Irish Arts Center (IAC) has announced it will be renamed to JL Greene Theatre at Irish Arts Center, to be dedicated in April 2024, following a $3 million gift from the Jerome L Greene Foundation.
Irish Arts Center. Photo by Albert Vecerka/ESTO.
IAC joins a roster of some of New York’s most prestigious cultural institutions supported by the Foundation, including BAM, The Public Theater, Lincoln Center Theatre, and The Whitney Museum.
The Jerome L Greene Foundation gift, which supports the larger scale of programming and operations in the new 11th Avenue facility, builds on recent support from the City of New York ($10 million) and the Irish government ($4.1 million), to support the Center’s future redevelopment of its historic 51st Street home. This donation will help lay the groundwork for the IAC’s upcoming Phase Two campaign to complete the vision for a new Irish Arts Center and secure the organization’s future for generations to come.
Irish Arts Center also revealed the Spring 2024 programming, filling its new facility at 726 11th Avenue that opened in December 2021. The opening of this new 21,700-square-foot building culminated a more than a decade-long transformation of IAC into one of New York’s most beloved multidisciplinary cultural institutions on an intimate scale. With a flexible performance space and acoustic design, it provides a new canvas for the presentation and development of performing arts in the city.
We are thrilled to join the outstanding portfolio of New York cultural institutions supported by the JL Greene Foundation and to announce this gift in conjunction with one of our most exciting seasons yet. We look forward to many moments of artistry and inspiration to come in the JL Greene Theatre. As we begin our third full year of operation in our new home, we also look ahead to the next phase of our important work: completing our 51st Street redevelopment, and building reserves and an endowment, to complete our vision of a new Irish Arts Center that will be successful and sustainable for future generations.
Irish Arts Center Executive Director Aidan Connolly.
“We are proud to play a role in the presentation of world-class Irish arts in New York City,” said Chris McInerney, President and CEO of the Jerome L. Greene Foundation. “Irish Arts Center has proven itself to be an important cultural destination, and the JL Greene Theatre will be host to an amazing array of performing arts for New York audiences.”
IAC’s Spring 2024 programming features a wide variety of voices and forms, including the timely new work of political theater Agreement, a beautiful new dance work from choreographer, director, and performer Jean Butler, a residency of internationally acclaimed singer-songwriter Lisa Hannigan, a large-scale exhibition of works by Irish women visual artists, and more. The new season expands on IAC’s mission to present the evolving arts and culture of Ireland and Irish America in an environment of warm Irish hospitality.
Throughout Spring 2024, beloved recurring programs continue to bring accomplished artists into IAC traditions. Pulitzer Prize-winning poet Paul Muldoon’s variety show Muldoon’s Picnic continues on March 11, April 1, and June 3. In IAC’s Devlin Café, the Café Concert Series brings spirited music out into a social and intimate environment, with Big City Folk Song Club, curated by Niall Connolly returning February 9, March 8, April 4, and May 23, and Traditional Irish Sessions, curated by Tony DeMarco, February 2, March 15, April 5, and May 17. Book Day, for which the Irish Arts Center distributes thousands of free books in New York’s five boroughs in celebration of St. Patrick’s Day, returns for its 12th year on March 15.
For the season, IAC’s latest exhibition will showcase women artists whose work reclaims traditional physical and cultural spaces using abstract art. Reclaiming a Space, featuring Diana Copperwhite, Erin Lawlor, Helen O’Leary, and Dannielle Tegeder, will be on view throughout the building from January 29 to June 23.
For more information on the Irish Arts Center, and to see a detailed view of the Spring 2024 programming, visit here.
KISS’ End Of The Road Farewell Tour found them playing the second of two sold-out nights at the World’s Most Famous Arena, Madison Square Garden (MSG) in New York City on December 2. After 50 years of rock and roll music, KISS decided to go out where they started, at home in New York.
Photo Credit: Instagram/thegarden
The New York natives announced back in March of 2023 on The Howard Stern Show that the band’s final show was to take place where it all started. KISS was able to sell out The Garden for the second straight night ahead of their final curtain call.
All around the arena leading up to the show, the energy was through the roof. People dressed as their favorite members of KISS past or present and were walking around, dining in the local restaurants, or being interviewed by members of the press outside. Other fans flocked to the giant screens outside MSG promoting the sold-out show to snap a photo.
Before KISS hit the stage, Amber Wild got the chilly New York crowd in the right mood for the rock and roll domination that was going to take place. Amber Wild consists of Jacob Massanari on bass, Marshall Via on guitar, Thomas Lowrey on drums and Evan Stanley on lead vocals and guitar. Stanley is the son of KISS frontman, Paul Stanley, who is also a founding member of KISS .
Amber Wild performed just six songs for the audience. Despite the short set, the band made sure that the New Yorkers didn’t forget them. From the moment that they jumped on stage, fans immediately took notice as the band jumped into one of their first singles called “Breakout.” From that moment until they left the stage, fans listened intently as the next wave of rock and roll music debuted before them.
Photo Credit: Instagram/amberwildband
After pre-recorded interviews with the band and other interviews with family and friends that were being broadcast on PPV.com were complete, the house lights dimmed and Led Zeppelin’s “Rock and Roll” off of Led Zeppelin IV blasted through the speakers signaling that it was time for KISS to take the stage. This version of KISS consists of founding member Paul Stanley on lead vocals and guitar, founding member Gene Simmons on bass and vocals, Eric Singer on drums, and Tommy Thayer on lead guitar
Photo Credit: Instagram/kissonline
As KISS entered from the ceiling on platforms, the band blasted in “Detroit Rock City” off of Destroyer, and from there, they played 20 songs that spanned their entire catalog. From classic songs off their self-titled debut record to one of their most recent albums, 2009s Sonic Boom, every era of KISS was played. This is in part because KISS has become a generational band. Kids as young as three and people as old as their 70s attend this final show as the KISS Army joined and became one for one final time.
Photo Credit: Instagram/thegarden
For the entire two-hour show, the entire arena did not sit down once. From the fans on the floor to the bleacher creatures up in the rafters, fans stood the entire time as they witnessed the final show from their beloved band. Throughout the entire show, the classic KISS theatrics took center stage. Before “God of Thunder,” Simmons spat out fake blood and breathed fire after “I Love It Loud,” Thayer shot rockets out of his guitar after “Cold Gin” and Stanley flew through the air to a mini stage in the middle of the crowd to sing “Love Gun” and “ I Was Made For Lovin’ You.” KISS did not miss a beat the entire show.
They looked and sounded like they were at the top of their game. If you put them up against any version of the band, it would be hard to pick a winner due to the band being at its peak of performing.
Photo Credit: Instagram/thegarden
Stanley and Simmons were very thankful for all the fans who showed up to every one of their concerts as throughout the show, they kept saying “thank you” to the cameras as well as making hearts with their hands to show their appreciation. The band has cited throughout their career that the fans are the ones that got them there and that they will always be thankful to them for that.
Photo Credit: Instagram/thegarden
As the show powered through into the night, the anticipation of former members jumping on stage hit an all-time high when Singer sang “Beth.” For the other two encore songs that ended with the KISS anthem of “Rock and Roll All Nite,” no former members of the band jumped on stage with the current lineup which didn’t sour anyone’s mood as the band went out with a bang.
Photo Credit: Instagram/thegarden
As the band took their final bows and announced that a new era of KISS was coming (which ended up being digital Avatars of the band), fans excited MSG with commemorative 24 Karat Gold plated tickets. As fans spilled out onto 34th street in Manhattan, they knew that they helped write the final chapter of KISS-story that started in 1974 with their self-titled debut record and ended, where it all began, in New York.
KISS Setlist: Detroit Rock City, Shout It Out Loud, Deuce, War Machine, Heaven’s on Fire, I Love It Loud, Say Yeah, Cold Gin, Lick It Up, Calling Dr. Love, Makin’ Love, Psycho Circus, 100,000 Years, God of Thunder, Love Gun, I Was Made for Lovin’ You, Black Diamond, Beth, Do You Love Me, Rock and Roll All Nite
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.
Celebrating 20 years since the release of It Still Moves, My Morning Jacket and their loyal fans descended upon the Upper West Side of Manhattan for three nights of shows at the Beacon Theatre, with Madi Diaz opening up each night.
My Morning Jacket kicked off their 3-night run at The Beacon Theatre with a bang, playing their albumIt Still Moves in its entirety to the sold out crowd. A real treat for fans, the band returned for a 7-song encore, starting with Jim James solo on “I Needed It Most”, played for the first time since 2018.
The encore included a live debut of “Grab a Body” as well as “Feel You,” “It Beats 4 U,” and “Phone Went West” to close out the night. James spoke about how blessed we are to be in such a beautiful place that is the Beacon Theatre.
Friday night of My Morning Jacket at the Beacon Theatre started off with a full version of “Cobra,” clocking in at almost 17 minutes. The setlist that followed captivated the sold-out crowd from start to finish, with stand out songs including “O is the One That Is Real,” “Strangulation,“ and “Victory Dance.”
They returned to the stage for a 6-song encore with opener Madi Diaz joining Jim James and company to perform “The Wind” by Cat Stevens. The highlight of the encore was “Highly Suspicious,” off their 2008 album Evil Urges.
Saturday saw Diaz join the band once again, joining for “I Will Be There When You Die,” an apt song given the first lines being “Joe was born in New York City, Son of Paul and Catherine, Always down and always out, But his ‘morrows always seemed jus’ fine.”
This week, the tour marches on, playing in Albany on Wednesday, October 25 at the Palace Theatre and at The Met in Philadelphia on Friday, October 27, before heading to the Southeast and closing the tour out in Chicago November 9-11.
My Morning Jacket – Beacon Theatre, NYC – Thursday, October 19
Setlist: It Still Moves, Mahgeetah, Dancefloors, Golden, Master Plan, One Big Holiday, I Will Sing You Songs, Easy Morning Rebel, Run Thru, Rollin Back, Just One Thing, Steam Engine, One in the Same Encore: I Needed It Most, Old Sept. Blues, Feel You, It Beats 4 U, Compound Fracture, Grab a Body, Phone Went West
My Morning Jacket – Beacon Theatre, NYC – Friday, October 20
Setlist: Cobra, Gideon, The Way That He Sings, Lay Low, Slow Slow Tune, Run It, I’m Amazed, Least Expected, Lucky to Be Alive, War Begun, Strangulation!, Victory Dance, O Is the One That Is Real, Smokin’ From Shootin’, It’s About Twilight Now, Anytime Encore: Butch Cassidy, The Wind (with Madi Diaz), Only Memories Remain, First Light, Highly Suspicious, Touch Me I’m Going to Scream Pt. 2
My Morning Jacket – Beacon Theatre, NYC – Saturday, October 21
Setlist: In Its Infancy (The Waterfall), Spring (Among the Living), Holdin On to Black Metal, Never in the Real World, Evil Urges, I Think I’m Going to Hell, I Will Be There When You Die (with Madi Diaz), Knot Comes Loose, Heartbreakin Man, What a Wonderful Man, Honest Man, Tropics (Erase Traces), Thank You Too!, Climbing the Ladder, Off the Record, Wasted, Dondante, Love Love Love, Circuital Encore: State of the Art (A.E.I.O.U.), Touch Me I’m Going to Scream Pt. 1, Wordless Chorus
NYC’s celebrated folk singer-songwriter Dan Rauchwerk has released his brand new single, “Only January Knows.” After a decade as part of the folk duo The Lords of Liechtenstein, Rauchwerk has made a name for himself as a solo artist since 2018.
“Only January Knows” is a meditative ballad to the winter months, with Rauchwerk diving deeper into his introspective realms. With skillful guitar picking and his emotive voice, Rauchwerk injects hope into the seeming dreariness of winter in the city.
I live on the Upper West Side near Central Park, so I spend a lot of time in nature. I use my daily runs and walks in the park as a way to recharge my body and mind. It’s so easy to get completely cut off from the natural world in New York City and to get stuck in the “always on” mindset, so it’s helpful for me to see the seasons change in the park and acknowledge and appreciate the passing of time.
“Only January Knows” speaks to the significance of seasonal change and the unexpected joy I find on wintry walks in the park on snowy days when very few people are around.
Dan Rauchwerk
Dan Rauchwerk takes great inspiration from the nature found in the beloved Central Park, which serves as a sanctuary for New Yorkers looking for a quiet moment. His new track both addresses that in vocals, and with it’s slow, swaying tempo which creates that meditative moment itself. “Only January Knows” follows his signature style of strong, clear vocals, and a heartwarmingly familiar folk tune.
Rauchwerk’s new single comes as a follow up to his 2018 debut solo album, We Are More Than What We Leave Behind.
“Only January Knows” is available on all streaming services on October 13.
TANSU, a NYC-based singer-songwriter, has released her brand new track titled “Got 2 Me,” sparked from a collaboration with American Authors’ Dave Rublin. “Got 2 Me” is a soul-pop ballad that shines a spotlight on the singer’s talented vocal ability.
TANSU takes her name from the Turkish term for the sun’s radiant touch on ocean waters just before sunrise. With roots in both Turkey and Ireland and a background in fashion, the singer has been based in New York City for 13 years after graduating from Berklee College of Music in Boston.
“Got 2 Me” is a dreamy pop ballad, punctuated by a strong synth bass line. With echoing backtrack vocals and sounds of water flowing, TANSU shows a strong grasp of the path laid by legends like Whitney Houston, from whom she cites her inspiration.
‘Got 2 Me’ is a very vulnerable song about trusting someone to love you the right way. After falling in love the wrong way, it’s all the more difficult to fall in love again, correctly. This song is about that path.
TANSU
Last month, TANSU released “DOWNTOWN,” her first single alongside Dave Rublin of American Authors. The two met in college and formed a strong duo, combining their talents in the musical arts to form hits like “DOWNTOWN” and “Got 2 Me.”
TANSU continues to integrate herself into the New York City scene, having played a residency at Lafolia Restaurant in Manhattan, and lending her vocals to NYC indie hip-hop artist Lars Viola’s 2018 EP The Wash Up. She is co-producing her debut EP, set to release this summer. Stream “Downtown” and “Got 2 Me” on all platforms.
A-Zal, a New York City-based acoustic pop artist has released his newest track, “Lonely Town,” a ballad to the quiet side of the city of New York. The release comes as a follow up to his most recent release, “Movie Script,” from August 2023.
Migrating to the US in 2018, A-Zal found a quiet, intimate side of the city through integrating with a new city and country.
When I first came to New York, the glamour and energy of Midtown NYC pulled me like a magnet. But, I eventually got refuge in the unexplored streets of the city which had an altogether different story. When I performed in the subway stations next to Times Square or Bryant Park, I had a large set of audience members who would listen to my music while they passed me. However, as I went to the quieter side of uptown, I had very few listeners. And, the magic happened when these handful of listeners grew in number and turned into my real fans.
A-Zal
“Lonely Town” is a heartfelt, acoustic ballad that follows A-Zal’s search for company in such a vast city environment. As he navigates the “lonely town,” an ironic title considering the gradiosity of the city, the crowds and skyscrapers escape his perspective, and the city becomes his true companion.
A-Zal’s latest track, “Movie Script,” released in August to great success, climbing to the Mediabase TOP 40 Activator Charts within just two weeks of its release. After working with Marvel Studios on the popular TV series, Loki and Ms. Marvel, A-Zal is expecting an upcoming album, 17 & 11 Nights, soon after his newest singles.
“Lonely Town” is now available alongside an official music video, capturing A-Zal’s journey from India to the United States in pursuit of the famed “american dream.” The video follows him as he reminisces on performances in New York City subway stations, before his most recent big break with Marvel Studios.
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.
A sound must have life, be huge, take up space and matter in order to play at Madison Square Garden. On the New York City night of September 12th, Greta Van Fleet’s “Starcatcher World Tour” watered The (sold out) Garden for the very first time. “The world’s most famous arena” is a sort of heaven’s gate for any name in the music industry. The name Greta Van Fleet rolls right off the tongue and has proven their ability to collect a loyal fandom and climb the charts, and the key was handed over indubitably.
Photograph by Emma Dowd
The opener, Surf Curse, a surf-rock band born in Nevada warmed up the ever-filling crowd. After their performance, the Greta Van Fleet curtain was pulled towards the iconic barrelled ceiling of Madison Square Garden. The stage sat idle, out of sight, as the pre-show setlist began to play. An intense elongated intro score played between the sets. Violins and percussion sewed together to form a melody of a sort of Nordic folk music – it was a fail-safe adrenaline amplifier.
Greta Van Fleet is a transcending rock band from Frankenmuth, Michigan. The group was fortified by three brothers, twins Josh Kiszka (lead vocalist) and Jake Kiszka (guitarist), Sam Kiszka (bassist, multi-instrumentalist), and companion Daniel Wagner (drums and percussion). Their love for each other on stage is tangible in their embraces and sweet brotherly admiration. Their journey into stardom intensified their connection and heavily dosed confidence into their production.
Lights overhead shown onto the blue and white silk of the curtain, holding steady focus on Greta’s symbol. All at once the surrounding lights shut off and strobes danced across the curtain. After the hard climax of the introduction song, the curtain dramatically fell to the foot of the stage. On an elevated platform, the four-man band was revealed, posing in formation around Wagner who sat charged behind the drums.
Photograph by Emma Dowd
“The Falling Sky” was their first song of the evening, which proved an excellent introduction to Josh’s prodigious vocal range and the unmatchable aptitude of Jake and Sam on the strings. The song, as does most of their discography, allows for a melodic conversation to happen between the instruments. If one speaks, the other listens and responds.
Photograph by Emma Dowd
As fire shot above the band and sparks spewed to the beat of the percussion, a thick heat could be felt across Madison Square Garden’s vast rows of seating. The atmosphere of the night was spawned tonally and visually, for the stage was alive with hot fashion and literal flames. Josh wore his iconic white jumpsuit with a deep chest plunge – the eccentricity of outfits is something fans look forward to and emulate themselves. The rest of the band wore tight pearly white or black trousers, beaded blazers, glorious capes and a sparkly chainmail crop-top. Josh and Daniel’s faces were painted with elegant make-up that reflected with each stroke of spotlight.
Photograph by Emma Dowd
Observing Greta Van Fleet fans felt like looking into a time capsule; fashion from the sixties and seventies re-surged that evening, as people floated around in shimmering shawls and exaggerated bell-bottoms. They thrusted upon the barricade, extending their hands towards the glimmering band members as if they were reaching for grace. It’s fascinating at concerts, how the crowd reacts physically. It’s as if the sound alone isn’t enough. Their physical bodies need something to touch to hold, because the viscerality of digesting music feels too far out of body at times.
Photograph by Emma Dowd
The stage set-up served as a playground for Greta Van Fleet. The band members ran around shoeless, bounded into the air mid guitar riff, rattled their bodies to the beat of their music. Two catwalks extended into the general admission pit. There Jake and Sam took turns running out towards the edge with their instruments slung precariously over their shoulders. Multiple impressive guitar solos took place all across the stage, for their motion was fluid.
Photograph by Emma Dowd
After their first couple of songs, Josh left the stage for an outfit change. He came back adorned in a navy velvet jumpsuit to match the next few songs of the setlist. The fashionable theatrics complimented their artistry greatly. They performed “Meeting The Master,” “Heat Above,” and Josh’s favorite song on their discography, “Highway Tune.” Madison Square Garden has never been louder than it was during the final chorus of “Highway Tune.” Singing along required guttural yelling of high energy.
Josh Kiszka is a special voice in the current of music. He is the birth of something new while being a timeless looking-glass through the past of rock n’ roll. He has the confidence of Freddie Mercury. He has the celestial coolness of David Bowie. He has the hypnotic stage presence of Stevie Nicks. Most impressively, he has the raw range of Robert Plant. Though, comparing him to anyone feels sinful, for he and his band are carving their own realm of rock. He is the starcatcher, an earth-rocker.
Photograph by Emma Dowd
The transition out of “Highway Tune” turned into a drum solo by Daniel Wagner. He played with speed, edging a climax for five minutes but never finishing out the song. His intensity cooked a sweet tension in the arena, and the audience ate it up. The stamina he displayed informed the genius of their production; none of their songs ever want to end.
Photograph by Emma Dowd
Towards the finish of Wagner’s solo, the rest of the band made their way to the polar side of The Garden and crowded on a small platform with their instruments. Everyone in the standing audience shifted their attention and migrated to huddle at the base of their bare feet. The next two songs, “Waited All Your Life,” and “Black Smoke Rising” were played with the keys, an acoustic guitar, and a ginormous mandolin.
After entertaining the petite B-stage for a short while, the band was escorted by security back to the main stage. A security guard carried Josh on his shoulders while Josh tossed white roses into the understandably feral crowd, while Jake, Sam, and Daniel tossed flowers on the opposite side of the arena.
Photograph by Emma Dowd
Josh reappeared in a new jumpsuit patched with the sun and the moon. As the end of the show neared, the stakes rose. Flames reclaimed the stage, and the lights seared red. Jake took to his guitar with an impressive attack, riffing over his head and behind his back. The songs “Sacred The Thread” and “The Archer” played with the elements on stage, a thick smoke bellowed into the audience. As special as witnessing Greta Van Fleet at Madison Square Garden was, it felt like one should see them in the red dust swells of Utah, or in a spanning field with no end – some place where Earth becomes indistinguishable from the rest of the universe and all that matters is a sound.
Once “The Archer” came to a close, the band briefly waved goodbye and trotted backstage. No encore plea has ever been louder. The audience roared as one collective voice, pleading from their hearts for a return. It wasn’t long before the lights danced back to life, and the band returned in one final outfit change. Josh wore a sun pantsuit with a lavish cloak while the rest of the band seemed to lose articles of clothing, their hair a mess and eyes wild.
The key-in note of “Light My Love,” one of the band’s most successful releases, elicited a collective emote from the audience. When the second chorus blasted through the arena, sparks shot up from the stage once again. The lights stemming from the center-roof projected the colors of the rainbow, and a sea of pride flags popped up above heads in the crowd. It was a glorious moment of peace and celebration.
Photograph by Emma Dowd
Their final song, “Farewell For Now,” was the perfect send-off. It was an ode to The Garden, a praise for the fans. The lyric: “Tonight, it’s all for you,” felt personal and honest, as the members of Greta Van Fleet looked out into the cellular starlights with awe painted blush across their faces. Once the song concluded, they gathered where they started, around Daniel and his drums to take a bow. Unable to contain their thrill, they bounced off each other as they left the stage.
Photograph by Emma Dowd
It was jarring, while fans began to file out of the venue with stunned looks, to remember that Madison Square Garden is in the heart of Midtown Manhattan. While Greta’s performance unfolded and wrapped itself up again, the clamoring chaos of New York City persisted all around. I’m sure the magic could be felt radiating down the avenues.
Photograph by Emma DowdPhotograph by Emma DowdPhotograph by Emma DowdPhotograph by Emma DowdPhotograph by Emma Dowd
On the picturesque summer night of August 31st, Quinn XCII (pronounced Quinn ninety-two) shifted the EDM narrative of Brooklyn Mirage to experimental hip-hop pop. While the Mirage wouldn’t be the typical host for Quinn’s self-established genre of music, the wrap-around screens and pristine sound system served his performance well. Michael Temrowski, stage name Quinn XCII, has been making music since 2011 when he was a student at Michigan State. From college house parties to venues like Red Rocks and the Brooklyn Mirage, Quinn XCII has established a loyal fanbase.
Openers Stay Over and Skizzy Mars, a New York City native, revved up the crowd. It seemed that Quinn wanted to uphold the experimental artists, to pay tribute to their creativity and brave approach to navigating the music industry. Stay Over put on a show blended with rock and hip-hop, two very loud and vocal genres. Skizzy Mars also dabbled in hip-hop with a more indie flair. Both of their sounds were celebrated by the audience.
Photograph by Shauna Hilferty
When 10:30 PM rolled around, the lights dimmed and the bass amplified. As soon as Quinn XCII stepped foot on stage, confetti cannons showered the fans in an endless spill of rainbows. People cheered and through their hands up, letting the paper wash over their faces. His most recent hit single, “Georgia Peach,” got the crowd grooving.
The setlist was a culmination of old and new music, sort of a “best of Quinn XCII” kind of performance. The audience welcomed each phase on stage with nostalgia induced excitement. Songs dating back to 2015 got the audience just as loud as his latest releases. As notes from the past wove through his set, Quinn’s personal sound was never lost. From “Kings Of Summer” by aokay featuring Quinn XCII to “The Lows,” featuring Big Sean, his reggae influenced and rap driven style remained.
Before his song, “My Wife & 2 Dogs,” Quinn stopped the show to give respect to his beloved french bulldog, Nelson, who had to be put to rest that day. Emotions were heavy on stage and respected in the audience. Each word to the song was sung from Quinn’s heart and from the chest of everyone in the audience. Behind him on stage, was a video montage of Nelson and his other pup.
Photograph by Shauna Hilferty
For one of Quinn’s newer releases, “The Lows,” New York City artist Blu DeTiger joined him on stage to play bass. With her blue sparkly bass guitar, mini-skirt, and stomper boots, Blu added a whole other energy to the song. She tossed her lengthy blonde hair back as she headbanged to Quinn’s catchy beat. The crowd received her rock addition with vim.
Quinn XCII has been around for a lot of listeners since their grade school days. To grow up with an artist is a very intimate experience. To listen to Quinn as an adult is like getting a second chance at growing up again in your twenties. His music normalizes the wide spectrum of human emotions felt while in serious relationships, during inevitable change and stagnancy, and even while getting high in the back of your high school girlfriend’s car. The show at Brooklyn Mirage was a celebration of being alive and figuring it out.
Photograph by Shauna Hilferty
As the show came to a close, the audience chanted for an encore before Quinn was able to leave the stage. He exited the stage, but the lights darkened to a deep blue. Before everyone knew it, Quinn was back singing his first encore song, “Always Been You.” The next song, “Another Day In Paradise,” was another crowd favorite from one of Quinn’s most esteemed records, “Change Of Scenery.” Before he started to sing, he spoke sentimentally to the crowd about being present: “The good shit, the bad shit – nothing is permanent, let it pass…”
Photograph by Shauna Hilferty
Quinn XCII wrapped his show with one of his youngest songs, “Candle.” His original fans bounced on their feet and swayed their arms the entire song, almost as a wave goodbye. The confetti went off once more before the show wrapped. Quinn XCII at the mirage was the perfect summer send off. As the confetti settled and Quinn and his band took a bow, the night ended on a good note.
