the band will play past hits and new singles from the forthcoming project.
Comprised of singer-songwriter Mike Doughty, bassist Andrew “Scrap” Livingston, and drummer Madden Klass, Ghost of Vroom’s newest album will additionally include producer Mark Caldato Jr.
Having previously worked with acts such as the Beastie Boys and Jack Johnson, Caldato’s talent brings a wide variety of positive expectations heading into the project’s release.
First known for his solo work and as the lead singer for Soul Coughing, Doughty’s experience with the band did not start until 2020, making their official debut with 2020’s GHOST OF VROOM 2 EP.
Highlighted by the hit single, “Rona Pollona,” the group’s debut piece attracted the attention of the industry, including Rolling Stone, who applauds the “laid back groove of shuffling drums, twisting guitar and lazy cello strokes” on the song.
Ghost of Vroom 2 album cover
Known to deliver a unique, funky sound, much of this can be heard through their most recent track “Pay The Man,” the lead single ahead of September’s release. Arriving via Mod y Vi Records on Friday, Sept. 1, pre-orders are available now for the second album in Ghost of Vroom’s catalog.
Tour Dates & Ticket Information
The North American tour dates begin Nov. 3 and travels through mid-November, making three stops in New York (New York City, Rochester, and Albany).
All general on-sale tickets for the announced dates will be available Friday, August 18 at 12:00 pm est. For full details and ticket information, you can also visit www.ghostofvroom.com.
November –
3 – Iowa City, IA – Gabe’s
4 – Minneapolis, MN– Fine Line Music Cafe
5 – Madison, WI – Majestic Theatre
7 – Chicago, IL – Lincoln Hall
8 – Detroit, MI – El Club
10 – Toronto, ON – Longboat Hall at Great Hall
11 – Cleveland, OH – Beachland Ballroom
12 – Rochester, NY – Flour City Station
14 – Boston, MA – Brighton Music Hall
15 – Amherst, MA – The Drake
17 – New York, NY – Bowery Ballroom
18 – Albany, NY – Lark Hall
19 – Philadelphia, PA – The Foundry at the Fillmore
Wallice, the rising indie-pop sensation, graced the stage at Bowery Ballroom in Manhattan on June 27th, captivating the crowd with her infectious melodies and magnetic presence. This performance marked her triumphant return to NYC (and Bowery Ballroom) after her opening act with JAWNY last March.
With her irresistible charm and undeniable talent, Wallice delivered a performance that was nothing short of electric. Sharing the spotlight was the indie rock boy band Nitefire, whose infectious energy and captivating melodies set the perfect tone for the evening.
As the lights dimmed and the first chords resonated through the venue, it was evident that this would be a night to remember. The atmosphere was charged with anticipation as fans eagerly embraced the fusion of Wallice’s honest lyrics, vulnerability, and witty storytelling. With each song, she effortlessly transported the audience into her world, exploring themes of love, self-discovery, and the rollercoaster of emotions that come with growing up. The synergy between Wallice and Nitefire created a dynamic and unforgettable concert experience, leaving the crowd craving for more.
Nitefire,the dynamic musical project of Nico Geyer and Luke White, boldly defines themselves as the “budget Wallows.” Blending the pop sensibilities of turn-of-the-century indie rock with the vibrant sonics and youthful spirit of Brit-pop, Nitefire fearlessly carves out a lane that is uniquely their own, leaving nostalgia behind. With their roots embedded in the thriving Los Angeles music scene, the band has gained recognition for their DIY approach, hosting their own events and shows that embrace an “if you build it, they will come” mentality, diverging from the digital-dominated landscape of today. Nitefire’s sound and attitude are entirely their own as they carve out a distinct lane. With their debut single “Up 2 U” released, the band has already amassed an impressive following and garnered over 40K monthly listeners on Spotify. Nitefire’s journey has only just begun, and their upcoming releases and live performances promise an exciting and vibrant future for the band.
Nitefire’s opening performance was an electrifying display of energy and connection. Despite a minor setback earlier in the day, with Luke breaking his pinky, the band turned it into a playful guessing game during their set. Nico, the charismatic frontman, challenged the crowd to speculate on the cause of Luke’s injury, teasing them with the statement, “You’ll literally never guess.” Hilarious suggestions of door-related incidents were quickly debunked, fueling the curiosity of the fans. To their surprise, it was revealed that the pinky was actually broken in a Frisbee accident, leaving many scratching their heads and engaging in animated discussions.
Nico’s crowd interaction was a highlight, as he jumped into the crowd multiple times with guitar and mic in hand, creating a central pit of excitement. One fan attempted to converse with Nico in French, only to be misheard, prompting Nico to ask if she was speaking Spanish instead. The lighthearted exchange drew laughter and further showcased the band’s down-to-earth and approachable nature. The finale saw Nico leaning back into the crowd, crowd surfing during the last song, “Saturday.” Nitefire’s performance was a thrilling and engaging experience, leaving fans captivated by their boundless energy and genuine connection.
Nitefire Setlist: Daisies, Here We Go, La La, LAâs Got Gorgeous, Love Gets Ug, Uptight, Lovekiss, Life Gets Funny, Worth It, Saturday
Wallice, the rising indie-pop sensation hailing from Los Angeles, is making waves with her captivating blend of honesty, vulnerability, and wit. With a musical upbringing that exposed her to a diverse range of influences, from classic rock to 90s R&B, Wallice has developed a unique sound that sets her apart in the industry. Her breakout hits, including “23” and “Off The Rails,” have garnered attention for their raw and authentic approach to songwriting, tackling themes of love, loss, and self-discovery with remarkable vulnerability. Her newest EP, “Mr Big Shot,” released June 23rd, further showcases her exceptional songwriting prowess, offering a masterclass in Gen Z’s hopes, dreams, and failures.
Following a successful run of North American shows with JAWNY and Australian dates with The 1975, Wallice is now embarking on her own headline tour across the US, captivating audiences with her infectious energy and tongue-in-cheek, self-effacing anthems. With each release, Wallice reaffirms her status as an artist to watch, captivating listeners with her authentic storytelling and undeniable talent.
Wallice’s performance at the iconic Bowery Ballroom was an extraordinary display of her artistry, accompanied by heartwarming moments and genuine interactions with the audience. The show kicked off with a sweet gesture as she gave her guitarist a peck, setting a playful and affectionate tone for the evening. A fan’s gift of a black gemstone studded cowboy hat became a striking accessory as Wallice embraced it during her soulful rendition of “John Wayne,” captivating the crowd with her magnetic presence. After the song, she graciously returned the hat from whence it came.
Throughout the set, Wallice’s affection for New York was evident as she expressed her love for the city, instantly establishing a connection with the enthusiastic crowd. The audience reciprocated with adoration, elevating the energy in the venue. A touching moment occurred when a fan handed her a crochet bandana and a heartfelt letter accompanied by personal photos. Wallice graciously accepted the gift and wore the crochet bandana while performing the introspective and introspective song “Quarterlife,” adding an intimate touch to the performance.
In a playful exchange, Wallice humorously reprimanded her bassist for removing his goggles after the spirited performance of “Why Do You Love Me?“. This lighthearted banter showcased the camaraderie and dynamic chemistry within the band, further enhancing the overall experience for the audience. Following the energetic performance of “Prepaid Wireless,” Wallice took a moment to introduce her talented band members by name, highlighting their contributions to the music.
Although faced with a technical glitch during “Japan,” Wallice’s professionalism shone through as she gracefully restarted the song, seamlessly carrying the audience along with her. Her ability to handle unexpected situations with poise and maintain a strong connection with the crowd was a testament to her artistry and stage presence.
Wallice’s set at Bowery Ballroom was a memorable and captivating experience, filled with genuine moments of connection. Her ability to embrace fan gifts, engage in playful interactions, and overcome technical challenges showcased her authenticity as an artist. With each song, Wallice’s honesty and vulnerability resonated deeply, leaving the audience with a lasting impression of her talent and charisma.
Wallice Setlist: Disappear, Little League, Loser At Best, Punching Bag, 90s American Superstar, Wisdom Tooth, Rich Wallice, John Wayne, Headache, Quarterlife, Dramamine, Hey Michael, Why Do You Love Me?, Prepaid Wireless, Off The Rails, Japan, 23, Best Friend, Funeral
In terms of upcoming shows, Wallice and Nitefire will be on the road with plenty of chances to catch them on tour until they wrap up on July 20th in San Francisco.
Updates for any future Wallice shows can be found on her socials, and her linktree. The same goes for Nitefire, and you can find their socials and linktree here.
On Sunday, May 14th, The Academic stopped at the Bowery Ballroom. On their “Sitting Pretty Tour,” the young four-man band from Ireland brought their alternative Irish flair to New York City. An intimate crowd dotted the Bowery floor to swallow up any standing space. The venue selection ensured the audience was in for a treat, for the ballroom sound system holds the power of electric guitars and bass incredibly. This deemed important, because The Academic are proven rock revivalists.
Photograph by Tharynn Olson
Alternative/indie band, Summerdrive, opened for The Academic. Their set was short but effective, for their performance livened up the waiting crowd. With intriguing synths and intentional drumming, Summerdrive gave a tasteful while all the same riveting show. They heavily created a similar listening experience that the Bleachers or COIN would.
Not long after Summerdrive left the stage and the instruments were swapped, The Academic made their way onto the stage. Hoots and hollers elevated the band’s excitement as they gazed upon the crowd. Bassist, Matthew Murtagh, and guitarist, Stephen Murtagh sauntered onto stage followed by drummer, Dean Gavin. Lead vocalist, Craig Fitzgerald amped the energy when he approached the mic with an electric guitar slung over his shoulders. “How are you doing New York? It’s been a while!”
Photograph by Tharynn Olson
The setlist rolled by too easily, sewn together by impressive guitar solos and conversation with the audience. They emanated a wildly unique sound that seemed to be in conversation with different decades of alternative music. Accents from melodies of The Talking Heads, guitar riffs from Led Zeppelin, and more modern personal lyricism like that of Cage The Elephant or The Neighbourhood were present in their performance.
Classic-rock married to indie, The Academic has mastered the art of the guitar. Their Irish origin gifted them with the ever presence of rock and roll, and since the U.K. never parted ways with the music genre like America did for a while, they had continuous exposure to the evolution of rock. I look like a million when I play my rock n’ roll.
Photograph by Tharynn Olson
At the end of a drum-heavy song, the guitarists and singer circled around the drumset. They surrendered their instruments’ sound to Gavin while he masterfully annihilated his drum solo and bowed down to him on his throne. The Bowery lights synced up with his percussion, creating a strobed visual. Gavin’s solo was absorbed by the audience as were the multiple guitar solos throughout the evening.
After playing some songs from their new album, “Sitting Pretty,” released February 10th, Fitzgerald took a moment to give thanks to the crowd. He asked if anyone in the audience attended their show last year at Mercury Lounge in the city, and pockets of shouts volleyed amongst the crowd. In this interlude of crowd engagement, he complimented the high energy and inquired, “Any Irish in the crowd tonight?” A strong majority of the hands shot up. He grinned.
Photograph by Tharynn Olson
The Academic hosted a very engaging show. With dramatic dancing and conversational interactions with fans, the atmosphere was endearing. Towards the end of their set, lead vocalist Fitzgerald got onto the floor to be level with the crowd. While he sang, the crowd enveloped him. Phones shot up above heads to capture the moment, and fans sang excitedly around him.
He returned to the stage to finish out the rest of their set. The vivacity was contagious. Small groups of friends merged with strangers. By the end of the show, there were no strangers in the room, only people with a mutual affinity for rock and four Irish musicians. Fitzgerald and his bandmates showered thanks to everyone for attending, and even more gratitude to the staff at Bowery Ballroom. “Give it up for everyone working in this beautiful venue tonight!”
Photograph by Tharynn Olson
The Academic put on a grand show in a small but iconic venue. Their musical future brightened on Sunday, for they collected many new fans. The “Sitting Pretty Tour” is only the beginning for this refreshingly genuine rock-band.
Australian punk band Cable Ties are scheduled to embark on a North American tour, stopping at Colony Woodstock on Sept. 15 and the Bowery Ballroom in New York City on Sept. 16., in support of their new album All Her Plans, due for release on June 23.
The members of Cable Ties, from left to right: Jenny McKechnie (lead vocals and guitar), Nick Brown (bass), and Shauna Boyle (drums) Credit: Kalindy Williams.
Cable Ties are based in Melbourne and were formed in 2015 with Jenny McKechnie, Nick Brown, and Shauna Boyle. They released their self-titled debut album in 2017, and the forthcoming All Her Plans marks their studio release. A supporting single, “Time For You” is available now. All Her Plans has received considerable global praise from Stereogum, Brooklyn Vegan, NME, The Line of Best Fit, and Rolling Stone, to name a few. The album also marks the band’s first album since the pandemic began and their touring plans for 2020’s Far Enough were canceled.
“I found the idea of writing a new album a little terrifying after all our touring plans got canceled just after we released Far Enough in 2020,” McKechnie says. “It felt as though that album had been lost. I thought I needed to write another album like that again, which wouldn’t be lost. This of course wasn’t true. I needed to write whatever album came out of me at this moment in time.”
“Time For You,” definitely stands out as the best track on the album, and is made even better by its accompanying music video. The song highlights the solace found in the love of a partner, any partner, whether it be romantic, friendship, or otherwise. This message is reinforced at the end of the music video when the members of Cable Ties are lying down and embracing each other, reminding audiences of the power of friendship.
“Thoughts Back,” sees Brown take the vocal reigns for the first time since the band’s formation, delivering a fierce take on the toll of mental health challenges. “I wrote this song mostly centered around my own experiences with mental illness,” she says. “It also plays into the themes of the record, such as caregiving and mental workload. So often people give up their own lives to help others and, as a result, rarely have their voices, their experiences or their history acknowledged.”
All Her Plans is out June 23 via Merge Records. Tickets to see Cable Ties on their North American Tour, which includes a performance at Colony Woodstock before concluding at the Bowery Ballroom in New York City are available here.
On Friday March 31st, lo-fi pop rocker JAWNY took over Manhattan’s infamous Bowery Ballroom. JAWNY and his opener Wallice had performed their first night in New York City at Brooklyn’s Baby’s Alright just a couple nights before, but they expressed their bottled excitement they withheld for the ballroom. Just over half way through their North American tour, the JAWNY and his crew still had lots of energy to rock with.
Photograph by Sophie Gurwitz
The opening act, Wallice, put on a full indie-rock concert of her own. The crowd was immediately responsive to her sound, as they sang all her lyrics right back to her. Her stage presence was inviting, and commanded a sort of confidence most artists aim to possess. The Bowery Ballroom show was Wallice’s last with JAWNY, because as he revealed later in his set, she will be supporting The 1975 on their Australian leg of tour set to start on April 8th. She kicked off JAWNY’s North American Tour at the start of March, and concluded her contribution with an electric bang.
When Wallice bid her farewells, the floor of the ballroom volumized tight with fans. Conversation was buzzing under the fluorescent blue lights, and the clock ticked down meticulously to JAWNY’s set. Finally, the lights dimmed and the universal music-listener’s hype song “Mr. Brightside” by The Killers took over the speakers. The conversational buzz erupted into an animated sing along. When the first chorus fell into silence, the crowd jumped and called out for JAWNY.
Photograph by Sophie Gurwitz
The instrumental intro mimicked the “Twin Peaks Theme” song. The eerie guitar riff turned hype as it successfully revved up the crowd. On the stage was a tall mannequin with a long-haired platinum wig adorned in a suit to mimic JAWNY’s presentation, a green electric guitar, a bass, and a drumset. Out came JAWNY’s supporting band members, Gambee on the bass and Curtis Kelley on the drums, and they took to their instruments. They played their own welcoming intro for JAWNY before he ran onto the stage, pumping his arms to elicit screams from the crowd. He wanted noise, and unsurpassable volume is what he got.
It seemed as though the crowd’s volume exceeded Bowery’s usual noise capacity. As the strobe lights cascaded onto the crowd and the percussion pounded against the venue’s foundation, the building’s body began to shake. Before singing his first song, JAWNY affirmed into the mic, “It feels good to be home in New York City baby.”
Photograph by Sophie Gurwitz
He dove into his setlist with one of his most popular songs “strawberry chainsaw.” The song’s lyrics preached the paradoxical sweet violence of young love, as did many of the songs on his setlist. JAWNY’s lyrics paid ode to the blissful oblivion of being young and the tumultuous and continuous transition into the awareness that’s only awarded to a person by time. His rocker presence invoked a surge of movement in the audience. As he jumped and kicked around on stage while shredding his guitar, members of the crowd bounced on and off of each other.
In between songs, he paused to tell a story he “hasn’t told on tour yet.” He reminisced on a Whitney concert he saw at the Music Hall of Williamsburg, another renowned New York City venue, in 2016. He told his girlfriend at the time that he was going to sell out a venue like this. She and his friends laughed at him, because he had never put out a song. The crowd also collectively laughed in response, but he interjected and declared his dreams fruition, “But you all made that dream come true. I just sold out two nights in New York City!”
Photograph by Sophie Gurwitz
His music held such an individual sound, but shared the affectivity of artists like Twenty-One Pilots, COIN, Still Woozy, and Peach Pit. This promised a night of dancing and scream-singing various fan-favorite lyrics. JAWNY revealed that the Bowery Ballroom show was going to have “the longest set on tour.” He went on to play new and old songs, like his aged song “4Tounce,” that weren’t usually on his setlist.
Photograph by Sophie Gurwitz
As the night flowed on, JAWNY expressed his gratitude for New York City. “Y’all are f*ckin’ fun,” he praised. Sadly, the neon lights had to fade and the high energy had boiled down to a steaming simmer. When JAWNY made his final departure and the ballroom lights turned on signaling the crowd’s exit, there was a brief moment of the surreal. Music was still playing in everyone’s ears and the lights danced behind their eyes. Everyone stood still.
On the journey of their “Fresh Squeezed Happiness Tour,” The 502s and Oliver Hazard made a stop at Manhattan’s Bowery Ballroom for a double-header. Wednesday February 22nd was night one’s send off, and it was sweet and citrusy. With a sold out crowd and a New York City induced adrenaline, the two folk bands performed a summer-esque show to remember and cherish amidst the frigid February winds.
Photograph by Emma Dowd
The trio Oliver Hazard opened the show for the 502s. They introduced themselves with a warning and a premeditated apology when they said their songs are rather sad, and they’re ironically opening for “the happiest tour on Earth.” One of the three vocalists, Mike Belazis, explained that none of the band members are named Oliver Hazard. The name has historical ties to their hometown Waterville, Ohio.
Photograph by Emma Dowd
As their short but endearing set progressed, they played songs allotting for an immersive sing-along experience with the audience. They redeemed themselves and their melancholic reputation when they performed their joyful hit “Dandelion.” The crowd sang back to Belazis and the other two Hazards, Devin East and Griffin McCulloch, with lyrical ease. New York City was even lucky enough to hear their new single “Ballerina.” Their performance was the perfect warm up for the 502s convivial stage presence.
The audience attending the “Fresh Squeezed Happiness Tour” matched the tour name’s feel. Strangers turned into friends as fans underneath the notorious Bowery disco ball. Bodies filled the stairs leading up to the balcony and huddled around the bar. The 502s produce a very kind and inviting sound to develop a fondness to, and their fans emulate the same energy.
Photograph by Emma Dowd
It wasn’t long before the 502s set rolled into the night. The stage was a display for a multitude of instruments that fortify the sound of experimental folk. The instruments that paint the scene for road trips with pals, breezy beach days, or long summer days that turn into long summer nights. The six-man band made their way onto the stage with the widest smiles spread across their faces. Lead vocalist, Ed Isola, came strapped with a banjo slung around his shoulders. Joe Capati, the saxophone and trumpet playing vocalist, followed with his sax. Sean Froehilch, the percussionist and drummer, made his way to his throne behind his customized 502s drum set. Their keys player, Matt Tonner, who doubles as an electric guitar player got comfortable behind the keyboard. Lastly the two guitar playing harmony vocalists, Jake Isola and Nick Malashenko, followed suit.
As soon as the first strum of the banjo rang through the rows of fans, the stage erupted into a flow of movement. The bandmates jumped around, did high-knees, skipped in circles, and danced all while impressively maintaining the breath to sing their fast paced songs. The audience reciprocated their energy, jumping in a playful folk-version of a mosh pit, locking arms to do a makeshift linedance, and extending their hands in way of a physical sort of praise. To witness such a physical surrender to sound was a beautiful thing. A few songs in, the 502s spoke to this innocent chaos when they commended New York City for being “easily the best crowd.”
Photograph by Emma Dowd
After a few songs, Ed Isola reminisced on past shows in New York. Their first ever show in the city hosted a whopping twelve people. “Now we have two sold out nights at Bowery Ballroom,” Isola said with heavy gratitude in his affirmation to the crowd. They continued their sprightly show in a fluid harmony of a wide collection of instruments: a banjo, acoustic guitars, an electric guitar, a bass guitar, the tambourine, the saxophone, a trumpet, the keys, the drums, a harmonica, and even a kazoo. The intentional layering of particular sounds was admirably tasteful. Within the working collaboration of the songs, it felt as if two instruments would be duetting within the skeletal structure of the song. This allowed for intimate conversations between specific instruments. The mechanics of their sound were unmatched.
Photograph by Emma Dowd
As the show progressed towards its end, the band decided to spice things up. Everyone but Joe Capati, the horn player, vacated the stage. The lights dimmed as he took the center-spot, and began to play his saxophone. Unfamiliar freestyles wowed the crowd as he blew away expectations. Familiar covers of Marley’s “Don’t Worry Be Happy,” and George Michael’s “Careless Whisper” were easily fan-favorites.The band joined Capati’s introduction to their own tune and resumed their show. The audience continued their reciprocation to the band as they seemed to exist as a sole entity, pulsing in unison.
Photograph by Emma Dowd
What the band thought was going to be the 502s’s encore, turned into an electric drum solo from Froehilch. He whipped his drumsticks at rapid speed, which only fed into the addictive energy feeding the show. His band members joined him once again to finish a song before actually leaving for an encore.
When the six-man band returned to the stage, their audience of friends roared with excitement from the tangible passion of their performance all night and for what was to come. The 502s immediately kicked back into gear, bouncing and ricocheting off of each other’s physical bodies and each other’s instrumental sound. Their two song encore turned into a mic-sharing party where each of the members took turns coming to the front microphone to do their own personal riff with their own instruments. A wide spectrum of voices were presented, which elicited an aggressively pleased applause.
Photograph by Emma Dowd
All six members finally concluded their show by gathering at centerstage and clasping their hands into a bow. Sweat-soaked from dancing, playing, and belting songs, the group looked like they could’ve kept going all night long. They said their goodbyes, and the ballroom bid farewell in a sweet ovation. The 502s left the room, the city, happier than they found it.
