Janelle Bradshaw has wondered, “Why can’t the Finger Lakes be like Nashville?” As a local resident of the Finger Lakes region, Bradshaw has witnessed the sheer volume of talent the area has to offer. The problem was easy access to the region’s music scene. So Bradshaw pioneered a website to promote the various musicians and venues of the Finger Lakes area.
Created by Janelle Bradshaw, FLX Music 247 offers a meticulous planner, containing various artists’ and venues’ schedules throughout the entire Finger Lakes’ area. The website’s homepage hosts a master calendar organized by region, genre, and venue, allowing its users to discover live music without the hassle of scrolling through multiple websites for hours on end.
Janelle Bradshaw, the creator of FLX Music 247 and the co-founder of the Rocco Scott LaFaro Geneva Jazz Festival.
“The combination of what’s to eat, what’s to drink, and who’s playing the music all influence the decision of where to go out,” the creator of FLX Music 247, Janelle Bradshaw, stated. “If you don’t have all those pieces, you just stay home.” Bradshaw’s innovative website solves this dilemma, making planning effortless, whether it be planning for a night out or for a trip months in advance. The calendar currently promotes events from as recent as the current date to as far as five months in advance in December.
Since its creation in January of 2022, Bradshaw has publicized music from over 400 venues, promoted over 750 musicians, and advertised approximately 40,000 live music events. Around 90% of these events are free and are located within the rural Finger Lakes area. Professional venues, such as CMAC, aren’t included in the statistics, proving that the Finger Lakes area has much to offer.
It’s this sheer volume of musical talent in the Finger Lakes area that makes Bradshaw wonder why the Finger Lakes can’t be more like Nashville. She hopes one day artists will record in studios throughout the rural area, transforming the Finger Lakes into a musical hotspot. Bradshaw hopes her website can be an integral part in elevating the music scene as a whole, consistently presenting better and better music.
To reach this goal, Bradshaw wants to change people’s mindset. When planning a night out, she wants the band to be at the forefront of people’s minds, not the venue. “People get pigeonholed and can’t find new music, because they only go here and there. But would they go somewhere else if they were following a band?” Bradshaw wondered.
Instead of heading to a venue, hoping the music is good, people can head to FLX Music 247 and base their decision of where to go out on the band that’s performing. Bradshaw stated, “If I could see four different bands and they’re all within eight to ten miles of each other, I’m going to hear the band I want to hear, not just go to drink the venue’s beer.” With this new mindset, venues will shift their objective to promoting top-tier music, and in turn, artists will be pushed to perform to the best of their ability.
Janelle Bradshaw talks about the inception of the 1st annual Rocco Scott LaFaro Geneva Jazz Festival.
In addition to FLX Music 247, Bradshaw continues to promote the Finger Lakes’ music scene through the Rocco Scott LaFaro Geneva Jazz Festival, which she co-created with Michael George Gonzalez in 2023. The idea for the festival arose after Bradshaw realized that Philadelphia bassist and leading name in jazz, Christian McBride, was going to perform in Geneva to celebrate the life and legacy of Rocco “Scott” LaFaro. Geneva has previously celebrated LaFaro’s jazz legacy for six years; however, this was the first-time famed jazz bassist and composer McBride would be part of the celebrations. As a jazz enthusiast, Bradshaw wanted to generate a pathway of excitement for McBride’s upcoming performance. It was her passion for jazz and desire to spread this passion that led to the creation of the Rocco Scott LaFaro Geneva Jazz Festival.
The first annual Rocco Scott LaFaro Geneva Jazz Festival took place the week leading up to McBride’s concert. Artists like Jimmy Richmond, the Nancy Kelly Quartet, and Jimmie Highsmith Jr. performed across various venues in the Finger Lakes area. It was such a success that jazz fever told hold of the region. “Two years ago, there was no jazz in Geneva,” Bradshaw stated. “Last year, you could see jazz in Geneva about once a week. And this year, you can see jazz four times a week in the Geneva area.”
View the lineup of artists for the second annual Rocco Scott LaFaro Geneva Jazz Festival, which took place April 4-7 of 2024.
Local venues, like Brewery Ardennes and Geneva On The Lake, now host weekly jazz happy hours and jazz brunch. But this isn’t the only way local venues have joined the jazz community. During the second annual Rocco Scott LaFaro Geneva Jazz Festival this past April, ten venues hosted various jazz musicians’ performances.
One such venue was Club 86. Although it now acts mainly as a wedding venue, the club was once the spot for jazz legends, hosting the likes of Ella Fitzgerald, Louis Armstrong, Dizzy Gillespie, Nat King Cole, Lionel Hampton, Buddy Rich, and Tony Bennett. Club 86 was brought back to life during the annual jazz festival. Not only did the jazz festival rejuvenate the club but it was also a thrilling experience for the performers. Bradshaw stated, “To be able to say, Hey, I played on the same stage as Ella Fitzgerald, is a cool thing to be able to say.”
Club 86 pictured sometime between the late 1940s and early 1950s when it was at its high of jazz performances.
Bradshaw has already begun planning the third annual Rocco Scott LaFaro Geneva Jazz Festival, which is scheduled to take place from April 3-6 in 2025. She hopes the festival will be not only a celebration of the Finger Lakes’ jazz scene but a reminder of the exceptional music the Finger Lakes’ area has to offer. To view all the music the Finger Lakes provides, head to Bradshaw’s website FLX Music 247 or click here.
Up-and-coming artist MacInizby made her debut on May 24 with the release of her new single “Closet.” The song chronicles a queer coming-of-age love story. With its lyrics balancing between vulnerability and raging catharsis, MacInizby commands the spotlight as she advances in the indie-rock scene with her debut single.
MacInizby’s debut single “Closet,” released May 24, 2024.
MacInizby is the passion project of Maggie Bishop, a recent graduate of NYU’s Clive Davis Institute of Recorded Music. While Bishop released an album and an EP under her own name in high school, she wanted to separate herself from her old acoustic, bubbly rock sound. Her music, along with herself, matured throughout her four years of college. It was this evolution that transformed Maggie Bishop into MacInizby.
MacInizby is the surname of Bishop’s Scottish grandparents. Not only does the name harken back to Bishop’s heritage but it’s also a reminder of her days as a drummer in Scottish marching bands. MacInizby continued to play in a variety of bands throughout college. However, unlike the traditional Scottish marching bands of her youth, MacInizby now played with New York City’s indie rock bands, including Bec Lauder and The Noise, Breaker, and Rose Paradise.
Through collaborating with multiple NYC bands, MacInizby learned the art of collaboration. MacInizby recalled how she lacked this joint effort in her early high school years, crafting her songs in isolation. It was an isolation that slowly disintegrated the more she stepped behind the drum kit, working with various bands. She came to value other’s insights and perspectives on her music. It was this maturation as an artist that would help to inform her latest release, “Closet.”
Photo Credit: Hellen Elizondo
“Closet” was co-produced by MacInizby’s college friend Jacob Geoffery, who also played lead guitar on the track. The addition of Geoffery’s rhythmic guitar riffs helped transform “Closet” from an acoustic demo that MacInizby created early on in 2023 as a school assignment into an energetic, hypnotic, indie-rock single. MacInizby nurtured her acoustic demo 24/7 to make this metamorphosis complete. She recorded takes after takes of guitar, bass, vocals, and backing vocals, later editing them all together in her room. So every sound you hear on the track, excluding the lead guitar, is made and produced by MacInizby.
MacInizby admitted the numerous takes and recordings were due to her perfectionism, which she struggled with. “It’s hard to reconcile what you think something should sound like and what something does sound like, because it’s never going to be exactly what you hear in your head,” MacInizby stated. “But I think that’s the beauty of music production. Weird things and mistakes happen, but there’s beauty in it. I’m trying to allow myself to create without always being an editor or critic in my head.”
MacInizby’s dedication paid-off as the result is a single reminiscent of the late ‘90s and early 2000s with heartfelt lyrics that reach one’s core. MacInizby best summed-up her creation herself. When creating the song, she said, “I try to explore like, What would Phoebe Bridgers sound like if she were writing to an Avril Lavigne track?” Inspiration from Phoebe Bridgers is clearly visible in MacInizby’s debut single. Take Bridgers’ track “I Know The End.” Bridgers’ mellow beat that’s interrupted by her screaming is mimicked in MacInizby’s quiet vulnerability and raging catharsis. The two seemingly contradicting natures are blended together so beautifully that tears will well up all the way from the pit of the listener’s stomach.
MacInizby’s cover of Phoebe Bridgers’ “Halloween.”
MacInizby’s passion and meaningful lyrics also hit the listener’s heart. The lyrics highlight the struggles of a queer relationship. It tells the story of a first love, falling in love with someone, who isn’t ready to share that love with the rest of the world. While MacInizby has written love stories in the past, she has never expressed the queerness of those relationships until now. “I’ve never really been in touch with my emotions or able to explain that to people, especially as a young queer kid growing up, who didn’t always feel like I could talk about how I was feeling,” MacInizby said. “Songwriting is a place for me to allow myself to be introspective and feel things to their full extent.” She hopes to provide this place for others through her music.
That place will only continue to expand as MacInizby writes more music in the upcoming year. With talk of another single release later this year and a potential EP release next year, fans eagerly await to see this new artist carve out a space for herself in NYC’s indie rock scene.
MacInizby / Maggie Bishops will perform at the Song Suffragettes on June 25, 2024 at Pink Frog Cafe.
But fans don’t need to wait for the release of more singles. If you’re in the New York area, MacInizby will be performing this Monday, June 24 at the Map Room at Bowery Electric located at 327 Bowery Street. She’ll be performing alongside Lillian F**king Jones and Emily Patt. Doors open at 7:00 pm for a night of high energy melodies.
She’ll also be performing the following day, Tuesday, June 25 at Pink Frog Cafe located at 221 North 9th Street in Brooklyn, as part of the Song Suffragettes, an event highlighting the best women singer-songwriters in NYC. This event will be a change of pace from the night before. MacInizby will forgo her energetic persona for that of the acoustic, melodic Maggie Bishops. To hear MacInizby’s older music, head to the Pink Frog Cafe on June 25 at 8:00 pm.
“I wanted to try everything. But my chorus teacher told me, ‘You can either be a cheerleader or you can be a vocalist, but you can’t be both.’ I asked, ‘Why not?’”
While Erin Boyd didn’t become a cheerleader, she did become a vocalist. And a songwriter. And a director of her music videos, an actor, a bar owner, and an activist. Over the course of her career, Boyd proved she can wear and pull-off all kinds of hats, truly becoming a jack-of-all trades. At one point, Boyd almost added the hat of a gymnast to her collection. But after breaking her heel for eight summers in a row, Boyd decided to not invest in the gymnast hat. Instead, she took her mother’s advice and invested in a musical career.
Erin Boyd
As a child, Boyd was surrounded by various genres of music. Her mother was a piano player with a love for jazz, R&B, and soul; while her father loved the blues. The pillars of these genres – Oleta Adams, Anita Baker, Whitney Houston, Ella Fitzgerald, and Donny Hathaway to name a few – echoed off the walls of Boyd’s childhood home. At night, Yanni’s 1994 album Live at the Acropolis or Whitney Houston’s “Miracle” could be heard on repeat coming from Boyd’s room. Her ears were open to listening and learning all that she could.
Boyd’s mother fostered her musical passion and encouraged her to audition for Tampa’s all-girl song and dance ensemble. Boyd auditioned and made the group. It was the moment music became the focus of Boyd’s life. But performing was much different from listening to music at home. “I was so green. I’ve never done anything except sing in the choir at my elementary and middle school,” Boyd recalled. “So to all of a sudden be singing for Bill Clinton and performing for the Orlando Magic, it was a really great starting point for me to learn about music.”
Boyd quickly learned the musical ropes and continued to grow, heading off to college, studying abroad, and finally landing in New York City, where she completed her studies and continued performing.
Big Daddy Kane talks with members of Lifted Crew about the formation of “Las Supper.”
While in NYC, Boyd joined Lifted Crew. This ten-piece ensemble was a hip hop fusion group that shared the stage with the likes of Slick Rick, Kid Cudi, and Eddie Vedder. The group also acted as the permanent band for the legendary Big Daddy Kane in his project Las Supper. Through multiple collaborations with music icons, Lifted Crew acted as the training grounds for Boyd’s songwriting and performance skills.
Then in 2016, Boyd went solo. Even though she was going solo, she wasn’t alone. She worked on her solo album with a number of friends, some of whose friendships spanned over 18 years. Her friends included the late James Casey, Dmitry Gorodetsky, Nigel Hall, Elenna Canlas, Weedie Braima, and Nick Cassarino among others. To honor the collaborations with her friends, Boyd chose to title the project Phantom Vanity. “There’s a vanity that I would need to have to say it’s just me, because it wasn’t,” said Boyd.
The result was a genre-bending album that included elements of the songs Boyd listened to as a child. Elements of funk, folk, soul, jazz, and R&B are woven through each song, creating a musical quilt that wraps around you, keeping you warm on a mid-spring day after the rain has settled, quite literally. The track “Wet” is a minute of pure rainfall.
“Wet” enhanced the narrative Boyd seeks to tell. At her core, Boyd is a storyteller. Some tracks on Boyd’s debut album, Vintage Slacker, tell stories with a transcendental and spiritual message. The opening track “Perish” starts with echoes of “Hallowed be thy name.” The verse in and of itself holds religious connotations. “Hallowed be thy name talks about things on earth being as it is in heaven,” Boyd said. “I do believe there’s pieces here on earth that transcend wherever our spirits go.” Boyd said these heavenly pieces can be found within ourselves. Each person contains a light and energy that can sway them to be the best they can be.
Boyd said, “Especially now, everything is so turbulent. It’s so easy to be filled with rage and confusion. I think it’s really important that we try to find a space for light, love, forgiveness, compassion, and empathy, so that we can stop the genocide that’s currently going on. We can really make a change in people’s daily lives. Little actions make big ripples.”
Boyd hopes her music can be a space for love and empathy. This mission is seen not only in her solo work but also in her work with the Resistance Revival Chorus. The RRC is a collective of women and non-binary singers, who breathe joy and song into the resistance and who uplift and center women’s voices. The chorus shows that the resistance comes in different forms, like that of powerful and inspiring music. With the RRC, Boyd sang with Fleet Foxes on The Late Show with Stephen Colbert and for Harry Belafonte at his 95th birthday celebration.
Erin Boyd directed the music video for her single “Perish.”
In addition to her music and activism work, Boyd owns her own bar. She established Filthy Diamond, located at 679 Knickerbocker Avenue in Bushwick. The bar just celebrated its first birthday this past March and hosts a number of weekly events. Every Monday, you can play chess while enjoying live jazz music. On Wednesdays, get trapped in a singular year of music, listening to all the top hits and hidden gems of that year. Then on Sundays, unwind with coloring books and cocktails.
Expect to take a step back in time when entering Filthy Diamond. The bar hosts a wide collection of vinyl, allowing its patrons to relish in the full arch of an album. And don’t expect to be watching the latest Rangers game either. “There’s no TVs,” Boyd stated. “When you’re there, you talk to strangers. It’s important to talk to people that aren’t your friends, that aren’t from where you’re from, because that’s how you learn more about the world and more about yourself. The closer we can get to as many people as possible, the better, safer, and more filled with love this world is going to be.”
Erin Boyd inside her bar, Filthy Diamond, located at 679 Knickerbocker Avenue, Brooklyn, New York 11221.
Boyd will continue to fill the world with even more love with her upcoming sophomore album. The album will center around the message of self-belief. It’s a message found within Boyd’s favorite lyric she’s ever written. The lyric is in her debut album’s opening track “Perish” and is as follows: “Beauty like your talent won’t make you who you are. This much I’m sure. If you walk like you’re broken, no light will shine, I’ve learned with time.” Boyd explains the lyric, “Everyone has gifts, and the ego can drive people to believe that that’s all they have to offer. I think it’s really important to realize if you don’t believe in yourself, if you don’t see yourself, then there’s no space for light and love and resilience. You have to find the space within yourself.”
Beauty like your talent won’t make you who you are.
This much I’m sure.
If you walk like you’re broken, no light will shine,
I’ve learned with time.
Lyrics from “Perish”
Boyd has clearly found that space for self-love within herself as she continues to expand her ever growing career. Last year, she co-wrote Jennifer Hartswick’s album Something In The Water, and just last month on March 29, Boyd joined Disco Biscuits on stage in Webster Hall for the release party of their album Revolution in Motion. With an album nearly 13 years in the making, the night was surely unforgettable. “Webster Hall sold out with such an established band is what you come to NYC to do,” Boyd said. Boyd has known the band for years and became acquainted with their bassist Marc Brownstein through New York’s jam band scene. Boyd joined her friends on stage for the release of their ninth studio album, adding her vocals on the tracks “Twisted in the Road” and “Why We Dance.”
Erin Boyd (center) with Disco Biscuits at the release party of their ninth studio album, Revolution in Motion, on March 29, 2024. Credit: Tara Gracer Photo
We’ve just seen Boyd at Webster Hall with Disco Biscuits, and we’ll be waiting to see her next adventure. While Boyd’s sophomore album isn’t expected to be released until later this year, one can expect to see more of Boyd within the coming months. “I want to do more projects. I want to work with more talent,” Boyd said. “This is only the beginning.”
Watch a short clip of Erin Boyd performing with Disco Biscuits on March 29, 2024 at Webster Hall.
Sitting on the corner of E. 29th Street and 2nd Avenue in Manhattan is a pub that has been home to Irish music legends both past and present. Take one step through the pub’s signature red door to be greeted by notes of the Irish whistle, guitar, bass, bodhrán, uilleann pipes, and drums. The music overflows from the stage and captivates one to the point where more Guinness has to be ordered, because you just can’t leave the authentic Irish music. The name of this pub that has been such a vital component of the New York City Irish music community is none other than Paddy Reilly’s.
https://youtu.be/AGkDTFjHNVU?si=AHw_h-wh_sxhDK_M
Hozier celebrates his 33 birthday at Paddy Reilly’s on March 17, 2023.
For 37 years, Paddy Reilly’s has been a staple in the New York City Irish music scene. Musicians, such as Paddy Reilly’s house band The Prodigals along with Black 47, Eileen Ivers, John Whelan, and Joanie Madden, have all performed at this pub. Global icon Jimmy Fallon stopped to sing a couple of songs himself in February of 2023. A month later, Hozier celebrated his 33 birthday at the pub, which just happens to coincide with St. Patrick’s Day. Videos of Hozier performing at Paddy Reilly’s quickly went viral, causing people to swarm to Paddy Reilly’s and pack the narrow pub, each person hoping to catch a glimpse of the Irish legend.
Celebrities have made stops at Paddy Reilly’s long before Fallon and Hozier did. Gregory Grene, lead vocalist of Paddy Reilly’s house band The Prodigals, reminisced when supermodel Christy Turlington and actor Jason Patric booked a party at Paddy Reilly’s. In the midst of the party, Turlington hopped on stage and began singing with the band. Good craic was to be found in every corner of Paddy Reilly’s.
Lead singer of The Prodigals, Gregory Grene, sings alongside supermodel Christy Turlington at Paddy Reilly’s.
Despite Paddy Reilly’s fame, the pub almost shut its doors permanently after the Covid pandemic. Like many other establishments, the pandemic and the subsequent stall of live music caused Paddy Reilly’s to take an economic hit. “We were looking at the end of an era,” The Prodigals singer Gregory Grene stated. Just as Paddy Reilly’s future started to look bleak, its previous manager Desi Murray along with Joshua Irwin and Aria Bai took over.
“We gave the bar a nice, big hug when we took over,” Desi Murrary, one of the new owners of Paddy Reilly’s, stated. The bar closed for two months from April to June of 2023 for renovations. “We restored Paddy Reilly’s charms, upgraded equipment, and kept the same cozy and authentic environment.”
Grene stated the three “reinvested without trying to reinvent.” The foundation and old bones of the pub were given new life while keeping the heart and soul of it intact. With the renovations complete, Grene stated, “The pub is thriving in a way that brings back the early days.”
On June 18, 1993, Pierce Turner with Electric String Quartet performed at Paddy Reilly’s. Credit: Fred Parcells.
Paddy Reilly’s was established in 1986. During the early days, crowds would line up out the door whenever Black 47 would play on a Saturday night. At that time, the pub was owned by Steve Duggan and his partner, Irish musician Paddy Reilly, who gave the pub a direct link to the music industry. It’s only natural then that musicians would conjugate at the pub.
One such musician who frequented Paddy Reilly’s was Joanie Madden. As the leader of all-girl group Cherish the Ladies, Madden is an Irish-whistle player who’s charismatic and friendly nature is bound to put a smile on your face. With her big personality, Madden became omnipresent in the Irish music scene, seeming to somehow have either played with or helped every band. Paddy Reilly’s house band The Prodigals is no exception.
The Prodigal’s lead singer Grene remembered booking his first gig at Paddy Reilly’s. At the time, the band consisted of Grene, Ray Kelly, Brian Tracy, and Andrew Harkin. Grene went to the pub and gave a warm County Cavan greeting to owner Duggan and asked for a gig around St. Patrick’s Day. Duggan turned to the one and only force of nature Joanie Madden and asked, “Well Joanie, what’d ya think?” She replied, “Of course, go for it!” With that, Madden helped cement The Prodigals as Paddy Reilly’s band for the next 27 years.
From left to right: Owner of Paddy Reilly’s and Irish balladeer Paddy Reilly with The Prodigals – Ray Kelly (guitar / vocals), Andre Harkin (bass), and Gregory Grene (vocals / button accordion). Circa 1997.
Live music has always played a vital part in Paddy Reilly’s success. Grene stated, “Owner Duggan recognized that Irish music played a unique role in the Irish society in New York and recognized the fact that to be proudly Irish in a city that welcomes eclectic, authentic culture was key.” Grene referenced authentic restaurants and bars in various parts of the city. He stated, “They survive and thrive by being so authentically themselves. They reach out beyond their own community. Steve Duggan did that with Irish music.”
The music is unapologetically its authentic self. Take the late Shane MacGowan, the lead singer of The Pogues. “He wasn’t trying to cater to some other crowd,” Grene stated. “He was trying to cater to his own truth.” Grene went on to say, “I think when you have music that speaks truthfully, it becomes extraordinarily translatable, because people hear it’s speaking of the human condition.”
By speaking to the human condition, classic Irish songs, such as “Black Velvet Band,” “Dirty Old Town,” and “Wild Rover,” speak to the soul, allowing them to remain popular throughout the years. Songs and tunes dating back to the 18th century are now continuing to be played in 2024 in Manhattan. Their universal themes allow them to remain mainstream for generations to come.
These songs truly speak to every generation. Just take a look at Paddy Reilly’s audience. “You’ll meet a 23 year old from California and a 38 year old from County Clare or a 75 year old from Galway,” Grene stated.
On September 18, 1990, Black 47 performed at Paddy Reilly’s. Lead vocalist Larry Kirwan is pictured center. Credit: Fred Parcells.
Paddy Reilly’s appeals and offers events for all. Every Wednesday night starting at 9pm, Niall O’Leary hosts Irish Traditional Night. Not only can classic Irish tunes be heard on Wednesdays, but a small stage is brought out for Irish dancing. If you know a jig or reel, hop up on the square stage to step dance. Or if you’re more vocally inclined, you can sing at their Open Mic Night every Tuesday at 6pm. As always, there’s live music every single night of the week. Irish tunes alongside rock, folk, alternative, and bluegrass continuously echo throughout Paddy Reilly’s walls.
To join in on the craic, head to 519 2nd Avenue, New York, NY 10016. Enjoy the Guinness on draft, and sláinte to 37 more years of authentic Irish music at Paddy Reilly’s!
There are dozens of Irish pubs offering the best in Irish music throughout New York City. But what’s really the best of the best? Let this list of the top Irish Pubs in NYC act as your tour guide for this upcoming St. Patrick’s Day – or any day you want to enjoy some jigs and reels!
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Hozier celebrates his birthday at Paddy Reilly’s on St. Patrick’s Day in 2023.
Located in the heart of Kips Bay, Paddy Reilly’s has grown into a staple for live Irish music. Just last St. Patrick’s Day, Hozier celebrated his birthday at the pub and performed there live. Except to hear music every day at Paddy Reilly’s, not just on St. Patrick’s Day! For the past 27 years, the pub has been the home to local Irish band The Prodigals. When The Prodigals aren’t playing, expect to hear a blend of Irish classics with rock, folk, and alternative songs. Pub goers can take their own hand at singing too every Tuesday night at Paddy Reilly’s Open Mic Night. The following night is Irish Traditional Night hosted by Niall O’Leary. Every Wednesday night starting at 9pm, Paddy Reilly’s provides a space to enjoy traditional Irish music and stepdance. If you’re in Kips Bay, go to Paddy Reilly’s, sit on a barstool, order a Guinness, and enjoy the music for some good craic.
Cillian Vallely of the band Lúnasa plays at The Dead Rabbit’s Sunday seisiún.
2) The Dead Rabbit – 30 Water Street, Manhattan
Since its opening in 2013, The Dead Rabbit has won numerous awards, and rightfully so! The Dead Rabbit was awarded “World’s Best Bar” in 2016 at the 9th annual Tales of the Cocktail’s Spirited Awards. One could see why when they step into The Dead Rabbit, which seems to be three separate bars seamlessly blended into one. The bar is split into the Taproom, the Parlor, and the Occasional Room. The Parlor hosts various cocktails and comfortable seating; while, the Occasional Room is available for private events. But if it’s live music and good craic you’re looking for, head no further than the Taproom. The Taproom hosts numerous artworks from various contemporary Irish creatives. The Dead Rabbit’s commitment to the arts is also heard every Sunday night from 6-10pm. The seisiúns (sessions) host different musicians every week. You’ll hear everything from the fiddle and guitar to the Irish whistle and bodhrán. Pair it with a Sunday roast and Irish coffee for the perfect way to end your weekend.
James Margolis Trio performs at An Béal Bocht Cafe.
3) An Béal Bocht Cafe – 445 W 238th Street, Bronx
Translating to “the poor mouth” in Irish Gaelic, An Béal Bocht Cafe is named after Irish novelist and playwright Flann O’Brien’s 1941 novel. Living up to its literary name, An Béal Bocht Cafe is covered in portraits of Irish literary legends, such as James Joyce. The pub has been home to the Arts in Riverdale for over 30 years. Every second Wednesday of the month is Writers / Poetry Night hosted by Melinda Wilson and Erin Lynn. Not only does the pub highlight literature but also music. An Béal Bocht Cafe is home to the Bronx’s longest running Irish traditional session. Spanning over 25 years, the session is hosted every Sunday from 4-7pm by Lindsey Ceitinn and Michelle Bergin. So head up to the Bronx, right next to Manhattan College, to join in on the live music every Sunday evening.
The perfect pint of Guinness poured at Grace’s in Manhattan.
4) Grace’s Pub – 252 West 14th Street, Manhattan
Opening just six years ago in 2018, Grace’s has already cemented itself into the weekly lineup of can’t miss Irish music sessions. Every Wednesday night starting at 8pm, Matt Stapleton and guests host an Irish music session where any musician can join in, such as Come From Away musician Pat Mangan, who has joined in on many a session at Grace’s. The traditional Irish music coupled with the pub’s classic Manhattan bar decor offers a comfy and chic atmosphere that is the perfect oasis from the hustle and bustle of the city. If you can’t get enough of Grace’s, head to its sister bar Hartley’s located at 14 Putnam Avenue, Brooklyn for an even homier atmosphere and for live music every Monday night starting at 8pm.
Musicians perform at Mary O’s weekly Thursday night session.
5) Mary O’s – 32 Avenue A, Manhattan
Located in the East Village, Mary O’s has been committed to keeping the tradition of Irish music alive since 2009. Even when Mary O’s was closed during the pandemic, musicians longed for the pub’s sessions so much that session regulars Catilin Warbelow and Chris Ranney started virtual Mary O’s sessions via Tune Supply on YouTube. The virtual sessions kept Mary O’s Irish music community alive, and now, the sessions can be enjoyed in-person every Thursday from 8-11pm with different guest leaders every week. Visit to join Mary O’s musical community while enjoying their staple Irish soda bread scones.
After 60 years of Irish ballads and rebel songs, The Wolfe Tones will conclude their career in America this St. Patrick’s Day weekend. Their last American shows will be Friday, March 15 and Saturday, March 16 at 7:30 pm at the Town Hall in New York City.
The Wolfe Tones pictured on stage. From left to right: Brian Warfield, Tommy Byrne, and Noel Nagel.
The group formed six decades ago, back in August of 1963. The group consisted of frontman Brian Warfield, Noel Nagel, and Liam Courtney. The following year, Brian’s brother Derek Warfield joined the group along with Tommy Byrne, who replaced Courtney. That lineup remained consistent for almost 37 years until “creative differences” caused Derek Warfield to leave the band in 2001. Derek formed The Young Wolfe Tones and has barely spoken to his brother Brian since.
The band now consists of Brian Warfield, Noel Nagel, and Tommy Byrne. Despite the change in lineup, the band continues to chant their rebel songs. Their hit “Celtic Symphony” remains a fan favorite, standing the test of time. Just two years ago in October of 2022, the song rose again to No. 1 on the Irish iTunes charts and No. 2 on the UK iTunes chart 35 years after its initial release. This rebel song truly embodies The Wolfe Tones essence, especially as the band is named after Theobald Wolfe Tone, a prominent leader of the Irish Rebellion of 1798.
The band’s success hasn’t stayed in Ireland and the UK but has traveled overseas to the Tri-state area. Their song “The Streets of New York,” which was released in 1981, continues to be a staple in the New York Irish community. The song can be heard every week on New York’s WFUV 90.7 FM’s Irish music program, Ceol na nGael.
A crowd of 10,000 eagerly sing along to The Wolfe Tones when they performed at Belfast’s Féile an Phobail in August of 2022.
The Wolfe Tones will celebrate their long-term success with their Farewell Tour. But why not continue this success? Brian Warfield said member Tommy Byrne always said, “I’m not going to go past 80.” As Byrne and Nagel are 80 this year, the band has decided to retire. But they’re not going quietly. They’ll be ending their Farewell Tour with two lively shows in 3Arena, Dublin in mid-October.
To catch The Wolfe Tones live one last time in New York at the Town Hall this upcoming St. Patrick’s Day weekend on March 15 and 16, click here for tickets.
May 10, 2024 marks the 30th anniversary of Weezer’s self-titled debut album, better known as the Blue Album. To celebrate the milestone, Weezer announced their Voyage to the Blue Planet Tour on March 11. The tour will consist of opening acts The Flaming Lips and Dinosaur Jr. along with a setlist comprising the entirety of the Blue Album.
While Weezer has gone on recent back-to-back tours (The Hella Mega Tour in 2021-2022 followed by The Indie Rock Road Trip in 2023), the setlists focused on Weezer’s more recent albums. Since the pandemic, Weezer released two albums, OK Human (2021) and Van Weezer (2021), along with four EPs in 2022. With this added material, Weezer has a vast array of source material to choose from, spanning 15 studio albums and 37 singles. So while Weezer has made sure to almost always play their Blue Album’s singles along with their hit “Surf Wax America ” during their concerts, it has been near impossible to play the entirety of the Blue Album at one concert. But now, fans have the chance to listen live to the entirety of perhaps Weezer’s most iconic and influential album.
Weezer released their critically-acclaimed self-debut album back in 1994. With three hit singles – “Undone – The Sweater Song,” “Buddy Holly,” and “Say It Ain’t So” – it’s no surprise the album peaked at No. 16 on the Billboard 200 and was certified platinum under eight months later on January 13, 1995. Not only have the songs developed into pop culture staples but so has the album cover, which is now a global meme. The album’s humor, geekiness, and musicality cemented Weezer as the band for outcasts and alternative rock enthusiasts alike.
Weezer will be kicking off the tour with a special performance at The Lodge Room in Los Angeles on March 15. The performance harkens back to Weezer’s very first performance on March 19, 1992 when they closed for Keanue Reeves’ band Dogstar. Now almost exactly 30 years later, Dogstar will be opening for Weezer! There are rumors of other surprise guests as well.
The tour will then begin on September 4 in St. Paul, Minnesota. Weezer will be in New York at Madison Square Garden on September 11. Weezer will be in the surrounding tristate area on September 13 at the Wells Fargo Center in Philadelphia. As the band stated, “Get ready, because you’re about to be feeling Blue all year round.”
Presale for Weezer’s fan club members and their mailing list starts Wednesday, March 13. General on sale tickets will be available on Friday, March 15. For more information and to get tickets, click here.
Irish reels and jigs vibrated throughout Symphony Space as WFUV’s Irish music program, Ceol na nGael, celebrated its 50th anniversary. For half a century, Ceol na nGael has provided over 40,000 listeners nationwide with the best in Irish music every Sunday from 12-4pm on 90.7 FM. To celebrate the milestone, the Rogue Diplomats, Celtic Cross, Cillian Vallely and Kevin Crawford of the band Lúnasa, Patrick Mangan, Alan Murray, Séamus Egan of Solas, and Jenna Moynihan performed at Symphony Space located in the Upper West Side on Saturday, January 26.
Also present at the anniversary concert was Ceol na nGael’s co-founder Mary Maguire. Maguire was a student at Fordham University in January of 1974 when she and fellow student Gerry Murphy suggested a traditional Irish music segment during one of WFUV’s fundraisers. Murphy and Maguire believed they would have an audience with New York’s expansive Irish community. The two convinced WFUV (Fordham University’s radio station) to give them one hour of airtime. Little did they know that one singular hour on a winter afternoon would turn into a four hour weekly show.
“We were totally unprepared for how the phones exploded during the first program,” founder Maguire recalled. The one hour of airtime quickly turned into four hours. Eventually, Maguire had to leave the station, or she’d be late to work. Maguire recalled mentioning her workplace on air. She said, “When I got to my waitressing job, the owners came up to me frantically asking ‘What’s going on?! People have been calling and asking why Mary Maguire had to leave some radio station!’”
Due to the high demand of listeners across the tristate area for Irish music, Maguire and Murphy were asked to return next week to the station with more Irish tunes. With that, Ceol na nGael, which is Irish Gaelic for “the music of the Irish,” became a staple of WFUV, airing every Sunday from 12-4pm.
From left: Ceol na nGael hosts Deirdre McGuinness (01-04) with producer Jen Croke (99-02). Also pictured is Joanie Madden, leader of the group Cherish the Ladies, and host Frank McCaughey (00-01).
Not only was the show a staple of WFUV, but it quickly cemented itself as a staple within the Irish community. It could be heard from every corner of the house. Former co-host Dierdre Hogan, FCRH ‘98, said, “As I brought laundry in or out, my father was listening from a small radio in the garage. My mom would have it on again upstairs in the kitchen as she tidied and cooked.”
Ceol na nGael became a household name in the tristate area due to its human touch. “Anyone can go to YouTube or Spotify and search for a good mix of Irish music,” former host Kevin Quinn, FCRH ‘09, said. “But Ceol na nGael has that very, very important human element that makes it endure for as long as it has.”
This human element is seen in the numerous dedications the show takes each and every week. Hosts interact with the listeners on a weekly basis, reading out dedications wishing loved ones happy birthdays or sending out a song in their memory.
Former host Elizabeth Flanagan, FCRH ‘05, noted just how important these dedications are, especially when she hosted in the days that followed 9/11. Her co-host Deirdre McGuiness, FCRH ‘04, recalled playing Irish ballads along with the dedications going out to lost loved ones to provide “hope and healing” to all those affected. Flanagan said, “It goes to show how profound our music is, and how it’s there for us on the happiest and the saddest days of our lives.”
The music bonded together the tristate’s Irish community, which soon became much more than just a community. It was a family. Family is an essential aspect of Ceol na nGael as the music acts as a gateway for one to connect with their roots. Former host Maggie Dolan, FCRH ‘07, said, “Both my grandparents on my father’s side came from Ireland, Cavan and Mayo. I unfortunately did not get to meet my grandparents. However, through music, and its connection with Irish history, I felt that listening to Ceol nGael brought me a bit closer to my grandparents.”
From left: Ceol na nGael producer Liz Noonan with former hosts Colleen Taylor (09-12) and Tara Cuzzi (11-14).
The music continues to connect listeners to their families, their homeland, and their culture. The music’s lyrics depict various political figures and historic events that shaped Ireland’s cultural and political landscape. Ballads like “The Foggy Dew” depict Ireland’s 1916 Easter Rising; while “The Town I Loved So Well” depicts songwriter Phil Coulter’s experience during the Troubles.
This history doesn’t just stay in the past. Listeners can stay up to date with Ireland’s current news every Sunday at 2:00 pm during the show. Reporting straight from Ireland, Louise Williams and Brendan Tier give a seven minute report each on Ireland’s latest news and sports. Every hour, there’s also weekly community bulletin boards to keep listeners informed of local Irish events.
Since Ceol na nGael’s start in January of 1974, it has pushed the boundaries to be an active part of the Irish community. The show never just stayed in the studio. It was alive and breathing on the streets of New York and across the nation as the show is now available to stream on wfuv.org. Ceol na nGael has been broadcasted live from Mary O’Dowd’s in Manhattan. Former hosts have introduced bands at concerts, such as Cherish the Ladies at their annual Tarrytown Christmas concert and to multiple bands on the main stage at the Guinness Fleadh at Randall’s Island. Former hosts have also been guest judges for New York’s Rose of Tralee concert, and just this past week on January 20, Ceol na nGael was at the Symphony Space, celebrating its 50th anniversary.
Former Ceol na nGael host Eileen Byrne (89-94) conducting interviews on site.
Ceol na Gael’s 50th anniversary concert started off with a set by the Rogue Diplomats. The Pennsylvania-based band kicked off the show with their rendition of “South Australia” followed by “Step It Out Mary.” The Rogue Diplomats allowed the audience to ease into the show during these first two songs, but by their third song, they decided to grab hold of the audience and up the craic. Bodhrán player Matthew Cullen Breiner sang a witty introduction to “The Star of the County Down,” mentioning all the intricacies of the New York Irish community and even taking a jab at the New York Giants, all of which caused the crowd to erupt in laughter.
The Rogue Diplomats continued to add bits of dry humor throughout their performance, as heard in their next song, “The Galway Hooker.” Not even half-way through the first verse of the song, guitarist Patrick Marran laughed and said, “Don’t worry, it’s about a boat! Not what you think it is.” Laughter echoed throughout the crowd. Smiles were etched upon the audience’s faces as they were captivated by the Rogue Diplomats’ comedic and musical talent.
The fun of the night carried over into the next act, New York based band Celtic Cross. The band honored Ceol na nGael’s mission to “keep the tradition alive” with their song, “Who I Am.” The song’s lyrics – “I’ll not forget from where we came as I carry on their name” – speaks to remembering one’s roots and honoring one’s history. The song encapsulates what Ceol na nGael stands for and explains why it’s continued for half a century.
Celtic Cross continued to honor Ceol na nGael, dedicating their song “Those Were The Days” to all who helped make Ceol na nGael what it is today. It was a perfect song to dedicate as the song gives a direct shoutout to the show. “Ceol na nGael on FUV taught the words to you and me.” The crowd sang along to a song that captures at least one part, if not more, that they can relate to of growing up in New York’s Irish community. Celtic Cross rode the audience’s high-energy and continued with a fast-paced reel, titled “Mason’s Apron,” before concluding the concert’s first act.
From left: Former hosts Ryan Slattery (17-20), Allie Small (23-present), Maggie Peknic (20-23), and Patrick Breen (19-22).
There was a short intermission before the second half. The second act started with welcoming past hosts from 1974 to 2024 onto the stage. Out of the 40 past hosts, over 30 were able to make the concert. Seeing all the hosts on stage was truly like taking a screenshot of history. They represented 50 years of dedication to the preservation of traditional Irish music. It’s a feat not easily accomplished, especially when considering all of Ceol na nGael’s hosts were former Fordham students, and let’s just say, getting up early on a Sunday morning in college isn’t as easy as it seems.
The music then resumed with lovely tunes from Cillian Vallely and Kevin Crawford of Lúnasa, Patrick Mangan, and Alan Murray. Their melodic tunes created an otherworldly escape. A highlight was a tune titled “Sinead Maire’s,” which Vallely wrote for his daughter. The tune’s tin whistle starts off leisurely, slowly picking up pace before being joined by the uilleann pipes and fiddle.
Before the last act performed, short videos by Joanie Madden of Cherish the Ladies and Brian Warfield of the Wolfe Tones were played. Both musicians expressed their regrets of not being able to make the concert but wanted to make sure Ceol na nGael and its listeners knew just how vital the station was to their lives and their music. A live version of the Wolfe Tones’ “Streets of New York” was then played. Not a week goes by on Ceol na nGael without this song being played. It’s a fan favorite, and the audience confirmed that fact. They sang along to the song, waltzing up and down the aisles as if the Wolfe Tones were truly there in-person performing live.
The night then concluded with a beautiful set by Seamus Egan of Solas, who was accompanied by Alan Murray and Jenna Moynihan. Throughout the set, Egan told stories of his journeys before playing tunes from his 2020 album Early Bright.
At the end of his set, Egan was joined on stage by all of the acts. The stage became packed with various instruments as the opening notes to “Dirty Old Town” were played. The audience got up, sang, danced, and clapped along. And like all good Irish sessions, the concert ended with a fast-paced reel.
But the celebrations didn’t end with the last note. They continued into the next day in the studio. Previous hosts were invited back to the Fordham campus in WFUV’s studio to help host the show. Each host got to play one of their favorite Irish songs or tunes and share stories of their time on air. To listen to Ceol na nGael’s special 50th anniversary show that aired on January 21, head to WFUV’s archives by clicking here.
The celebrations then concluded with a big cheers, or as one would say in Irish Gaelic, a big sláinte to Ceol na nGael’s 50 anniversary with wishes for it to continue for 50 more years! Over the next 50 years, new hosts will take over the show. They’ll bring their own musical tastes and stories. They’ll teach the next generation and continue to keep the tradition alive, just as current hosts Allie Small and Matt Cuzzi do. To listen to Ceol na nGael, tune into 90.7 FM or WFUV.org every Sunday from 12-4pm for the best in Irish music.
