The Illusion, a Long Island based psychedelic rock band from the 1960s and 70s was recently inducted into the Long Island Music & Entertainment Hall of Fame (LIMEHoF). At the induction ceremony, the group performed onstage for the first time in 51 years.
The Illusion made a name for themselves touring with the likes of The Who, The Allman Brothers Band, The Jimi Hendrix Experience, and more. The group’s first single was released in 1968, with their debut album, The Illusion, released on Steed Records the following year. The band continued with two more albums and ultimately dissolved in the early 1970s. The group notably worked alongside Jeff Barry (Tina Turner, The Crystals), who served as the band’s producer for all three of their albums.
The group was inducted into the Long Island Music & Entertainment Hall of Fame on October 7, celebrating original members John Vinci, Rich Cerniglia, Chuck Alder, Mike Ricciardella, and the late Mike Maniscalco. Cerniglia, Alder, and Ricciardella took the stage alongside friends to play a selection of hit songs from their original discography.
The Illusion has had such a major impact and influence on so many of the performers who later themselves became inductees into the Long Island Music and Entertainment Hall of Fame, it is high time they themselves became inductees. Congratulations to the Illusion on being inducted into the LIMEHoF.
Barry Fisch, General Manager of LIMEHoF
The Illusion is credited with being an influential figure in the Long Island rock scene, as well as a key influential figure for their friend and collaborator Jimi Hendrix. The group met Hendrix by chance at a recording studio early in their careers and went on to become close friends, frequently playing together across the country.
Wednesday, October 4th was an unseasonably warm fall evening in Niagara Falls, Ontario, at Fallsview Casino. Keanu Reeves with his band Dogstar staged an outstanding performance that left no one in doubt about the memories it created. There was only one opening act, the group Archer Oh who hailed from the state of California.
Archer Oh
Dogstar consists of Keanu Reeves on bass. Robert Jailhouse on drums and Bret Dormouse on guitar and lead vocals.
As the lights lowered and excitement rose in the crowds, the members of Dogstar made their way into the stage with a powerful force that attracted viewers at first instance. Not only a great actor, Reeves showed himself to be a talented musician. The chemistry in the band was unmistakably good as they shifted from song to another with ease exhibiting their musical talent. The line-up came just at the right time for die-hard fans, who were looking forward to hearing all Dogstar’s old numbers which prompted many to sing and dance along.
Tracks such as ‘Lust’ and ‘Sleep’ were exemplary of a fusion between alternative-rock and grunge elements in the band’s music. The evening was not dull even for a moment. Reeves bass tone was haunting enough to send shakes into the bones of every listener. He interacted with the audience and made it seem as if they were participating in a unique happening.
There was a strong link between the band and its followers, making it possible for a large number of people in the venue to have an intimate environment. When the night finally ended, Dogstar received thunderous applause and shouts of ‘one more’ as they departed the stage. The audience could hardly wait for the encore from the duo who made their way back to finish the night in grand style, giving the audience four more songs.
Dogstar 2023 Tour Dates 10/08 Atlantic City, NJ – Sound Waves at Hard Rock Hotel 10/10 Port Chester, NY – The Capitol Theatre 10/11 New Haven, CT – Toad’s Place 11/30 Los Angeles, CA – Troubadour 12/03 San Francisco, CA – The Great American Music Hall 12/05 Sacramento, CA – Crest Theatre 12/07 Chicago, IL – Thalia Hall 12/08 Detroit, MI – The Majestic Theatre 12/09 Toronto, ON – Lee’s Palace 12/11 Brooklyn, NY – Music Hall of Williamsburg 12/12 Boston, MA – Paradise Rock Club 12/14 Philadelphia, PA – Underground Arts 12/15 Washington, D.C. – The Howard Theatre 12/16 Norfolk, VA – The NorVa 12/18 Charlotte, NC – The Underground 12/19 Atlanta, GA – Center Stage 12/20 Nashville, TN – Brooklyn Bowl 12/21 Nashville, TN – Brooklyn Bowl
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
Legendary singer-songwriter Bob Dylan has announced that he and His Band will be making a pair of appearances in New York State this fall, with a show in Rochester on October 24 at Auditorium Theatre, and at historic Proctor’s Theatre in Schenectady on October 30. The dates are part of the musicians’ “Rough and Rowdy Ways” tour.
Dylan has added more dates in November to his tour calendar, with shows on November 7-8 at the Capitol Theatre in Port Chester, and November 14-15 at Kings Theatre in Brooklyn.
Dylan has been an iconic figure in American music for well over five decades. Born and raised in Minnesota, it was in Greenwich Village where the artists’ career started to blossom. Boasting an unparalleled writing style, Dylan rose to prominence for his ability to blend elements of folk and rock. Within just a three year span Dylan released the ever-influential albums Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde.
Widely recognized for crafting some of the most poignant and significant protest songs, Dylan is known for his social and political beliefs. The singers’ tracks became a symbolic part of the 1960s, touching on issues like segregation, authority, and societal norms. In 2016 Dylan was awarded the Nobel Prize in Literature for his contributions to American poetry and music. Dylan has sold over 100 million records, won 10 Grammy Awards, and has been inducted in the Rock & Roll Hall of Fame.
Proctor’s Theatre was built in 1926 and hosts Broadway shows, cutting-edge film festivals, and music performances. The Arts Center & Theatre of Schenectady (ACT) stepped in to revitalize the theatre when the building faced destruction in the 70s. Since then, Proctor’s has become an integral part of the Capital Region’s arts scene. Past performers include Mariah Carey, Brittany Spears, Duke Ellington, and even comedian George Burns.
Here for tickets and more information about the Rough and Rowdy Ways” tour.
Announced Tour Dates
1 OCT- Kansas City, MO The Midland Theatre
2 OCT- Kansas City, MO The Midland Theatre
4 OCT- St. Louis, MO Stifel Theatre
6 OCT- Chicago, IL Cadillac Palace Theatre
7 OCT- Chicago, IL Cadillac Palace Theatre
8 OCT- Chicago, IL Cadillac Palace Theatre
11 OCT- Milwaukee, WI The Riverside Theater
12 OCT- Milwaukee, WI The Riverside Theater
14 OCT- Grand Rapids, MI DeVos Performance Hall
16 OCT- Indianapolis, IN Murat Theatre
20 OCT- Cincinnati, OH The Andrew J. Brady Music Center
21 OCT- Akron, OH Akron Civic Theatre
23 OCT- Erie, PA Warner Theatre
24 OCT- Rochester, NY Auditorium Theatre
26 OCT- Toronto, ON Massey Hall
27 OCT- Toronto, ON Massey Hall
29 OCT – Montreal, QB Place des Arts – Salle Wilfrid-Pelletier
30 OCT- Schenectady, NY Proctors Theatre
Nov. 1, 2023 — Symphony Hall — Springfield, MA
Nov. 3, 2023 — Orpheum Theatre — Boston, MA
Nov. 4, 2023 — Orpheum Theatre — Boston, MA
Nov. 5, 2023 — Orpheum Theatre — Boston, MA
Nov. 7, 2023 — The Capitol Theatre — Port Chester, NY
Nov. 8, 2023 — The Capitol Theatre — Port Chester, NY
Nov. 10, 2023 — Providence Performing Arts Center — Providence, RI
Nov. 11, 2023 — Palace Theater — Waterbury, CT
Nov. 14, 2023 — Kings Theatre — Brooklyn, NY
Nov. 15, 2023 — Kings Theatre — Brooklyn, NY
Nov. 19, 2023 — The Fillmore — Philadelphia, PA
Nov. 20, 2023 — New Jersey Performing Arts Center – Prudential Hall, Newark, NJ
Nov. 21, 2023 — New Jersey Performing Arts Center – Prudential Hall — Newark, NJ
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.
Rock outfit Dogstar have announced that they will be stopping in Brooklyn as part of the tour for their upcoming album Somewhere Between the Power Lines and Palm Trees, the group’s first project in over 20 years. Dogstar is made up of Bret Domrose (guitar/vocals), Robert Mailhouse (drums), and notably, Keanu Reeves (bass). The band is set to perform at the Music Hall of Williamsburg on December 11.
Founded in Los Angeles during the 90s, the group started to formulate their alt-rock sound with garage jam sessions. In 1994 Dogstar would depart on an extensive tour and a year later the collective opened for David Bowie. The band released just two albums together, Our Little Visionary in 1996 and Happy Ending in 2000. Due to the members’ other professional and artistic commitments, the group grew apart, last performing in 2002. However, Dogstar returned this year with the single “Everything Turns Around” off their upcoming album.
We are so excited to re-introduce Dogstar with our new single ‘Everything Turns Around.’ It feels like a fun summer song to us.
In addition to “Everything Turns Around” the group recently released “Breach” off of Somewhere Between the Power Lines and Palm Trees. Made for the summer, both of the albums’ singles channel the Southern California energy that the band has become synonymous with. Somewhere Between the Power Lines and Palm Trees is slated to drop on October 6.
Dogstar’s upcoming tour includes over 25 dates and stretches from each coast of the United States. The tour started on August 10 and runs until December 21. In addition to their American performances, the group also has three shows scheduled in Japan. Click here for tickets and more information.
Dogstar Tour Dates
8-22 Napa, CA – Uptown Theatre
8-23 Menlo Park, CA – The Guild Theatre
8-24 San Luis Obispo, CA – Fremont Theater
8-26 Ventura, CA – Ventura Music Hall
8-27 Solana Beach, CA – Belly Up
8-28 Santa Ana, CA – The Observatory
9-05 Osaka, Japan – Zepp Namba
9-06 Yokohama, Japan – KT Zepp
9-07 Yokohama, Japan – KT Zepp
11-30 Los Angeles, CA – Troubadour
12-03 San Francisco, CA – The Great American Music Hall
Niagara Falls was treated to a night of pulsating rhythms, electric energy, and a mix of rock anthems as Incubus took the stage on Sunday, Aug. 6 at Fallsview Casino’s OLG Stage. Despite a few hiccups, the band managed to deliver a memorable performance that left the crowd both exhilarated and yearning for more.
Disappointment tinged the excitement as news spread that Paris Jackson (Michael Jackson’s daughter) was unable to make the show, leaving fans to wonder what might have been. Nevertheless, the disappointment was fleeting, quickly replaced by the mounting excitement for the headlining act.
The evening kicked off with an explosive set by Badflower, the opening act that set the stage on fire. Lead singer Josh Katz’s charismatic presence was undeniable as he ventured into the crowd, serenading fans with an infectious energy that set the tone for the night. The band’s sound reverberated through the venue, leaving a lasting impression on concertgoers who were undoubtedly pleased by the musical appetizer they had just devoured.
As Incubus graced the stage, cheers echoed throughout the venue. However, as the band delved into their setlist, a discerning ear couldn’t help but notice moments where lead vocalist Brandon Boyd seemed to be struggling with pitch. While his distinctive voice remained captivating, occasional off-key notes hinted at monitor problems that might have marred his performance. Technical glitches can affect even the most seasoned of performers, and Boyd’s professionalism in powering through demonstrated his dedication to the fans.
Despite these minor setbacks, Incubus unleashed a cascade of hits that had the crowd swaying, singing, and chanting along. “Anna Molly” and “Nice to Know You” ignited fervor among the audience, while the introspective “Make Yourself” provided a moment of introspection amid the raucous excitement. The band’s synergy was undeniable, with Mike Einziger’s guitar riffs intertwining seamlessly with Jose Pasillas’ rhythmic drumming, crafting a sonic tapestry that resonated throughout the venue.
The setlist was a carefully curated journey through Incubus’s discography, touching on both classic favorites and newer tracks. A notable highlight was their electrifying rendition of The Beatles “Come Together,” which injected a dose of nostalgia into the night. As the show reached its zenith with “Pardon Me” and “Stellar,” the crowd’s energy surged, a testament to the enduring power of these iconic hits.
The performance concluded with a poignant tribute, as Incubus seamlessly segued from “Wish You Were Here” into a snippet of Pink Floyd’s equally iconic track by the same name. The crowd’s applause and cheers filled the air, a fitting send-off for a night of musical magic.
Despite the technical hiccups and occasional off-pitch moments, Incubus managed to cast a spell on their Niagara Falls audience, reminding everyone present of the transcendental power of live music. As the lights dimmed and the echoes of the final notes faded, concertgoers left the Fallsview Casino’s OLG Stage with hearts full and spirits lifted, a night of rock and roll reverie etched into their memories forever.
Syracuse-born, Nashville-based artist Mick Fury dropped his latest project earlier this summer titled 1981-1996. In a popular music landscape congested with hollow lyrics, cheap sentiments, and reused sounds, the album stands out for its conceptuality and thematic elements. Focused on the trials and tribulations of millennials across the United States, the album touches on topics and ideas usually avoided by mainstream stars.
We’re the most open-minded, hard-working-for-beans, thoughtful generation yet, and we’ve watched the American Dream be snatched away from us like bullies taking a kid’s lunch money
Mick Fury
Takeaways
The album’s Nashville influence is inescapable: from Fury’s country-rock tone, to the up-tempo and twangy guitar patterns, and even to the country references of dirt, whiskey, roads, and rust. Despite 1981-1996’s country leanings, Fury, along with Max McKee (bass, guitar) and Nate Felty (drums, percussion), also incorporates elements of rock, alt-rock, and even post-grunge into the project. While the instrumentation and arrangement on the album is not the centerpiece, the trio do a good job at giving space for Fury’s lyricism to shine.
With ten songs and a 33-minute runtime, 1981-1996 wastes no time getting into the topic of the project. The album opens with a 42-second recording of sensationalized claims about millennials in the style of a cable news broadcast titled “The Perception.” Angry voices yell out phrases like “snowflakes” and argue that “they want to demand respect that they don’t deserve” or that “they have traded achievement for victimhood”. The track helps tune the listener in for what Fury wants to address in the ensuing songs.
Fury begins the music by inspecting his childhood and the innocence of youth with the song “Bright Eyed Dumb Kid.” The tune is reflective in nature and touches on a topic that many listeners can relate to. Its palatable drums and calm country guitar strums make the song an easy listen. Despite the track’s clear focus, its lyrics differ from the harsh and poignant sentiments espoused on “The Perception.”
Highlights
As the album continues, Fury finds his groove with “Can’t Let Go” and “State of the Union.” The former perfectly demonstrates the singer’s smooth and comfortable delivery, helping to lull the listener into a foot-tapping trance. Fury’s lyrics about being lost and stuck without a purpose match perfectly with the songs’ alt-rock rhythm. “State of the Union” on the other hand is a fast paced track filled with attitude and frustration. The song is arguably where Fury is his most critical and thoughtful on the album. The artist highlights many of the flaws in American society with lyrics like, “Go to school for years to get your degree, get out and get a job then hopefully, we’ll get you out of debt and get you out of this town, you’ll be paying that off until you’re in the ground.”
“We go looking for hope, some kind of savior, pills, presidents, conspiracies, creators, trying to find the way through the dark but it keeps getting later”
Mick Fury on “State of the Union”
“Broken Highway” is most likely Fury’s most ambitious song on 1981-1996. The track features a blend of rock, country, psych-rock, and alt-rock to create a sound that channels the atmosphere of early 2000s radio anthems. The song is ripe with layered production and features some of the best instrumentation on the project.
Following up “Broken Highway” is “Burnin’ It Down,” which is a pleasant return to Fury’s country-rock sound. The track showcases the artist’s creativity as Fury plays with the idea of a traditional country song. Positioned as a classic “America-first” hit, the track takes aim at many of the problematic elements associated with the nation. Mick Fury sings, “Everyday there’s another threat, from some enemy I ain’t never met, we got money for missiles and fuck-all for the vets.” The artist goes on to critique the narrow-minded view that many Americans have. He writes “nothing’s wrong and nothing’s right, you ain’t looking past your own life.”
1981-1996 is conceptually profound and highlights the ingenuity and creativity of Mick Fury. While the album doesn’t reinvent the wheel sonically, Fury sounds right at home on just about all the tracks. The singer’s lyricism and writing is ultimately what drives the project. What the album lacks in nuance and specificity, it makes up for in digestibility and familiarity. In all, the album is a breath of fresh air as it looks to address a topic often untouched by others in the same lane.
The Catamount Resort Summer Series is wrapping up a jam-packed season of programming with three shows in August. Taking place over multiple weeks, the series started back on July 7 and will run until August 18. Each concert takes place on Friday from 4:30pm to 8:00pm at Catamount Mountain Resort in Hillsdale.
Boasting a lineup of local and regional bands, the Catamount Resort Summer Series looks to bring quality music to the beautiful Taconic Mountains. Past performers from this year include Sister Funk, Hedtrip, and Eric Harpe and the Delta Swingers.
Along with music, the series will also have a variety of tasty food and drink options. Organizers encourage guests to bring their own lawn chair however there are picnic tables available at the venue. Multiple of the resort’s outdoors activities will also operate with extended hours during the series, including a Zip Tour, Aerial Adventure Park, and Scenic Chairlift Rides.
The Catamount Resort Summer Series is free and open to the public. Here for more details and information about the event.
August Schedule
Aug. 4- The Silver Chain Band
Based out of Albany, The Silver Chain Band has performed across the country. From playing gigs at local New York hotspots to rocking venues down in Memphis, the group delivers impassioned performances wherever they are. Silver Chain builds on a solid foundation of Blues Folk, with elements of electric blues, and a sprinkle of rock. Their music is influenced by ZZ Top, Sonny Boy Williamson, JR Wells, Paul Butterfield, Stevie Ray Vaughan, Freddy King, Albert King, and Bill Perry, just to name a few.
Aug. 11- Victrola
Led by vocalist Victoria Palagy, Victrola is known for their creative covers of pop, rock, and blues tracks. Victoria is joined onstage with Ray Palagy, Patti Richardson, John Keane and Leo Brennan Jr.
Aug. 18- The Saints
The Saints are an experienced band that has been together for 25 years. The group loves to get the crowd moving with feel-good dance music. Perfect for the summer months, enjoy the Saints as they close out The Catamount Resort Summer Series.
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
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