NYS Music 2023

Tag: tour

  • Jason Aldean Extends Highway Desperado Tour With 3 NY Dates

    Country star Jason Aldean has announced a 24-city extension of his cross-country Highway Desperado Tour, featuring special guests, festivals, and VIP opportunities for fan across the US. Kicking off on May 18, the tour includes three NY dates in Syracuse, Wantagh, and Darien Center this summer.

    After a successful 40-date run in 2023, Jason Aldean will continue the Highway Desperado Tour in the summer of 2024. The tour begins on May 18 in Thackerville, OH, with stops at landmark venues such as Bristow, VA’s Jiffy Lube Live, NC’s Greensboro Coliseum, and more. Aldean will play in New York on three dates. He will stop in Syracuse at the Empower Federal Credit Union Amphitheater at Lakeview on July 11, in Wantagh at the Jones Beach Theater on July 12, and finally, at Darien Center’s Darien Lake Amphitheater on August 1.

    Aldean recently released his 11th studio album on November 3 to huge success. The 14-track record includes hit singles such as “Try That In A Small Town” and “Let Your Boys Be Country.” The latter includes a brand new music video featuring guest appearances by Aldean’s young son and daughter, and focuses on the simplicity and nature of rural childhood life.

    Jason Aldean

    The Highway Desperado Tour features special guests including Hailey Whitters and Lauren Alaina, as well as Chase Matthew, Austin Snell, and Dee Jay Silver at select shows. In addition to the newly added dates, Jason Aldean will headline festivals such as the Winstock Country Music Festival, the Voices of America Country Music Festival, and Canada’s YQM Country Music Fest.

    Tickets for the Highway Desperado tour go on sale on December 15 at 10AM. A variety of VIP packages and experiences are available, including premium tickets, access to the Jason Aldean VIP Lounge, pre-show acoustic performance and Q&A, VIP gift items, and more. Tickets and more information are available at JasonAldean.com and vipnation.com.

    Jason Aldean HIGHWAY DESPERADO 2024 Tour Dates

    5/18/24 – Thackerville, OK – WinStar World Casino and Resort*

    7/11/24 – Syracuse, NY – Empower Federal Credit Union Amphitheater at Lakeview&

    7/12/24 – Wantagh, NY – Northwell Health at Jones Beach Theater&

    7/13/24 – Holmdel, NJ – PNC Bank Arts Center

    7/25/24 – Savannah, GA – Enmarket Arena^

    7/26/24 – Virginia Beach, VA – Veterans United Home Loans Amphitheater at Virginia Beach^

    8/1/24 – Darien Center, NY – Darien Lake Amphitheater^

    8/2/24 – Camden, NJ – Freedom Mortgage Pavilion^

    8/3/24 – Scranton, PA – The Pavilion at Montage Mountain^

    8/8/24 – Evansville, IN – Ford Center^

    8/10/24 – Burgettstown, PA – The Pavilion at Star Lake^

    8/16/24 – Mt. Pleasant, MI – Soaring Eagle Casino & Resort* 

    8/17/24 – East Troy, WI – Alpine Valley Music Theatre

    8/24/24 – Gilford, NH – BankNH Pavilion&

    8/25/24 – Gilford, NH – BankNH Pavilion&

    8/29/24 – Greensboro, NC – Greensboro Coliseum

    8/30/24 – Bristow, VA – Jiffy Lube Live&

    9/5/24 – Bend, OR – Hayden Homes Amphitheater&

    9/6/24 – Nampa, ID – Ford Idaho Center Amphitheater&

    9/7/24 – Salt Lake City, UT – USANA Amphitheatre&

    9/12/24 – Lincoln, CA – Thunder Valley Casino Resort*

    9/20/24 – Sparks, NV – Nugget Event Center*

    9/21/24 – Laughlin, NV – Laughlin Event Center*

    10/5/24 – Macon, GA – Macon Amphitheater&

    *Not A Live Nation Date

    & with Hailey Whitters

    ^ with Lauren Alaina

  • 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.

  • Consider The Source Drop Star Wars-Inspired Music Video “Kashyyyk”

    Consider The Source, a NYC-based progressive jazz-rock trio, dropped their newest track alongside a music video for “Kashyyyk.” The video explores the band’s Eastern influences, with psychedelic graphics to accompany the new song.

    Consider The Source

    Consider The Source made a name for themselves in the NYC scene with their unique, genre-bending sound. During the pandemic, the group found themselves stranded apart from each other, forcing them to learn new techniques to record and collaborate. Their newest album, a re-issued version of their Are You Watching Closely, comes nearing the 15-year anniversary of its original release.

    Consider The Source Kashyyyk

    The group’s newest single, “Kashyyyk” is a reference to a Star Wars fictional planet, where Chewbacca calls home. The psych-rock track demanded over 30 hours of work by producer Jacob Nadeau and editor Francesca Belcastro. 

    Consider The Source will embark on a US tour this fall, with four dates in Woodstock, Saratoga Springs, Rochester, and New York City. The group will support numerous acts, including SkyDaddy, Bella’s Bartok, The Mushroom Cloud, and more. More information and tickets are available here.

    Consider the Source Tour Dates

    11.02 The Colony – Woodstock, NY +
    11.03  Bayside Bowl – Portland, ME %
    11.09  Putnam Place – Saratoga Springs, NY ^
    11.10  Nectar’s – Burlington, VT !!
    11.11  The Stone Church – Newmarket, NH &
    11.17  Flour City Station – Rochester, NY *
    11.18  Thunderbird Music Hall – Pittsburgh, PA !
    12.07  The Fox Theatre – Boulder, CO =
    12.08  830 North – Fort Collins, CO ==
    12.09  Globe Hall – Denver, CO
    12.29  Sultan Room – New York, NY #
    12.30  Electric Haze – Worcester, MA $
    12.31  Arch Street Tavern – Hartford, CT $

    + w/ SkyDaddy

    % supporting Bella’s Bartok
    ^ w/ Bella’s Bartok
    !! W/ The Mushroom Cloud
    & w/ Sqwerv
    * w/ Grub
    ! w/ TrailHeads
    = co-bill w/ Cycles
    == w/ Pipin’ Hot
    # w/ Habbina Habbina
    $ w/ Leon Trout

    Watch “Kashyyyk” from Consider the Source below.

  • Mexican Group Marca MP Announces Palladium Times Square Show This Spring

    Mexican music group Marca MP announced additional dates to their upcoming tour, including a show at NYC’s Palladium on March 9. The first leg of the 11-city tour kicks off on October 6 in Atlanta, GA, with the second leg beginning on March 1 in Sacramento, CA.

    Marca MP Tour Dates

    Marca MP, a romantic and old-fashioned yet daring musical group, consists of Chato (vocals/guitar), Omar Valdivia (guitar), and Ernesto Franco (tuba). With their simple arrangement of guitars, bass, and tuba, the band’s style shines through with the minimalistic framework.

    The upcoming tour is in support of their most recent single, “Déjame Ser,” now available on all streaming platforms.

    The general on-sale for Brindo Tour will start on Friday, September 8 at 10 AM at LiveNation.com.

    BRINDO 2023/2024 TOUR DATES: 

    Fri, Oct 6 — Atlanta, GA — Coca-Cola Roxy

    Sun, Oct 8 — Charlotte, NC — Ovens Auditorium 

    Fri, Oct 13 — El Paso, TX — Plaza Theatre

    Sat, Oct 14 — Houston, TX — 713 Music Hall

    Fri, Oct 20 — San Jose, CA — SAP Center

    Sat, Oct 28 — Palm Desert, CA — Acrisure Arena

    Sat, Nov 4 — Phoenix, AZ — Footprint Center

    Fri, Mar 1 — Sacramento, CA — Golden 1 Center

    Sat, Mar 2 — Las Vegas, NV — The Chelsea at the Cosmopolitan Las Vegas

    Fri, Mar 8 — Rosemont, IL — Allstate Arena

    Sat, Mar 9 — New York, NY — Palladium Times Square

  • HOKO Live On Tour At The Bowery Ballroom

    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. 

  • A Sold Out Show at Irving Plaza for Valley on “Lost in Translation Tour”

    On Friday, April 28th, the line of eager Valley fans spilled from the doors of Irving Plaza to wrap around the block. Despite the misting rain, the energy pulsing in the camped-out line was warm.

    Photograph by Emma Dowd

    On their “Lost In Translation Tour,” Valley sold out their New York City show. As the venue filled, it became increasingly undeniable that Valley deserved to be at a larger venue. They had performed at the lovely Irving Plaza a year prior, and since then it was clear they’ve collected a larger fanbase.

    Photograph by Emma Dowd

    The opener for Valley , Aidan Bisset, kicked off the night with his pop-grunge music. The crowd immediately received Bisset’s stage presence and relatable lyrics. He sang of toxic romances, new love, and break-ups. With two electric guitars and a drum set, he commanded a fast rhythm and infectious persona of youthful fun and passionate intensity. Bisset performed some of his hits, three unreleased songs, and even took on the vocally renowned cover, Kings of Leon’s, “Sex On Fire.” Bisset engaged with the crowd, taking their BeReals, getting level to level with them to chat, and wooing over new fans. Before leaving the stage, he graciously thanked Valley for having him on their tour.

    Photograph by Emma Dowd

    The set change was fascinating. Usually, microphones are changed and some of the instruments are shifted around. Valley’s upcoming set brought on multiple box-screen televisions to be stacked on top of each other, an ambiguous rectangular frame of notable size with drapes hanging over it, and countless additional lights. Valley’s pre-show setlist had the crowd belting familiar songs in each other’s embrace. Fog began to roll down from the balcony level and off the stage. This grabbed hold of the crowd’s attention. When the lights suddenly shut off and Irving was pitch black, the curious murmur rolled into an uproar of excitement.

    Photograph by Emma Dowd

    The TVs stacked on top of each other switched on. Their screens matched the static sound emanating overhead. Flashes of the band members’ faces and old television clips emerged sporadically through the static. The lights slowly faded from a hint of color to a bright broadcast of a Valley inspired color palette. Bass vibrated the floor, and the crowd stood in awe.

    Eventually the band ran onto the stage. Drummer, Karah James, took her throne behind the drums. Guitarist, Michael Brandolino, and bassist, Alex Dimauro ran to their instruments. They played an adrenaline inducing intro for their lead singer, Rob Laska. Laska ran onto the stage, with an electric guitar slung around his shoulders. The crowd’s response was deafening.

    Photograph by Emma Dowd
    Photograph by Emma Dowd

    Valley opened with one of their most popular songs, “There’s Still A Light In The House.” The song is a tribute to love and the endless possibilities of finding one’s self in New York City. The lyric on the bridge that goes Is it New York? Or Heaven? I can’t think twice now, was sung proudly by the New York City crowd. Laska, infatuated with the crowd’s energy, encouraged their singing. The audience sang back to the band with one collective voice that shared an affinity for their conversational lyrics.

    As the show went on, the performance became more personal. Laska jumped into the pit that separated him from the crowd to sing with some fans. In between songs, he conversed and told stories about band memories in New York City. Laska reminisced, “New York City is special to us, we wrote our first record in this damn city! We’ll be coming back forever.” This led to Valley announcement of their new record Lost In Translation, set to release on June 23rd.

    Photograph by Emma Dowd

    The draped frame that was brought onto the stage during set transitions became a crucial filament of the show. Over half way through the concert, the TVs turned back on and the lights dimmed. Laska approached the frame and tore the drape off to reveal a reflective mirror surface with strobe lights hanging from it. A phone began to ring, and Laska tugged a landline phone from the structure. He sang one of their hits, “A Phone Call In Amsterdam,” into the phone. The entire show was an artistic performance, rather than a band just performing on stage. The appreciation for the theatrics and the attention to detail resembled The 1975’s “At Their Very Best Tour.”

    As Valley trailed towards the end of their setlist, Laska emphasized his gratitude for everyone choosing to be at their show. “There’s a lot of cool shit going on in New York City on a Friday night, so I’m happy we all found each other in this vortex.” Underneath the twirling Irving disco ball, the fans really unified in their fandom. He invited everyone to join them in a state of appreciative awareness for the last couple of songs. Without a clear goodbye, Valley left the stage. The crowd was not going to leave without an encore.

    Photograph by Emma Dowd

    Heads turned in a whiplash from the front of the stage to the back of the venue. A murmur of eager confusion echoed throughout the venue. Suddenly, a spotlight shone on the back of the crowd. Laska began to make his way through the crowd towards the stage, singing “Paper Cup (sorry for myself).” The audience parted like the red sea for him to make his way towards the front of the crowd, where he sang for the remainder of the song. The rest of the band took to the stage, and Laska joined them to finish out their set with their popular song, “hiccup.”

    Photograph by Emma Dowd

    The encore applause was impressive. The sounds of cheers and screams took over Laska’s volume as he thanked the crowd. All the band members joined him at center stage to take their hard-earned bow. Karah James tossed her drumsticks, kisses were blown, and hands clasped in praise for New York City. Laska closed out the night with a sweet send off,  “Take care of each  other, love one another, and we’ll see you very soon!”

    Photo gallery by Emma Dowd