NYS Music 2024

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  • Pitbull brings the “Party After Dark” Tour to the Mohegan Sun Arena

    After multiple shows in New York during the summer/fall leg of the “Party After Dark” Tour, Pitbull brought the tour north to the Mohegan Sun Arena in Connecticut. The sold-out crowd had options to see Pitbull at five locations during the summer and fall legs before he looped back around ahead of a European leg. Unlike the summer, special guest T-Pain did not come for this show leaving Pitbull the lone performer for the evening.

    Before Pitbull graced the stage, one of his DJs hyped the crowd up by playing music and getting the fans in the right mood. With the DJ on stage, there was a rush of fans trying to get inside for “Mr. 305.” The entire audience contained people of all ages. Whether it was people in their 60s or little kids, Pitbull had a diverse audience spanning a generation or two.

    Once Pitbull hopped on stage and began “Don’t Stop the Party,” off of 2012’s Global Warming: Meltdown, the dance party inside the casino arena started. For an hour and a half, Pitbull delivered hit after hit leaving the audience wowed and out of breath. When Pitbull ran on stage in the dark, from the back of the arena you could see a sea of phones leading to the barricade. The last time he was in the general area was Sept. 13 in Hartford and Sept. 12 on Long Island. Even if it was three short months, the excitement was in the air.

    The Mohegan Sun Arena is home to the Connecticut Sun. So the lower bowl seats are pulled out on metal stands. Throughout the night, fans danced with each other or by themselves. They also jumped to the music, the stands swayed back and forth. Like the lower bowl, the upper deck was also having a party. They did not sit down for one second during the show.

    During each song, the screens off to the sides and behind Pitbull and his seven-piece backing band and six backup dancers showed the audience. Each concertgoer had the same surprised and happy look on their faces. They were singing along and dancing to each show and you could just see the raw and pure joy on their faces throughout the night.

    Throughout the show, Pitbull and his dancers would run off stage after certain songs to change into different stage clothes. This led to Pitbull’s on-stage DJ playing music to keep the good energy alive. Whether it was Aerosmith & Run DMC’s “Walk This Way,” or Bell Biv DeVoe’s “Poison,” the DJ did a great job at not letting the show come to a screeching halt.

    When Pitbull and the dancers returned, they all had corresponding colors. Pitbull looked as snazzy as ever in his black, white, and red suit jacks. He dawned a charming smile each time a new color was debuted. His amazingly gorgeous dancers also had matching colors as they strutted around the stage for the entire 90 minutes. Pitbull was able to cleverly play off the dancers and vice versa to create a cheeky yet mesmerizing show.

    It’s impressive that Pitbull has a backing band behind him. Sometimes popstars and rappers do not carry any other on-stage personnel with them. But the previously mentioned seven-piece band was spectacular. There was guitar, bass, saxophone, drums, keyboards and percussion that all created a beautiful live wall of sound behind Pitbull. Having a band play live enhanced the pop sound that Pitbull has polished off so well. It adds another complex but necessary layer to the live performance.

    It was great to see Pitbull give a nod to other artists. Covering others’ tunes was his way of acknowledging their impact on him. Pitbull rapped a beautiful and clever version of Elic Crespo’s “Suavemente” which had the fans dancing all over the arena. He also included a cover of “Gasolina” by Daddy Yankee in his set. Hearing the familiar intro had fans looking at each as to say “I know this one.” It was great to hear Pitbull’s rendition of people’s favorite tracks.

    In between each song, Pitbull would give some advice to the audience and give them a pep talk while also thanking them for coming out to the show. At one point, he talked about how his one teacher, Hope Martinez had changed his life. He then told the sold-out crowd that he had built 12 schools nationwide as part of the S.L.A.M! program. S.L.A.M stands for “Sports Leadership, Arts & Management.” Those schools are “non-profit educational organization supporting the expansion of K-12 tuition-free, public charter schools in underrepresented communities nationwide.”

    Upon hearing this, the crowd roared in approval. It’s hard to imagine what The Beatles at Shea Stadium sounded like back in the 60s. Or, if you’ve never been to a Taylor Swift “Eras” Tour show, you might not be able to imagine what a roaring audience sounds like. A close third is any Pitbull show. He had the audience in a frenzy at the start of each song and at the end of the night.

    At the tail end of the show, the setlist got swapped around slightly. Instead of ending on “ Give Me Everything” off of 2011’s Planet Pit, he ended on the smash hit “Fireball” off of 2014’s Globalization. The quick change in songs at the end of a great subtle switch flowed nicely into the end of the show. When fans left the area, they all had smiles around.

    Pitbull is an entertainer that can easily fill up any arena, theater, or amphitheater. His hard work, drive and dedication for a great show spills out into the audience. It leaves the crowd with a lasting impression. The entire show is perfectly choreographed and the musicianship just doesn’t stop at “Mr. Worldwide.” He also surrounds himself with the best dancers and band to make sure that the show is as best as humanly possible. Seeing Pitbull live is an experience that everyone must do once in their life. Do yourself a favor and see him as soon as possible, you’ll witness one of the best and most pure entertainers on the road.

    Pitbull setlist: Don’t Stop the Party, Hotel Room Service, International Love/Bounce Generation Sweet Child o’ Mine/Rain Over Me (Guns N’ Roses cover), Whoop! (There It Is) (Tag Team cover), I Feel Good, Suavemente (Elvis Crespo cover), The Anthem, Gasolina (Daddy Yankee cover), Culo, I Know You Want Me (Calle Ocho), On the Floor/I Like It/DJ Got Us Fallin’ in Love, Timber, Time of Our Lives, Give Me Everything, Fireball.

  • ONCO Fermentations in Tully Announces Sunday Blues Series for 2025

    ONCO Fermentations, located in Tully, NY, has announced a new Sunday Blues Series for 2025. The brewery, kitchen and event space, opened in 2019, is located 20 minutes south of Syracuse, and showcases regional musicians on most Fridays, Saturdays, and/or Sundays.

    ONCO fermentation
    ONCO Fermentations in Tully

    The brewery in Tully is centrally located right off Route 81 (Exit 67) on the edge of Onondaga and Cortland counties, making ONCO a draw for customers from Binghamton to the North Country, and from as far as the Finger Lakes. With this geographical positioning, ONCO helps acts that may otherwise play in a concentrated local area, making Tully a destination for folks looking for live music that don’t want to drive to a city, or those fans who enjoy a short, scenic drive into the near-rural area.

    While the early music schedule at ONCO has been based on musician schedules and other events at the brewery, 2025 is the first year patrons can expect music every Sunday – with very few exceptions.

    ONCO fermentation

    ONCO is filling in most Sundays with the blues this year, one of the brewery’s favorite styles of music. Founder and Tap Room Manager Erin Bullard is a huge promoter of all of her acts, often saying “We put an urban warehouse brewery in rural America,” even though Tully isn’t truly rural.

    All shows are free of charge at ONCO, which straddles the line of listening room and bar, with a roughly 100 person main tasting room atmosphere that is festive as well as appreciative when the music plays. 

    In 2022 the brewery opened the Neo Kitchen within their space, focusing mainly on cold fermented Neapolitan pizzas, but a small expansion of offerings is currently under development. The brewery brews its own award-winning beer, and also offers nonalcoholic options, wine, hard cider and a selection of cocktails.

    ONCO fermentation

    These three threads bring people back to ONCO time and time again – beer, food, and music. The brewery also has a 3,500 square foot “Back Space” area for patron overflow and alternate activities during the shows, and a large outdoor beer garden adjoins the facility. When the weather warms up, all music is scheduled to be outside, but will be located inside if the weather is unpleasant.

    There will be no blues on select days – Superbowl Sunday, Easter, and a special events including F.I.R.E. Festival on March 9 with Jess Novak, the brewery’s 6th Anniversary Weekend Party finale on March 16, and ONCtOberfest on September 21, as well as other occasional music showcase treats.

    ONCO fermentation

    Musicians interested in performing at ONCO can reach out to Erin at music@oncoferment.com with a sample of their music, EPK, schedule and rate. The website is updated regularly with events, as well as regular posts on Facebook, Instagram, and YouTube.

    ONCO Fermentations Sunday Blues Series

    Jan 5  / Joel Kane’s Uptown

    Jan 19 / Bradshaw Blues

    Jan 26 / Tangled Roots

    Feb 2  /  Austin Jimmy Murphy

    Feb 23  /  Tangled Roots

    March 2 / Stacey & The Copycats

    March 23 / Steve Grills & The Roadmasters

    March 30 / Jes Sheldon & The Stewards of Sol

    April 6 / The Ripcords

    April 13 / StratCat Willie & The Strays

    May 4 / Steve Grills & The Roadmasters

    May 11 / Blue Tonic

    May 18 / The Shylocks

    May 25 / Jane Zell Trio

    ONCO Fermentations Sunday Blues Schedule

  • In Focus: Phish Return to Madison Square Garden

    Phish kicked off their annual New Years Run at Madison Square Garden, the band’s 16th overall at the ‘World’s Most Famous Venue’ and a feather in the cap of a band who have had a remarkable 2024. 

    With shows at Sphere in Las Vegas and a stellar summer tour culminating at Mondegreen festival in Delaware (plus 4-night Mexico and Dicks runs) the foursome from Vermont have much to live up to at MSG, where the most recent performance by the band last New Year’s Eve featured a two-set stage production of the band’s Gamehendge rock opera, the holiest of Phish grails. 

    So while the bar is set high – let’s face it, Phish fans eternally set the bar high for the band – and the band doesn’t always reach that bar. It would be impossible to do so, but they gave it the ol’ college try on Saturday, December 28. 

    The show opening “Simple” would end up being the longest jam of the night, clocking in at 13 minutes, and when that’s the case, there’s a lack of flow that follows. “Free” followed and had some meat to it, but gave way to a sedate “Farmhouse”. Throw in “Poor Heart” and “Tube” plus a rare “Driver,” and the crowd was content to fall into a well placed first set “Reba,” with a beauty of a bliss jam within. A late first set “Oblivion” thankfully did not jam out for a change, and instead gave way to “Antelope” to close, as it so often has at the Garden.

    Set two looked to get things started with “Back on the Train,” and while things were headed in the right direction, “Axilla (Part 2)” limped out of the gate, with Anastasio being a bit ahead of the band. The song struggled until the outro, which worked its way nicely into “A Wave of Hope,” a jam to enjoyably get lost in. “Round Room” – which let’s be honest, needed a little more practice – was performed for only the seventh time ever, and first since 2016, yet an apropos song for Madison Square Garden. 

    Just as the excitement over “Round Room” died down, “I Always Wanted it This Way” (aka, Page EDM) took over mid-set, and after that, the rest of the set played out with a standard “Twist,” a pleasant “Mango Song”, “Blaze On”, “Cavern” and to close things out, “David Bowie.” 

    For the encore, “Mountains in the Mist” to start meant a multiple song encore was in the works, but the bar was set high when you’ve seen “Mountains” at Sphere. “Fuck Your Face” followed and random, but possibly influenced by a recent tech CEO tweet. “46 Days” to close was on par with much of the show – fun and energetic, but nothing incredible to write home about. 

    Phish fans have three more nights left in 2024, including the 25th anniversary of Big Cypress to celebrate. What does Phish have in store to close out 2024? Stay tuned!

    Setlist via Phish.net

    Set 1: Simple, Free, Farmhouse, Poor Heart, Tube, Kill Devil Falls, Driver, Reba[1], Oblivion > Run Like an Antelope

    Set 2: Back on the Train, Axilla (Part II) > A Wave of Hope > Round Room, I Always Wanted It This Way > Twist > The Mango Song > Blaze On > Cavern > David Bowie

    Encore: Mountains in the Mist, Fuck Your Face > 46 Days

    [1] No whistling.

    Reba did not contain the whistling ending. 

    Round Room was played for the first time since June 22, 2016 (322 shows)

    Photos by Taylor Weinberg

  • The Phish Before The Storm: December 30, 1995 at MSG

    Nineteen ninety-five was as formative and important a year for Phish as they come. So, it should come as no surprise that it ended at Madison Square Garden, a venue the band today calls “home.” However, the New Year’s run for 1995 would mark only the second and third times Phish ever played MSG. Even though New Year’s Eve ’95 may get all the “glory,” it’s lead-in from the night before has a lot to offer as well.

    The show began with the relatively new “Prince Caspian,” from then yet to be Billy Breathes album. It’s a relatively quick and nondescript version. But immediately at its conclusion, some familiar feedback ensues, the signature drum beat kicks in and Phish is off and running with a rare first set, “Also Sprach Zarathustra,” or simply “2001” as it’s commonly referred to today. Phish packs a decent punch in this arena rocker that certainly is a short version when compared to contemporary ones. Yet again, the next song begins before “2001” can even finish. This time it’s “Suzy Greenberg” with Page McConnell leading the way on piano, completing a unique opening trifecta.

    Phish MSG

    Another quick, familiar-sounding feedback jam slows things down a bit before Phish takes off again. This time it’s fueled by Jon Fishman’s signature drum intro to “David Bowie.” This gives the band their first real opportunity to explore the New Year’s space at MSG, and they do just that. A patiently crafted jam is accentuated with some brilliant Anastasio-provided guitar licks, which grow slowly in ferocity. This yields a hearty response of approval from the crowd as the first real jam of the night.

    The first set also features a “Kung” sandwich, with the opening and closing sections of “It’s Ice,” ably serving as the bread. There’s even a nod to Gamehendge, courtesy of the ensuing “The Man Who Stepped Into Yesterday” sequence, with the Mike Gordon-led “Avenu Malkenu,” placed right in the middle per usual. Emotions then come to a peak in the first set with an absolutely rousing “Divided Sky” that features a noticeably long “pause.” A quick romp through “Sample In A Jar” brings a first set that seemed to pull a little bit of everything from the band’s mid-90s repertoire.

    Phish MSG

    Native New Yorker, Mike Stone, got to make the chess move, on behalf of the audience prior to the start of the second set. This was the second of two chess matches between the band and their fans in 1995. These wound up being split. And for those unaware, the rematch looms.

    While the second set doesn’t offer up as much in the way of rarities as the first, it more than makes up for it in execution. “Ya Mar” opens the second stanza and includes a perfectly placed “Auld Lang Syne” tease from Trey. Another fairly new song still finding its legs in “Free” follows this. But the highlight of the set, and possibly the show, is the triumphant “Harry Hood” that comes next and builds to an incredibly emotional peak. When this is paired with a thunderous “AC/DC Bag,” it creates one of the earlier special Phish moments at MSG.

    “Lifeboy” serves as the well deserved ‘breather’ song after this impressive sequence of music. But that’s the last of its kind for this show. “Scent Of A Mule” sees a particularly drawn out “Mule Duel” between Trey and Page before its maniacal klezmer-esque finish. And the set ends in fine fashion with a double closer of sorts. A standard take on the Picture of Nectar classic “Cavern” begets an absolute whirlwind of a “Run Like An Antelope” and the typical musical chaos that comes with it.

    For an encore, Phish trotted out “A Day In The Life,” a Beatles cover that was also new to 1995. This would be the only non-instrumental cover of the evening. An impressive performance of nearly all originals, both new and old, defined the second ever Phish show at MSG. And it certainly laid the groundwork for what would be the third time’s “charm” the following evening.

    Phish MSG New York, NY 12/30/95

    Set 1: Prince Caspian > Also Sprach Zarathustra > Suzy Greenberg > David Bowie, Simple > It’s Ice -> Kung -> It’s Ice > The Man Who Stepped Into Yesterday > Avenu Malkenu > The Man Who Stepped Into Yesterday > Divided Sky, Sample In A Jar

    Set 2: Ya Mar, Free > Harry Hood > AC/DC Bag > Lifeboy, Scent Of A Mule > Cavern > Run Like An Antelope

    E: A Day In The Life

  • Busy’s Dead Collective Hosts Dead Night at Sultan Room on January 11

    Coming to Bushwick on January 11, Grateful Dead/Jerry Garcia Band cover band, Busy’s Dead Collective, hosts their annual Dead Night at The Sultan Room.

    Busy's Dead Collective

    The earliest Grateful Dead/Garcia show in NYC of 2025, this Dead Collective is determined to make this an unforgettable night of music.

    Busy's Dead Collective

    Featuring two sets from Busy’s Dead Collective, the band performs high-energy and experimental Grateful Dead and Jerry Garcia Band cuts, creating a night of psychedelic winter magic at one of Brooklyn’s most exciting venues.

    The show starts promptly at 7pm, with a hard curfew of 11pm. In between these two sets, Eat Records NYC and NYC Dead Club will be spinning to keep the music flow going.

    Get tickets in advance here.

  • In Focus: Hayley Jane and Laura Leigh Warm up Ophelia’s in Albany

    Hayley Jane and Laura Leigh paired up for an unforgettable night of music at Ophelia’s in Albany on the bitter cold night of December 21st.

    Hayley Jane and Laura Leigh
    Photo by Pat Rogers

    The show capped off a week that saw Ophelia’s welcome Slidin’ Dirty relocating from Troy and serving up a deep menu of top notch burgers and more.

    Hayley Jane and Laura Leigh
    Photo by Chris Bobillo

    The evening was presented by Guthrie/Bell Productions and also the final Jam for Tots show of the holiday season. (thanks to all who brought an unwrapped toy!)

    Hayley Jane and Laura Leigh
    Photo by Pat Rogers

    A natural pairing for this show, Hayley Jane and Laura Leigh have performed shows together since 2022. Hayley pulls inspiration from so many styles – 60s + 70s rock + pop, musical theater, folk, blues, soul, psychedelic, funk + bluegrass – and offers a no holds barred approach to her sets. This made each song a performance, nothing less. Hayley Jane’s passion and energy are expressed out to the audience, bouncing back off and driving each show to new heights.

    Photo by Chris Bobillo

    Opening up, Laura Leigh’s set picked up steam slowly and offered no break once the wheels were turning. Hailing from Cambridge in Washington County, Laura Leigh has gone from busking around the Capital Region to performing on local stages to a growing audience. Her 2021 album Livin’ in Cambridge painted a picture of her small town, and newer songs since written offer a glimpse into a songwriter’s journey.

    Learn more about Hayley Jane and Laura Leigh.

    Photos by Chris Bobillo

    Hayley Jane and Laura Leigh
    Hayley Jane and Laura Leigh
    Hayley Jane and Laura Leigh
    Hayley Jane and Laura Leigh

    Photos by Pat Rogers

    Hayley Jane and Laura Leigh
    Hayley Jane and Laura Leigh

  • Hearing Aide: Ross Goldstein Releases Fifth Studio LP “Blunders” 

    Ross Goldstein released his brand new album, Blunders on November 15 on OddCat Records. The nine track, polished LP takes a deep dive into the world of psychedelia and features producer Eric Goulden (Wreckless Eric). This is Goldstein’s fifth full-length record, following his 2021 release Chutes and Ladders. 

    Ross Goldstein
    Artwork by Robert Beatty

    Recorded in Catskill, NY at Goulden’s home studio, Blunders was co-produced and engineered by Wreckless Eric. Both Goldstein and Goulden are credited with playing almost every instrument on the record. Despite a morose subject matter, there’s a noticeable warmth that encapsulates Blunders.

    Goldstein refers to the LP as “bummer psychedelia” and states that he was “aiming to achieve a cinematic mood and a feeling of being alone and lost on the road in America. Living on the road and feeling lonely and isolated are central themes of the record – attempting to pick up the pieces after relationships fall apart – both accepting and embracing failures.”

    Goldstein cites 60’s and 70’s pop, artists like Neil Young, The Beatles, and Grateful Dead as his primary influences as a songwriter. He also references Holland, the 1973 release by The Beach Boys as a major source of inspiration.

    Goldstein’s arrangements, eclectic songwriting and heavy use of imagery in his lyrics allow for each song to stand alone – yet they are pieced together in a way that not only establishes his goal of cinematic musicality, but creates a captivating piece of art from Blunders’ first note, to its last. From the country americana, tinged by psychedelia vibes of “My Slippers”, to the dreamy, albeit uneasy soundscapes on tracks like “The Village”, this record has a welcoming yet dark in nature attitude.

    His eccentric tones, emotional guitar solos, goosebump inducing textures and production techniques are reminiscent of bands like Pink Floyd and Ween. His use of spoken word on “Carrizozo” and “Ticker Tape”, the funk grooves of “Odd Man Out” and the seemingly not so lyrically serious “I Forgot To Comb My Hair” are just a few examples of how this genre-blending, borderline defying release synthesize under an umbrella of psychedelic folky goodness.

    Blunders is currently available on all streaming services – learn more and support Ross Goldstein here.

  • On Air Fest Announces New Wave of Speakers For Feb 2025

    In February 2025 over three days, four nights and held in six locations (with 80+ Sessions & 200+ speakers) On Air Fest’s Annual Sound and Storytelling Festival will take place, where podcasts are elevated into an art form and expanded through voice, visuals and multi-sensory experiences.

    On Air Fest

    Over February 19-21, 2025, these 80+ live performances and podcast tapings, exhibitions and multi-sensory experiences, intimate talks and interactive workshops are designed to help those in the music industry level up skills and more. Thousands of creators and creative professionals working in audio, visual and new media will all come together as part of the annual event’s most dramatically expanded line up to date, and today, On Air Fest announces its next wave of featured talent.

    From artists to industry leaders to the influential voices defining the medium, each session will be focused on the ways in which audio is being used to shift culture, build brands, and shape the future of storytelling, social media and self-expression.

    Taking over multiple floors at its returning headquarters of the Wythe Hotel, as well as first-time locations like the 15,000 square-foot Creator Hall at XXV, iHeartPodcasts’ Official Party at 74 Wythe, music and arts venue National Sawdust, and Dolby88’s VIP theater for film screenings, 

    On Air Fest’s 2025 newest additions to the lineup include:

    Dan Taberski on the making of his breakout hit, Hysterical (Wondery & Audacy’s Pineapple Street Studios), named Apple Podcasts’ Show of The Year and TIME’s #1 Podcast of 2024.

    A keynote conversation from tech and culture journalist Taylor Lorenz, about media’s new mainstream, the creator economy, and power. 

    on air fest

    A creator session with Kareem Rahma, of SubwayTakes and Keep The Meter Running. 

    Acclaimed musician, mystic and new age legend Laraaji, leading the audience in a guided laughter meditation. 

    Live podcasts of Wondery’s Lemme Say This with Peyton Dix and Hunter Harris, Slate’s Death, Sex & Money with Anna Sale, SiriusXM’s Vibe Check with Sam Sanders, Saeed Jones, and Zach Stafford, NPR’s It’s Been a Minute with Brittany Luse, TED’s How to Be a Better Human with Chris Duffy, Pushkin’s Broken Record with Justin Richmond and a musical guest, and WaitWhat’s Pioneers of AI, where Dr. Rana el Kaliouby will demonstrate the making of an AI clone, and consider the applications and philosophical implications of “digital twins” in the real world.

    on air fest

    NPR’s Throughline will present cinematic soundscapes, Twenty Thousand Hertz’s Dallas Taylor will deliver a workflow workshop, The Atlantic’s Hanna Rosin and Lauren Ober will conduct an “Anatomy of a Scene,” Craig Finn and Jody Avirgan will debut their brand new Talkhouse Network podcast in an exclusive first-look, and Elliot Krimsky and Benjamin Louis Brody will perform and discuss Shared Spaces, a musical exploration of collective loss and memory.

      Previously revealed programming ranges from SNL’s James Austin Johnson and Jokermen to The Kid Mero’s Victory Light Podcast, Alex Goldman of Hyperfixed and Reply All, Design Matters’ Debbie Millman, Modern Love’s Anna Martin, Radiolab creator Jad Abumrad, The New York Times’ Jenna Wortham, Snap Judgment’s Anna Sussman and many more, as well as KCRW and On Air Fest’s inaugural KCRWWW – a pop up radio lounge that will live-stream music, talks and sonic experiments, free and open to the public through a dedicated microsite. 

      Exact schedule details will be announced in the coming weeks – as well as more lineup additions from media and programming partners at NASA, WNYC, WBUR, Talkhouse and Radiotopia/PRX, and presenting sponsors such as iHeartPodcasts, Patreon, Dolby, ESPN 30 for 30, PAVE Studios, Shure and Bumper. But it all begins on February 19th, with the On Air Fest Podcast Business Summit. Co-presented by Bloomberg and reporter Ashley Carman, the invite-only gathering of business, tech, advertising and publishing executives will explore and forecast the latest trends, challenges, and opportunities.

      Learn more and purchase tickets here.

    • West Village Performance Space The Kitchen Announces Winter/Spring 2025 Season

      The Kitchen, a performance space located in the West Village neighborhood of Manhattan, has announced two new projects for the upcoming 2025 season.

      Lisa Alvarado and Gordon Hall will bring their performance installations to the space, while The Kitchen’s first traveling exhibition continues to distribute the organization’s work outside of New York and expand its approach to being “without walls.”

      The Kitchen

      The Kitchen‘s 2025 season will be transformed by these two monumental installation works that become new platforms and frameworks for explorative performance, while simultaneously continue to work within new modes of distribution in its first-ever traveling exhibition. 

      The latter represents a momentous step forward in the organization’s “Without Walls” programming, which harnesses the potentials of locational and institutional porousness and has presented work in dynamic sites ranging from a gas station and a park to radio and web broadcasts, often in bold cross-institutional collaborations.

      The Kitchen Winter/Spring 2025 Season Schedule

      Lisa Alvarado: Shape of Artifact Time 

      The Kitchen at Westbeth | Feb. 27–Apr. 12, 2025 | Wednesday–Saturday, 12–6pm,
      Performances: Feb. 28 and Mar. 1, 2025, 5pm
      Opening Reception: Feb. 28, 2025, immediately following the performance 
      Tickets: $10-30 sliding scale

      Lisa Alvarado’s interdisciplinary practice is rooted in cultural tradition and social history. Born and raised in San Antonio, Texas and based in Chicago, Alvarado works as a visual artist and musician with the ensemble Natural Information Society. Alvarado is inspired by the “timing and processes of slow transformation within the ground — transforming minerals, elements, and landscapes.” She calls this pace geologic time and understands these changes as “a metaphor for our internal shifts, such as in how we carry memory, loss, and inherited struggle.” 

      Code Switch: Distributing Blackness, Reprogramming Internet Art at MOCAD

      Museum of Contemporary Art Detroit | May 2–Aug. 10, 2025 | Wednesday–Sunday, 11am–5pm (Thursdays and Fridays 11am–8pm)

      The first of its kind internationally, Code Switch: Distributing Blackness, Reprogramming Internet Art is a multi-sited exhibition exploring and redefining the history of “Black data,” centering and celebrating contributions by artists of African descent to the rapidly advancing field of new media art and digital practice. Drawing its title from André L. Brock’s groundbreaking text Distributed Blackness: African American Cybercultures (2020), the exhibition explores the relationship between Black cultural production and the legacy of computation as a mode of machinic engagement and creative inspiration. This exhibition will take on two components—the first part, a historic archival timeline as presented by The Kitchen in collaboration with The Schomburg Center for Research in Black Culture in Fall 2024 (October 15–December 19, 2024); the second part, a contemporary group show, to take place Spring 2025 (April 25–September 7, 2025) in partnership with the Museum of Contemporary Art Detroit (MOCAD). 

      Gordon Hall: Hands and Knees

      The Kitchen at Westbeth | May 1–31, 2025 | Wednesday–Saturday, 12–6pm

      Opening Reception: Saturday, May 10, 2025, 4–6pm

      Performances: May 9, 10, 17, 24, and 31

      Tickets: Free

      For this newly commissioned body of work, Gordon Hall continues their practice in sculpture and performance with an installation of functional furniture-like sculptures that support reclining bodies in unexpected ways. Animated by a transgender politics that question the norms that govern embodied life, Hands and Knees extends Hall’s investigation into the politics of vulnerability and corporeal support. Performers demonstrate possible uses of the sculptures in weekly performances that emerge from Hall’s inquiry into the paradoxical interplay of vulnerability and liberation in moments of waiting.

    • Tryst La Noir Returns with “Dirty & Wild” New Single, “Goddamn!”

      The Hudson Valley’s busiest goth triple-threat, musician/DJ/burlesque queen Tryst La Noir, has returned with a new single that’s as “raw, dirty and wild” as love itself, a sonic blast entitled “Goddamn!”

      Tryst’s latest is another preview of tunes earmarked for her as of yet untitled third album slated for release in Spring 2025. Earlier this year, Tryst and her collaborator, Brooklyn-based producer/guitarist Steve Woodzell, unleashed a duo of singles from the album  “Bathwater Blues” and “Oh Lover”.

      Tryst says, “In comparison to my previous albums, this will be my most vulnerable yet. I have been experimenting with instruments and sounds that I never had before.  And when it comes to the writing process, especially the lyrics, I am not sugarcoating anything.”

      The fierce “Goddamn” bears some of the hallmarks of Tryst’s greatest musical influences, including Nine Inch Nails, Nick Cave, Depeche Mode, PJ Harvey, Morphine, and even the bluesy love laments of jazz songbird, Billie Holiday. “I really love old blues music from the 40s, along with 60s psychedelia, 80s goth, 90s grunge and post-punk.  My music is a mash-up of all these styles, with an accent on full-on passion and energy.”

      Tryst’s newest single slams a slow industrial groove, accented with a dense mix of fuzzy guitars, impossibly big beats, howling synths, and her caterwauling vocals. Lyrically, the song profiles a fiery love affair that sparks a combustible attraction between lovers that comes with an overdose of both passion and toxicity.

      But music is just one facet of Tryst’s busy career. She also works as a DJ at leading area clubs, including Pearl Moon, Colony Woodstock, and The Avalon Lounge. Tryst also serves as a performer and host of a series of burlesque nights produced by Strangehouse, an event and video production concern she runs with her partner, musician/videographer Byron Frayne.

      Tryst La Noir

      Look for Tryst La Noir spinning at Kingston’s Unicorn Bar for its Bowie Birthday Ball on January 24 and her ongoing Friday Night Fever at Colony Woodstock on January 3.  She will also bring her burlesque spectacular to the Colony on Valentine’s Day.