NYS Music 2023

Tag: indie

  • The Paper Kites & The Roadhouse Band at Racket: A Halloween Special

    On October 31, The Paper Kites and touring guest The Roadhouse Band performed together at New York City’s Racket. On their North American Tour, The Paper Kites are celebrating their new record At The Roadhouse, an artistic project birthed between the four walls of a dive bar in Australia that fans all across the world are holding close to their hearts today.

    With the epitome of an autumnal sound combined with the holiday atmosphere, The Paper Kites pulled in the proper crowd: costume-enthusiast folk fanatics.

    Photograph by Shauna Hilferty

    A crowd with creative costume ideas slowly filled the warehouse venue in the Meatpacking District. Spiderman, Peach and Mario, and plenty of Bob Dylan‘s mingled while awaiting the opening set. At 8:00 PM, The Cactus Blossoms casually strummed into their first song. With only an acoustic and an electric guitar paired with soothing vocals, the duo provided a warm opening performance. They expressed their gratitude to be on their first ever tour, and even more so they praised The Paper Kites for the opportunity and their musical influence. 

    Photograph by Shauna Hilferty

    Shortly after the Cactus Blossoms made their way off the stage, the stage crew decorated the space with an arsenal of instruments. True to The Paper Kites’ rich production value, each instrument that can be intentionally heard on their newest album was prepped and ready to be used on stage. Multiple forms of percussion, a collection of strings, an organ, electric keys, and the iconic vintage-looking microphone sat waiting to be given life.

    Once their signature drapes were hung across the back of the stage, the lights dimmed and each band member made their way onto stage. Eight people on stage seemed like it would be tight, but the congealed bands stitched together comfortably, and so did their sound. 

    Photograph by Shauna Hilferty

    The traditional lead of an acoustic guitar through their melody was threaded with the most intentional additions of twangy strings of banjos and mandolins, the romantic hum of the organ, the tune of the harmonica, and the heartbeat of various drums. If there’s one thing The Paper Kites are, it is consistent – consistently impressive. With a memorable setlist it can become difficult to entertain returning fans, but The Paper Kites routinely delivers a unique listening experience that bends the confines of genre labels through experimentation and passion.

    On stage stood eight music connoisseurs. Lead vocalist; Sam Bentley, on the guitar and the banjo; Dave Powys, on the pedal steel and guitar; Matt Dixon, on drums; Josh Bentley, on the bass; Sam Rasmussen, on the organ and percussion; Hannah Cameron, on strings and cowbell; Chris Panousakis, and the multi-instrumentalist and vocalist; Hadley Kennary. 

    Photograph by Shauna Hilferty

    From their last performance in New York City at Williamsburg Music Hall, their audience has grown – not just in size, but in comfortability. Throughout the show, fans openly conversed with each other and the band members in a respectful manner. Cooing that the song being performed was the song that was playing when they met the love of their life, or politely begging for their favorite oldies to be played. The Paper Kites’s lead vocalist, Sam Bentley, joked and reminisced with the audience all evening. It was truly refreshing, especially for a typically quiet audience.

    Photograph by Shauna Hilferty

    Midway through their performance, The Paper Kites quintuplet and The Roadhouse Band gathered around their signature microphone to sing a stripped version of the Kite’s hit “Bloom” from their oldest record “Woodland.” This is a treasured moment during a Paper Kites performance. Their sound becomes almost tangible in the room, with raw harmonies and only root instrumentals. A wash of peace laid over the audience, for their attention was devoted to the intimate production happening on stage.

    Photograph by Shauna Hilferty

    An applause full of raised hands in praise and hollers from the chest lasted for over a minute. Smiles overtook The Paper Kites’ faces as they made room once more for The Roadhouse Band. Each of the string players made the swap for more bassy instruments as Sam Bentley edged, “Now this is the part of the set where we play some louder songs.” As soon as the first chord of Dave Powys’ electric guitar ripped, the strobe lights were released into motion across the faces in the crowd.

    Photograph by Shauna Hilferty

    One of their new songs, “Black & Thunder,” was a crowd favorite. The soulful riffs and plunge of the bass emitted a similar sound to that of Fleetwood Mac’s “Rhiannon.” On stage the band members tapped their feet to the beat and visibly felt the command of their instruments, as they swayed and jolted their shoulders. 

    Photograph by Shauna Hilferty

    After a few songs, they returned home to their usual earthy gentle tone to close out the show. They sang songs from their record “On The Train Ride Home” that references New York City, which spoke to the audience on personal levels. Tears streamed down the faces of some while smiles stretched across the faces of others. Underneath the lights, a world was formed – a small culmination of vast lives all affected by the same poetry.

    The Paper Kites finished out their Halloween performance with an encore, singing some oldies that were wished for to send off the audience with a memorable evening. Once the lights came on, The Paper Kites and The Roadhouse Band said their thanks and bid their farewells to their New York City crowd.

  • BRIC Celebrate Brooklyn! Host The Head And The Heart

    The annual BRIC Celebrate Brooklyn! Festival in Prospect Park brought their ceremonies to a close with a performance from The Head And The Heart on the evening of Aug. 24.

    Brooklyn Celebrates! is one of New York City’s most beloved musical experiences. At the outdoor setting of the Bandshell stage, free admission and delicious locally sourced foods made city goers flock to the park for one last summer hoorah. The Head And The Heart’s long-standing luminary folk sound pulled in one of the largest crowds to ever attend the festival.

    Photograph by Erin Reid Coker

    One of August’s faltering days where rain overtakes the forecast to hint at autumn’s approach took place. The grass turned to mud, people huddled under trees dense with leaves for shelter, and umbrellas sprouted and flowered above heads in the crowd like colorful flower buds. Despite the wet chill in the air, people spent their entire days in the park in a slow burn of anticipation. A Brooklyn crowd cannot be beaten, for the kindest people mingled and introduced themselves over the common ground of an affinity for music.

    Photograph by Erin Reid Coker

    Between the spouts of drizzling rain the opener, Izzy Heltai, took the stage. The alternative folk singer provided a great introduction, for his sound was unique and the crowd received him warmly. Izzy’s lyrics were humanly raw with an unwavering braveness to them, braveness through vulnerability. The queer singer sang passionately about the cruciality of mental health and its interconnection with the queer community. He sang of relationships, places, and seasons from a very personal perspective. Though, it’s wondrous how the most personal ideas can be so universal, for each song was lifted up and represented by the audience. Heltai expressed his gratitude for the platform he commanded that evening, and for the opportunity to share the same stage as The Head And The Heart.

    Photograph by Erin Reid Coker

    After a brief intermission between sets and another rain shower, The Head And The Heart finally made their way onto the Bandshell stage. The murmurs of conversations abruptly shifted into eager cheers, and the tungsten lights turned blue in solidarity with The Head And The Heart’s most recent record Every Shade Of Blue. The sextet took their places behind their instruments and mics to begin the show.

    Photograph by Erin Reid Coker

    The Head And The Heart is an esteemed band in the music industry, having released their first record in 2011. They moved into a particular corner of folk music and consistently paid rent, delivering five total records of great esteem. Lead singer, Josiah Johnson, reminisced on the last time the band was at Celebrate Brooklyn! back in 2012. He spoke lightly about the band’s origin and journey since then and thanked everyone in the audience for supporting them all these years. Johnson introduced the rest of his band members; the impressive multi-instrumentalist and vocalist Charity Rose Thielen, guitarist Johnathan Russel, bassist Chris Zasche, drummer Tyler Williams, and pianist Kenny Hensely.

    Photograph by Erin Reid Coker

    Each of the members’ contributions to The Head And The Heart’s sound proved vital and intentional. They have a raw sound cultivated in production that isn’t lost but tastefully added to during their live sets. Dominant, messy, tuneful piano notes mixed with crisp and punctual percussion, all led by the melody of Rose’s violin strings, made for a distinct foundation for their collective musicality. If the emotional sensation of longing could be a sound, it would be The Head And The Heart song.

    Photograph by Erin Reid Coker

    Their song “Lost In My Mind” from their first self-titled album made a lasting impression on the show. Each band member’s stage presence was electrified, and the high-energy crowd fed off of it. Pockets of fans linked arms to spin and skip. Arms flung up towards the sky in praise. One audience member even lifted their head-phoned baby above the crowd, gently bouncing him to the beat of the music. Johnson shouted out the young fan between choruses to acknowledge, “baby’s first concert!” Even the trees that swallowed the stage seemed to dance.

    As the sun set behind the gray sheet of rain, nature’s lights dimmed. The stage glowed through the light fog settling over the audience. Russel smiled up at the darkening clouds, “I swear it always rains when we come to New York.” The audience laughed at their state, soaked and content. For their last song on stage, Josiah made his way into the pit and through the audience. The Head And The Heart’s fans are very gracious. They made way for him and respected his space while he roamed.

    Photograph by Erin Reid Coker

    The band abruptly left the stage, but the audience would not accept a goodbye. There were too many songs people desperately needed to hear. Voices called out pleading for an encore. Shortly after their departure, the band returned.

    They put on a three-song encore, the first of three being “The Orchid.” Lyrically, the song was a meditation on isolation and glimmers of hope that can only be spotted during dark stillness. It was so quiet in the audience that for the first time all evening, one could hear the wind brushing the trees. The last two songs were “Living Mirage,” and their most iconic song, “Rivers And Roads.” In a collective voice, the audience sang the song back to The Head And The Heart. The slow and drawn-out pounds of the drum counted out the remainder of the night. True to their sound, The Head And The Heart left Brooklyn longing for more.

  • Big Bliss Impress With New Album ‘Vital Return’

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

    Big Bliss by Kevin Condon

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

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

    Tim Race

    The Album 

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

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

    Big Bliss by Kevin Condon

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

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

    Big Bliss by A.F. Cortés

    Conclusion

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

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

  • Brooklyn Duo Hunter & Wolfe Release New Full-Length Album ‘I Deserve This’

    Brooklyn-based indie-rock duo hunter & wolfe released their new full-length album, I deserve this. The group, made up of Michael Maffei and Sundeep Kapur, previously released singles in anticipation of the album release, such as “Last Time,” “Famous Friends,” and “When I Wake Up,” each of which has a sound reminiscent of indie-rockers like Elliot Smith and St. Vincent.

    To further celebrate the release of their new album, hunter & wolfe have also shared a lyric video for the album’s focus track, “Go For It.” As Maffei wrote on the track: “‘Go For It’ is a song about the phase of denial and loneliness that can come from loss. I’d recently lost a friend and wrote about the thread between those feelings and those I’d experienced from previous losses in my life.”

    About hunter & wolfe

    The Brooklyn-based indie duo has a unique way of conveying complicated emotions, often pairing them with sarcasm and loud indie-rock stylings. The group draws inspiration from notable artists of the indie genre, including Elliot Smith, St. Vincent, Phoebe Bridgers, and more.

    Hunter & wolfe released their first album back in 2011, a self-titled EP, and a full-length album, Days and Works. Their most recent album, Late Then Never, has been recognized on several platforms, and featured in Spotify’s Fresh Finds, Impose Magazine, and The Deli Magazine among others.

    The group’s most recent album, I deserve this., was written through sleepless nights about sleepless nights. The album is truly about the self-importance to think you deserve something, paired with the self-loathing to think that what you deserve is nothing good. Vocalist Michael Maffei and guitarist Sundeep Kapur’s message of ennui, lost love, and the paradox of choice in the modern era reflect both seriousness and the self-awareness to not take themselves too seriously.

    The songs were written by Michael Maffei, and the record was co-produced by Asher Kurtz, Sundeep Kapur, and Michael Maffei. The record features Michael Maffei (vocals, guitar, piano), Sundeep Kapur (lead guitar), Anders Kapur (bass), Sean Mullins (drums, percussion), Chris Baum (violin), and Asher Kurtz (guitar). It also features vocals from Asher Kurtz (Anyone) and Gabbi Coenen of RVBY MY DEAR (Laugh Lines).

    Listen to I deserve this. here, and view the lyric video to “Go For It” below.

  • Declan McKenna’s Big Return to NYC

    Declan McKenna, the enigmatic and thought-provoking indie-pop sensation, set the stage ablaze with two back-to-back shows in New York City as part of his “The Big Return” tour. On June 20, he graced the iconic Brooklyn Steel venue with his infectious energy and magnetic presence, captivating the audience with his genre-defying sound and heartfelt lyrics. The anticipation was palpable as fans eagerly awaited Declan’s performance, knowing they were in for an unforgettable night of music and connection.

    The following evening, June 21, found Declan at Webster Hall in Manhattan, where he continued to weave his magic, leaving the crowd mesmerized by his electrifying performance. With each song, Declan’s authenticity and vulnerability shone through, forging an unbreakable bond between him and his adoring fans. These two shows were a testament to his undeniable talent and his ability to create an intimate and unforgettable experience for his audience.

    Declan McKenna, the rising indie-pop sensation hailing from the UK, is making waves with his captivating blend of thought-provoking lyrics, infectious melodies, and undeniable charisma. With a musical journey that started at a young age, Declan’s eclectic upbringing exposed him to a wide range of influences, from classic rock to punk and indie music. This diverse palette has shaped his unique sound and sets him apart in the industry.

    Declan burst onto the scene with his breakout single “Brazil” in 2015, which earned him widespread acclaim and attention for his sharp social commentary and clever songwriting. His debut album, What Do You Think About The Car? released in 2017, further solidified his position as a talented singer-songwriter with a distinctive voice.

    Known for his insightful and introspective lyrics, Declan fearlessly addresses topics ranging from politics and societal issues to personal reflections on love and self-discovery. His ability to combine catchy pop hooks with meaningful storytelling has won the hearts of fans worldwide.

    With each subsequent release, including the singles “British Bombs” and “Beautiful Faces,” Declan continues to captivate audiences and expand his musical horizons. His sophomore album, Zeros, released in 2020, showcased a more experimental and ambitious sound, further cementing his status as a genre-defying artist.

    In addition to his musical prowess, Declan’s magnetic stage presence and engaging live performances have earned him a dedicated and enthusiastic fanbase. As Declan McKenna continues to evolve as an artist with recent hits such as “Sympathy”, he reaffirms his status as an exciting force in the music scene, capturing hearts with his authenticity, vulnerability, and undeniable talent.

    With his finger on the pulse of the issues that resonate with today’s youth, Declan’s music speaks to a generation, making him a relevant and essential voice in the modern music landscape.

    Declan McKenna’s electrifying performances at Brooklyn Steel and Webster Hall in New York City were nothing short of exhilarating. At Brooklyn Steel, a fan brought a stuffed Kermit the Frog plushie dressed as Declan, adding a whimsical touch to the show. During “Why Do You Feel So Down,” Declan took Kermit from the fan and playfully placed it on the speaker behind him. Later, during “Rapture,” he playfully threw Kermit into the air during a guitar breakdown, seamlessly blending fun and artistry.

    Declan’s boundless energy was infectious throughout the shows. He shed his suit jacket, fully immersing himself in the music, and asked the crowd if they wanted to dance before launching into “Isombard.” The response was overwhelming, with fans flailing and dancing passionately in the back of the crowd and pressing against the barricade up front, trying to get as close to Declan as possible.

    During “Sympathy,” the opener Eli Smart and his band joined Declan, playing tambourines and creating a church gospel choir vibe that had the crowd singing along with fervor. Declan’s skills on the keyboard were reminiscent of a piano virtuoso, adding another layer of talent to his already impressive performance.

    The encores were equally electrifying, with Declan taking off his shirt while keeping on his tie, exuding feral rockstar vibes. His cover of “All Things Must Pass” by George Harrison showcased his guitar prowess, and during the guitar solo, he ventured off the stage, held up by the crowd in a moment of sheer rock ‘n’ roll energy.

    The Webster Hall show was equally exhilarating, with Declan impressively leaping from piano to tambourine and back during “Isombard.” The crowd turned into a choir during the chorus of “Make Me Your Queen,” elevating the song’s emotional impact. Instead of the planned cover, Declan surprised the audience with “I’m the Man, That Will Find You,” by Connan Mockasin showcasing his versatility as an artist.

    As the second encore began with “British Bombs,” Declan took the energy to a whole new level, executing one-legged spin jumps and rolling on the ground while passionately belting out the last chorus. The show ended with Declan being handed bouquets from the adoring crowd, which he graciously accepted and posed triumphantly.

    Declan McKenna’s performances were nothing short of extraordinary, leaving the audience in awe of his talent, charisma, and sheer passion for his craft. With each song, he demonstrated his prowess as a musician and captivated the crowd with his authentic and unforgettable performances

    Declan McKenna Setlist: The Kids Don’t Wanna Come Home, Beautiful Faces, You Better Believe!!!, Be An Astronaut, My House, Why Do You Feel So Down, Humongous, Isombard, Daniel; You’re Still a Child, Rapture, Make Me Your Queen, Paracetamol, Twice Your Size, The Key to Life on Earth, Brazil, Sympathy

    Brooklyn Steel Encore: All Things Must Pass (George Harrison cover), British Bombs

    Webster Hall Encore: I’m the Man, That Will Find You (Connan Mockasin cover), British Bombs

    Stay up to date with Declan on socials and any updates from the tour here. 

  • Wallice Returns to Rock Bowery Ballroom

    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, LA’s 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.

  • Rebounder Shares Lead Single “Disco Ball Soul” off Upcoming EP 

    NYC‘s indie band Rebounder just released their newest lush single “Disco Ball Soul,” the first song off of their upcoming EP Sundress Songs, out August 25th. They have also announced a run of East Coast tour dates including stops in New York, DC, Philadelphia and Toronto.  

    Rebounder Shares Lead Single “Disco Ball Soul” + Upcoming EP 

    The single is a widescreen, lush track that frontman Dylan Chenfeld explains was “initially about the frustrations of being a Knicks fan. Funny enough, the evening we shot the video, we were watching the Knicks lose in the playoffs. The song wound up being about the anxieties of living in a city at night, though the anxiety of being a Knicks fan casts a long shadow.”  

    Over the last few years, Rebounder has quietly become one of New York’s most successful young indie exports, supporting everyone from MUNA to Twin Shadow to the How Long Gone podcast. Their 2020 debut “Japanese Posters” has racked up over 14 million streams alone, a testament to the band’s work ethic and crisply-realized, overwhelmingly hooky indie-rock.  

    Rebounder Shares Lead Single “Disco Ball Soul” + Upcoming EP 

    A winsome, wistful portrait of modern millennial life, their forthcoming EP Sundress Songs resembles a lot of classic 2000s indie-pop. Yet, the album feels like it exists miles away from the current of revivalism that’s in the air right now. 

    Led by stalwart songwriter and multi-instrumentalist Dylan Chenfeld, Rebounder makes crisply-realized, overwhelmingly hooky indie-rock, sharpened to a fine point by years of touring. Sundress Songs is a set of preened, poised pop songs that speak volumes of Dylan and his bandmates’ stadium-level ambitions and enviable taste. 

    “This project is the culmination of a lot of the hard work we’ve done in the past year, in the studio and on the road,” says Dylan. “It feels overdue – but we wanted to make something that sounds really exciting and unique, because we’ve been writing songs and making demos our whole lives.”

    Rebounder started as a high school band. Dylan, his brother Noah, and a handful of their friends were often recruited as hired gun musicians for small projects looking to tour locally. Being genuinely skilled musicians has been key to Rebounder’s success; they play with the tautness and tension of a rubber band pulled to its limits, despite the (on its surface) breeziness of their songwriting.   

    Dylan has omnivorous tastes and pays sharp attention-to-detail: Sundress dips into rakish funk (“Disco Ball Soul”), bedroom pop (“Second Serve Ace”) and skittish dance-rock (“Dreamland”). Produced entirely by Dylan, Sundress Songs is rich with production quirks and asides that speak to his years spent going on YouTube rabbit holes and tinkering in ProTools.  

    “There’s a lot of people who are doing, like, Greta Van Fleet for the 2000s,” says Dylan. “What’s the point of that? I’m not gonna do it better than those guys. But maybe we can do something new.”  

    Listen to “Disco Ball Soul” by clicking the link here. 

    Tickets for the upcoming tour are available for purchase here. 

  • Michael Ian Cummings of Skaters Announces Debut Solo EP, Releases Single “Contemporary Me”

    Infamous lead singer/songwriter of NYC’s Skaters, Michael Ian Cummings, has just announced his debut solo EP Oldest Troubles, out May 26th. To tease the upcoming release, he has decided to release a single from the album titled “Contemporary Me.”

    Michael Ian Cummings (SKATERS) Announces Debut Solo EP & Releases Single "Contemporary Me"

    10 short years have passed since Skaters’ formation in Lower East Side Manhattan. Within months of forming and a self-released EP, the band was signed to Warner Brothers Records. They toured around the world, had global critical acclaim from NME to the New York Times. And two years later, they released their debut album, self-released their sophomore album Rock n Roll Bye Bye independently, and then disappeared. 

    Michael Ian Cummings (SKATERS) Announces Debut Solo EP & Releases Single "Contemporary Me"

    It was a whirlwind ride for the band that came at one of the most difficult transitions in the music industry, the exact time digital downloads plummeted, and streaming had not yet reached the masses. Skaters were caught in the shuffle, and broke up.

    Now, after years of reevaluation and new inspiration, working an array of day jobs and night jobs for that matter, Michael Ian Cummings has rediscovered his muse. He has something special to show for the struggle, returning just a bit wiser with the debut solo EP titled Oldest Troubles. 

    “There are things in everyone’s life that will haunt them forever,” he writes of the EP’s title track. “Whether it stems from internal or external influences from our past that have marred, mamed, and influenced the way we handle life. No matter how far we try to run from them they always find us. This song is about welcoming those relentless “troubles” in, confronting them, and beginning to make yourself stronger. Or, at the very least, learning to live with them.” 

    “I love having autonomy over how and when I release music. Making decisions and moving on,” Cummings continued. “Reminds me of when I was a teenager. Just make things because they are worth making. Move forward and try not to look back too much.” 

    To accompany his new release, Michael Ian Cummings will perform at The Sultan Room in Brooklyn on May 31 (7:00 PM).  

    To listen to “Contemporary Me,” click the link here. 

    Tickets and more information about the show can be found HERE. 

  • The Academic “Sitting Pretty Tour” Stops at The Bowery Ballroom

    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. 

  • Goth Babe Sends New York City Into Summer as “The Lola Tour” Stops At Pier 17

    On Friday, May 5, Goth Babe’s performance at Pier 17 catapulted New York City into summer. On the East River below the FiDi skyline, the Brooklyn Bridge-facing venue hosted Goth Babe’s “The Lola Tour” with Yoke Lore. The outdoor venue could not defend against the on and off rain showers, but the risk of weather was made worth it when sunset rolled around.

    The sky turned into something of pink brilliance, and a rainbow casted over the river. The colorful streak of spring arched over the stage to turn the evening into the ultimate setting for Goth Babe’s sound – light, natural, and vibrant.

    Photograph by Emma Dowd

    The crowd spilled onto the Pier 17 rooftop hours before Goth Babe’s show to see the opener, Yoke Lore. A renowned artist in the alternative/indie realm, singer Adrian Galvin attracted fans of his own and collected some new ones as he gave a dynamic performance. He spun around on stage in between verses and communed with the audience kindly. Yoke Lore’s sound strikes a comforting chord in the musical soul. With only raw vocals, percussion, and a banjo to seal his sound, he successfully composes a unique warmth with his music.

    Photograph by Emma Dowd
    Photograph by Emma Dowd

    The sun continued to set over the enthusiastic crowd, and an unbelievable flower moon took its spot in the sky. Its massivity attracted a volley of OOOs and AAAhhhs as everyone waited eagerly for the party to start. Eventually the twin screens on either side of the stage darkened, and blues and whites flashed in lengthy strobes over the crowd. The indie-electronic vocalist, Griffin Washburn, and his two touring bandmates on percussion, keys, and strings made their way onto stage. Washburn seemed to talk to himself in happy disbelief as a response to seeing Pier 17 crowd, “This is f*cking nuts! So cool! This is insane, it’s going to be awesome.”

    Photograph by Emma Dowd

    Griffin Washburn is a known nomad. He lives in and out of sailboats and tiny homes in the mountains of Washington, hence his new single “Alone in the Mountains.” His free-spirit is a light in the music industry, for he cares more about the connections and differences he can make with his music rather than his profits and status. The day of the show, he posted on his instagram story to invite fans to participate in a pre-show run club. Connecting with his fans who he sees as friends has been a tour priority. His kind and mellow persona shines through his music and could be felt throughout the show.

    After getting the crowd warmed up with some songs, he asked for a volunteer to crowd surf. Once a member of the audience was elected, the stage crew brought out a watermelon slice pool-floatie. The fan was released to surf the hands of her fellow Goth Babe listeners. Griffin sent her off with a wave, “Be kind to her, and be safe with her!” She totally rocked the role, fist-bumping and belting song lyrics in a spell of pure joy.

    Photograph by Emma Dowd

    Goth Babe established a friendly community from the start. He encouraged the crowd to participate in dance-offs and sing-alongs, insisting “you’re all not too old for sing-alongs!” His stage presence consisted of audible yipping, head-banging, and epiphanic gratitude. It was impossible not to dance. The music seemed to lift the crowd into movement.

    Photograph by Emma Dowd

    Electronic music gets wrapped with the stigma of being synthetic and repetitive. Goth Babe’s sound strongly defies this tired narrative. The blend of guitar strings, light chimes, and seemingly element-inspired melodies composes a natural almost healing sound. Combined with relatable and celebratory human lyrics, Goth Babe has created something unique and informative of a lifestyle – unbound and transient.

    Photograph by Emma Dowd

    Towards the end of the show, Griffin spun around to take in the glory of New York City. The skyline lights shimmered on the water, and the traffic on the bridge strung red ribbons of light across the storm clouded sky. He encouraged everyone to introduce themselves to a stranger and tell them why they live in New York City, and why they love it so much. A minute from the show was sacrificed to organic conversation. The crowd seemed more tightly knit for the remainder of the show.

    Photograph by Emma Dowd

    Griffin and his fellow performers put on silly hats for the remainder of the show. He adorned a shark hat, the percussionist wore a disco helmet, and the keys player wore a cow-print cowboy hat. The last few songs rolled by too easily. Griffin conducted the gold-star concert move of commanding the crowd to get really low and jump up on the beat. He sang a crowd favorite, and  what he deemed his favorite song, “Taking Over The Sun.” The crowd was electric.

    “We try to make this more than a normal concert you’d come to for an hour. We want to make you a part of something and leave feeling better than you came!” That they did. When the show came to a close, the party did not. Fans poured out from Pier 17 and continued to dance and sing in the Manhattan streets. Goth Babe set the summer tone for New York City.