New York City-based singer-songwriter Olivia Reid has released her latest work in the form of the beautifully nostalgic “Quite Simple”.
A singer-songwriter who’s been putting her proverbial musical pen to paper since just six years old, Olivia Reid’s indie folk anthems contain an undeniable yet intangible touch of vibrant humanity.
Capturing the human experience in all of its forms, Reid and her guitar formally debuted in her 2021 EP Earth Water. Since then, Olivia’s work has caught the attention of many through its appearances on television shows in the likes of Love Island Australia and several official streaming service playlists.
Returning for her latest release, Reid has decided to channel hopeful optimism into the single “Quite Simple” in the face of personal and global strife. Inspired by her strong relationship with and gratitude for her grandparents who have recently passed, Olivia reflects upon the wisdom granted by her elders and the inherent wisdom and fondness for life that comes with age and a retrospective understanding of life.
Through a nostalgically woven sonic soundscape and storytelling-style lyrics, Reid walks listeners through an enlightening conversation with an older man that reframes her entire understanding of the world, especially in the face of the busy mindset so many share today- life is, in fact, “Quite Simple.”
“In old age, it seems there’s so much to look back on fondly and so many experiences that you don’t even know are ahead of you. I wanted to write a song that gives people my age some optimism. We’ve got time.”
– Olivia Reid
Curating a beautifully nostalgic ambiance with its guitar plucking, vocal layering, and warm outro, “Quite Simple” captures the beauty found in taking life in the slow lane while also giving a nod to the kind of perspective on life that comes with age and wisdom.
To learn more about “Quite Simple,” her future endeavors, and all things Olivia Reid, be sure to check out her official website here.
The Bronx Music Heritage Center has announced their 10th annual Melrose Parranda, a musical Puerto Rican holiday procession, for December 21.
Developed as a performance venue and community cultural center, the Bronx Music Hall is dedicated to cultivating and showcasing the vibrant music, dance, theater, and interdisciplinary arts of the borough.
With a 250-person performance theater, grand lobby and exhibit hall, rehearsal rooms and classrooms, and an outdoor amphitheater and plaza, the space of the Bronx Music Hall is as versatile as the creatives it hosts.
In addition to creations of the modern day, the BMH acts as the permanent home for the Women’s Housing and Economic Development Corporation (WHEDco)’s Bronx Music Heritage Center, which preserves and promotes the history of the artists of the Bronx while simultaneously cultivating the creatives of today.
Among the Center’s vast collection of events is their time honored Melrose Parranda. Rooted in the Puerto Rican caroling tradition, folks participating in the festivities can expect to join the parade led by members of the Bronx music and cultural community including Jorge Vásquez, Matthew Gonzales, and Bobby Sanabria.
Each stop along the parranda will feature a different casita reminiscent of the homes on the countryside of Puerto Rico, winding through the Melrose Commons and community gardens before concluding at “La Casita de Chema,” or Rincón Criollo Centro Cultural, a casita renowned for its musical legacy.
Now in its tenth year of tradition, the parranda will feature a set of new businesses incorporated within the route in addition to its routine program booklet with information on the traditions and lyrics on some of the songs to be sung during the night of festivities.
The tenth annual Melrose Holiday Parranda will be hosted on Saturday, December 21. This event is completely free and open to the public. To RSVP and learn more, check out the event’s page here.
To learn more about the Bronx Music Heritage Center, the Bronx Music Hall, and their calendar of events, be sure to visit the space’s official website here.
A tour-de-force combination of acclaimed jam band artists, the Skeleton Krewe Trio composed of Rob Barraco, Barry Sless, and Stephen Inglis have announced their debut tour along the east coast, including dates in Williamsburg and Woodstock.
Born from what was intended to be a one-off performance partnership, the Skeleton Krewe Trio is possibly one of the most exciting collaborations of today’s jam band scene.
Comprised of Rob Barraco of Dark Star Orchestra, Phil Lesh & Friends, and The Dead, Barry Sless of Bob Weir and Wolf Bros, David Nelson Band, and Phil Lesh and Friends, and the GRAMMY-nominated Hawaiian slack key guitarist Stephen Inglis, the Skeleton Krewe is a set of individually talented artists whose skills, distinct backgrounds, and natural musical connection culminate in a sound definitively their own.
In an exciting development, the Skeleton Krewe Trio has announced their debut tour across the east coast, including nights at the Brooklyn Bowl on February 22 and the Bearsville Theater on February 28.
In addition to their own talents, the unit will expand to a quintet for two nights with the addition of Barraco’s DSO bandmate Skip Vangelas on bass and his son Tom Barraco on drums- one of which includes the Brooklyn Bowl.
“This collaboration represents a unique moment in time where three distinct musical paths converge. We’re creating something entirely new while honoring the traditions we each bring to the table.”
– Rob Barraco
The Skeleton Krewe Trio’s debut tour promises a variety of sounds spanning original compositions, interpretations of works by the Grateful Dead, and dynamic improvisations that span genres from traditional Hawaiian to psychedelic Americana.
Tickets for the Trio’s tour are on sale now. For more information on the tour and the Skeleton Krewe Trio as well as ticketing information, visit their official page here.
The full list of tour dates are available below.
TOUR DATES
Feb. 20 • The Hamilton • Washington, DC
Feb. 21 • 118 North • Wayne, PA
Feb. 22 • Brooklyn Bowl • Williamsburg, NY
Feb. 23 • Newton Theatre • Newton, NJ
Feb. 24 • Rams Head On Stage • Annapolis, MD
Feb. 26 • Space Ballroom • Hamden, CT
Feb. 27 • Portland House of Music & Events • Portland, ME
Feb. 28 • Bearsville Theater • Woodstock, NY
Mar. 1 • Narrows Center for the Arts • Fall River, MA
Buffalo based singer-songwriter Ian McCuen has returned with their latest release, the utterly emphatic and scathingly topical As the Oceans Rise and the Empire Falls.
Buffalo-based Ian McCuen has been wowing listeners since 2017 with the release of their debut album Songs of Fleeting Permanence, Vol. I, the next two installations following in 2019.
A master of the soundscape, McCuen is no stranger to telling tales with their musical skill- which is a strength that lends itself perfectly to their latest release, the 22-track album As the Oceans Rise and the Empires Fall.
Utterly cinematic, As the Oceans Rise and the Empires Fall pulls listeners through each and every notion of emotion with an admirable span of instrumentation, tracks full of lyricism and others left purely instrumental- all-encompassing in an admirable and awe-inspiring critique on the state of the United States and its politics today.
“A Fairy Tale for the Obedient” makes deft use of the Omnichord, drawing upon sounds of whimsy and childhood nostalgia alongside haunting horns which carry directly into the simmering brush percussions and foreboding baselines of the instrumental “Indoctrinated, Propagandized.”
The omnichord returns in “I Don’t Know What Will Kill Us First,” this time taking on an undertone of grimness as McCuen ponders which environmental disaster will be the one to finally do us all in over the sounds of acoustic guitar and later horns, which have evolved into a sound almost funerary in sentiment.
“The Intermission” and “The Underture,” unsurprisingly enough mark the midpoint of the album, at which point McCuen takes the time to remind you that as much as their lyrical pieces stun, soundscapes are well within their wheelhouse too.
“Fear & Loathing (in the Home of the Brave),” while certainly not subtle in its messaging, makes a staunch statement regardless. McCuen pulls no punches in critiquing the hypocrisy found in defending the status quo blindly and existing in fear of anything new without interrogating the reason as to why either of those reactions were elicited- as they conclude, “in the home of the brave, it’s all we’ve got.”
They lean fully into the ominous for “A Ghost Story for the Sheltered,” telling a horrifying story of some untold monster that’s sweeping through your town, hunting you down- a haunting parallel to the paranoia kicked up and experienced by the “Sheltered” of America and a striking narrative on fear-mongering and its consequences.
“Death Is a Business and Sales Are Up” is not only incredibly topical but stunningly produced- headphones are highly recommended for this track, as the panning utilized creates an all-encompassing listening experience that’s practically impossible to pause.
The final lyrical track “A Swan Song for Quittin’ Time” feels like a conclusion in every sense of the word. Featuring a line that became the album’s title, this track feels simultaneously hopeful and hopeless, as McCuen struggles to come to terms with the state of the world- even for those with so much fight in them, there comes a point where the draw of nihilistic acceptance is unavoidable.
The song concludes in an anthemic culmination of all of the album’s instrumentation as McCuen accepts the state of the world as one full of strife and struggle, yet finding a determination to go on in the hope for a better future, they sing “just in case, stick around for the encore.”
There’s a certain cognitive dissonance to Ian’s work- if you let yourself be distracted by their calming vocals or gentle instrumentation, you may just miss their scathing critiques on today’s society. Haunting, scathing, and effortlessly engaging, As the Oceans Rise and the Empire Falls captures the full range of emotions felt within and in critique of the United States today.
To learn about Ian McCuen’s past work, more about As the Oceans Rise and the Empire Falls, and all of their future endeavors, be sure to keep up with them on their official Instagram page here.
Musicians J.D. Parran and Andrew Drury have announced new roles as event curators along with a collaborative opening project at Assisted Living, a new art space in Newburgh.
Both renowned musicians and collaborators in their own rights, J.D. Parran and Andrew Drury share expansive musical careers.
Among many things, Drury is a soloist, lead for the Content Provider quartet and other large ensembles, producer of audio and video works, a musical collaborator across all swaths of sounds, and a musical educator.
He’s presented over 130 concerts as a part of his Soup & Sound series in his home in Brooklyn and in adjacent neighborhoods, and is the co-founder of the non-profit Continuum Culture & Arts. In addition to work in his own neck of the woods, Drury has given masterclasses in 20 universities across three continents and has led over 1,500 workshops in schools, prisons, museums, homeless shelters, and more.
J.D. Parran shares a similar love for music in all forms- composing, collaborating, and educating. Having mastered a wide variety of woodwind instruments, Parran has appeared on over 50 recordings over the past three decades including collaborations with John Lennon, Stevie Wonder, Yoko Ono, and more.
In addition to his purely musical endeavors, Parran is also a veteran educator who gives lectures at City University of New York and teaches the clarinet and saxophone at Harlem School for the Arts.
He has also been commissioned as a composer by the likes of the National Endowment for the Arts, Meet the Composer, the New York State Council on the Arts, and the Helen W. Buckner Foundation.
Hosted in the Assisted Living art space situated just behind the brand new Untouchable Bar, Drury and Parran will be collaborating in an event dubbed an “UNinauguration.”
“Part riot, part manifestation, part protest, part prayer: two celebrated stalwarts of creative music share good musical medicine on the grim occasion of the 2025 presidential inauguration. Indeed this is an UNinauguration. J. D. Parran and Andrew Drury will play a panoply of instruments from around the world in addition to bass saxophone, alto clarinet, flutes, and drums. Parran led an unInauguration mini-tour with a quartet in 2017. For 2025 he joins forces with his frequent collaborator Drury.”
Featuring the powerful combination of two skilled individuals, the UNinauguration of Assisted Living will not be one to miss. The pair will perform this exciting event on Friday, January 17 at 9:00 PM with a requested donation of $10.
For more information on the event and the space’s adjacent bar, visit Untouchable’s official Instagram page here.
Organized by the artist-led organization Fight for the Future, over 600 artists have signed a letter demanding major labels to drop a lawsuit that threatens the existence of the Internet Archive.
Considered the Library of Alexandria of the digital age, the Internet Archive non-profit is one of the only dedicated spaces for digital preservation with the renown, care, and attention it has retained. With a large majority of its material being out of print or obsolete in the modern day, the Archive is a precious resource for artists, fans, and historians alike.
Are you a fan of a band that existed prior to the ritual of posting on social media after a concert? Check the Internet Archive, as they may be featured among the website’s hundreds of thousands of concert recordings. Curious about obscure VHS tapes or radio shows of the past? The Archive has you covered.
Looking for a track only available on the 78 rpm records that predated the vinyl record in the 1890s? The Internet Archive’s community-driven Great 78 Project that seeks to digitize the rare materials is a treasure trove for the niche fanatic or merely curious individual.
If this sounds like an awe-inspiring, nearly endless resource built upon the passion of preservation, that’s because the Internet Archive is exactly that- however, to major record labels, such a space seemed to pose a major threat.
Filed in August of 2023, Universal Music Group and Sony Music filed a copyright infringement lawsuit against the Great 78 project, describing it as an “illegal record store” that performed “wholesale theft of generations of music” under the guise of preservation and research- which the labels claim is all but a “smokescreen.”
This lawsuit would cost the Internet Archive a total of $621 million in so-called damages for the supposed loss of streams grossed as a result of such a project. However, as critics of the labels have pointed out, these 78 records would only cost a total of $41,000 in their entirety based upon their streams thus far.
Such a lawsuit could spell the end for the Archive in its entirety, not just the Great 78 project- including its universally applicable WayBack Machine.
Defendant and expert audio preservationist George Blood who was recruited for the Great 78 Project argues exactly what countless fans and archivists have stated prior- a vast majority of the material being converted would have become media lost to time if not for the care and attention given by the folks behind Internet Archive, who in turn are maintaining not only the sounds of the past but the past itself.
The response from the music community has been a resounding echo of this sentiment, as in the efforts of the artist-led Fight For The Future which has been fighting legal battles for the online musician and user since 2011. In an open letter to Sony, Universal, and other major music labels, Fight For The Future and over 600 artists at the time of writing have demanded the lawsuit be dropped.
Above all, the letter states that musicians “don’t believe that the Internet Archive should be destroyed in [their] name.” The three main demands made are for the labels to 1. Protect our diverse music legacy, 2. Invest in living, working musicians- not back catalogs or monopolies, and 3. to make streaming services pay fair compensation.
Fight For the Future and all of the artists featured share one main argument- in a time where musicians are struggling to get by, why on earth should labels sink so much time, effort, and money destroying a public good?
“The music industry is not struggling anymore. Only musicians are. We demand a course-correction now, focused on the legacies and futures of working musicians.”
Thus far, notable names featured in the letter’s signatures include the lead singer of Riot Grrrl group Bikini Kill Kathleen Hanna, founder of Death By Audio and member of A Place To Bury Strangers Oliver Ackermann, Billie Marten, AJJ, and an ever-expanding countless more.
Want to take action yourself and make your voice heard on the matter? If you’re an artist, you have until Wednesday, December 18 at 12:00 PM EST to add your name to the list of signatures here.
In addition to signing, some musicians are planning to upload music files or live sets of their own to the Archive in solidarity. If you have a recording you’d like to contribute to the cause while simultaneously expanding a public resource for good, visit the Internet Archive’s uploading guidelines.
Are you a music fan or simply a user of the Internet Archive that wants to make a difference? You can sign in solidarity with musicians, archivists, and the average online consumer alike here.
To keep up to date on Fight For the Future’s fight against this major lawsuit and all of their other initiatives, as well as to preserve the Internet Archive for generations to come, be sure to visit their official website.
Progressive bluegrass unit The Infamous Stringdusters have announced a string of tour dates across the east coast, including dates in Saratoga Springs and Westhampton Beach.
The five member progressive band The Infamous Stringdusters are best known for their musical influences across the entire sonic spectrum. Most recognized for their strongest influence, bluegrass, the band has seen a wide array of acclaim including a win for Best Bluegrass Album” at the 2017 GRAMMY Awards and a number of awards from the International Bluegrass Music Awards.
Comprised of Andy Falco on guitar, Chris Pandolfi on banjo, Andy Hall on dobro, Jeremy Garrett on fiddle, and Travis Book on double bass, The Infamous Stringdusters are beloved by fans for their releases but even more so for their live performance- the stage is where they truly shine.
On the heels of their annual ‘Ski Dust’ tour that brings the band through the mountains of Colorado and Utah, the Stringdusters have announced an exciting extension to their travels with a set of seven dates spanning the east coast, including a stop at the Universal Preservation Hall and the Westhampton Beach Pac.
Tickets for The Infamous Stringdusters’ latest tour are available now, including their Saratoga Springs stop on March 13 and Westhampton Beach stop on March 15.
For more information on The Infamous Stringdusters, their latest tour and its subsequent expansion, and ticket purchasing opportunities, visit their official website here.
The full list of tour dates is below.
TOUR DATES
12/12 – 12/16 – Puerto Morelos, Q.R. – Strings & Sol 12/30 – Richmond, VA – The National 12/31 – Richmond, VA – The National 1/8 – Crested Butte, CO – Center for the Arts 1/9 – Beaver Creek, CO – Vilar Performing Arts Center 1/10 – Beaver Creek, CO – Vilar Performing Arts Center 1/11 – Denver, CO – The Mission Ballroom 2/7 – Aspen, CO – Belly Up Aspen 2/8 – Telluride, CO – Sheridan Opera House 2/9 – Telluride, CO – Sheridan Opera House 2/10 – Telluride, CO – Sheridan Opera House 2/11 – Grand Junction, CO – Mesa Theater 2/13 – Park City, UT – Egyptian Theatre 2/14 – Park City, UT – Egyptian Theatre 2/15 – Park City, UT – Egyptian Theatre 2/16 – Park City, UT – Egyptian Theatre 3/13 – Saratoga Springs, NY – Universal Preservation Hall 3/14 – Harrisburg, PA – XL Live 3/15 – Westhampton Beach, NY – Westhampton Beach Performing Arts Center 3/16 – Hartford, CT – Infinity Music Hall 3/20 – Live Oak, FL – Suwannee Spring Reunion 3/21 – Roswell, GA – From The Earth Brewing Company 3/22 – Mount Vernon, KY – Renfro Valley – New Barn Theater 5/16-18 – Aztec, NM – Tico Time Bluegrass Festival 5/22 – Mills River, NC – Sierra Nevada Brewing Company 5/24-25 – Pelham, TN – CaveJam 8/8-10 – Alta, WY – Grand Targhee Bluegrass Festival
The Apollo Theater in Harlem has announced the 2025 winter and spring season with a stunning array of performances, exhibitions, and educational programs in performance spaces new and old.
The historic Apollo Theater has been providing the community of Harlem and beyond with quality entertainment and education since it opened its doors in 1914.
Having played a major role in the exponential growth of quintessential American genres such as jazz, swing, R&B, gospel, blues, soul, and the list goes on- the impact felt by the Apollo within New York and across the world cannot be stated enough.
Beginning as a platform for emerging jazz and tap acts which would feature the likes of soon-to-be icons such as Ella Fitzgerald, Bessie Smith, and Billie Holiday, The Apollo has since evolved into not only a musical performance space but a nonprofit presenting theatrical and dance programs, film screenings, educational programs, and community outreach.
Returning with their 2025 winter and spring season, The Apollo has announced an extensive lineup of performances and events that explore legacy and lineage while celebrating the impact of Black artists with time-honored works alongside bold and cutting-edge new productions.
With three dates spanning January 9 to the 11, the Apollo will be hosting a multi-media performance of Loss in Under the Radar: Loss. Originally produced by The Theatre Centre, Loss explores themes of grief within Afro-Caribbean communities in an immersive experience towards healing as audiences follow the intergenerational family narrative retold live on stage.
Organized in celebration of the 40th anniversary of the Black women-led theatrical dance company and social activism ensemble, Lineage Legacy and Liberation: An Examination of Urban Bush Women’s Art-Making and Community Organizing Praxis will open as a multi-media gallery on January 13 and remain open to the public through March 12.
In addition to its expansive display of rare photographs, performance footage, audio clips and more, the exhibition will feature a series of pop-up performances on select dates throughout its installation period.
A showing of Claudine directed by John Berry and starring Diahann Carroll will be held on January 17. Oscar-nominated, the romantic comedy balances warm humor with its serious approach to a variety of issues ranging from cyclical poverty to the indignities of the welfare system. An emphatic piece on both Black working-class strife and Black joy, Claudine is presented in collaboration with the Harlem Festival of Culture Foundation.
Returning once more is Apollo’s partnership with WNYC and the March on Washington Film Festival on January 19 as scholars, community leaders, and activists will engage with the audience of Harlem and beyond in conversation about the lasting legacy and teachings of Martin Luther King Jr.
Presented on the first Thursday of each month from February through May is the Apollo Comedy Club. Made in partnership with the producer of Def Comedy Jam and creator of Laff Mobb on Aspire Bob Sumner with Freddie Ricks as host, the Apollo presents the best of comedy’s emerging acts on their Stages at the Victoria.
The Apollo Music Café series returns for the first Friday and Saturday of each month from February through May, featuring diverse performances spanning the sonic pallets of R&B, hip-hop, soul, jazz, funk, rock, and more. The Music Café seeks to showcase artists of the independent music scene who have made/are making an impact on the way music as an art form is consumed and experienced.
On February 22, composer, pianist, and vocalist Samora Abayomi Pinderhughes will perform The James Baldwin Essays: As Much Truth As One Can Bear in celebration of Baldwin’s legacy. Commissioned by Harlem Stage in 2015, the piece is one of Pinderhughes’ many performances that utilizes music to examine socio-political issues.
Each Wednesday from February 19 to June 25 will host the time-honored Amateur Night, America’s longest running talent show. Having been revered by artists as a once-in-a-lifetime experience uplifting emerging talent, names such as Ella Fitzgerald, Luther Vandross, Lauryn Hill, H.E.R and more have graced Amateur Night’s stage where the audience has the power to shape a career.
The Grand Finale winner will receive $20,000 alongside the “Child Star of Tomorrow” who will win $5,000.
While the 2025 lineup is already full of rising stars, live auditions for the 2026 season will be held on March 22 at The Apollo’s Historic Theater.
Guardian Spirit will present the poems, prose, and essays of bell hooks set to the musical works of Martha Redbone on March 29. Highlighting and celebrating bell hooks’ work and influence on the modern artist and individual, Redbone will set her stories within the world of music and storytelling.
Highlighting the intricate dynamics of generations of Black female strength and resilience is Jeffrey Manor from April 7 through the 12. Set in the south side of Chicago, Jeffrey Manor explores themes of generational dysfunction and mental health struggles born of a lifetime of trauma through the secrets and tragedies of Black women bound together by lineage.
Jason Moran will celebrate Duke Ellington’s great canon on April 11 through his illuminating piano explorations alongside iconic images of The Duke taken by legendary photographer Gordon Parks.
Among all of these stunning productions, the Apollo offers a myriad of educational programs including but not limited to MLK Young Changemakers, Treasures from the Archives, professional learning workshops, and more.
For more information on the Apollo’s Winter and Spring 2025 season, their expansive educational programs, and ticketing information, be sure to visit their events page here.
The Brooklyn-based alternative rock band The Upstart Crows have returned with their newest single “House Fire” on the frustrations of the creative process ahead of their upcoming EP.
Rooted in Brooklyn, The Upstart Crows have brought their unique combination of folk, punk, and Americana sounds throughout New York City and beyond in live shows spanning haunting acoustic solo performances to the full effect of a rock unit.
Debuting in 2018 with a 12 track self-titled album, The Upstart Crows have been performing live shows and honing their sound among a small set of single releases since they formally emerged on the scene.
Now back and better than ever, the band has returned with new music in the form of the single “House Fire”.
Penned during the Covid-19 Pandemic, “House Fire” captures a unique frustration felt by creatives when it seems as though no part of the act of creation is going your way.
With fast-paced and hard hitting drums, insistent guitar lines, and vocals that compliment the oscillating bass line, “House Fire” is a stellar example of how indulging in the negative can not only relieve personal stress but result in a work exploding with emotion.
“The song is about the self-doubt doom spirals we all face when we are working on something… Where you start to question your own taste and ability to make something good.”
One of many parts of the Crows’ upcoming EP slated for the spring, “House Fire” marks a promising start to the next era of The Upstart Crows.
For more information on this release, the band’s upcoming endeavors, and all things The Upstart Crows, be sure to check out their official website here.
The Rooftop at Pier 17, one of New York City’s most scenic venues, has announced the addition of a one-of-a-kind glass structure to the space, enabling winter shows upon its installation in late 2025.
artist rendition of the indoor structure atop Pier 17
With Manhattan’s skyline, the Statue of Liberty, and the Brooklyn Bridge as its backdrop, The Rooftop at Pier 17 has quickly become one of the city’s most iconic new venues.
Opening in 2018 alongside the complete reinvention of Pier 17 in the wake of Hurricane Sandy’s destruction, The Rooftop has hosted some of New York City and the world at large’s biggest names as a part of its annual concert series.
In its nature as an outdoor venue, The Rooftop has been limited in its ability to host concerts when the weather becomes too cold to bear- however, in a revolutionary new announcement, this constraint will soon be no more.
Starting in late 2025, The Rooftop is set to become a year-round live performance venue with the introduction of a custom-designed glass structure that will completely transform the space’s capabilities.
Jordana at The Rooftop at Pier 17
This innovative enclosure will take the once warm-weather exclusive venue into a climate-controlled, indoor setting without compromising the stellar views it’s become synonymous with.
“We look forward to The Rooftop at Pier 17 transforming into a year-round concert venue. Our state-of-the-art space will deliver an unparalleled experience for both artists and guests, providing the quintessential New York City live music venue no matter the season.”
– Anton Nikodemus, CEO of Seaport Entertainment Group
Accommodations for fans will shift slightly, limiting The Rooftop’s regular capacity of 3,500 down to 3,000, however the introduction of the enclosing structure will also provide ample opportunity for a brand new VIP balcony level.
In addition to its standard season of 60+ shows a year, The Rooftop’s new glass structure will enable an additional estimated 25 performances throughout the late fall and into the winter months.
Each spring, the structure will be removed and The Rooftop will return to its original state as an open-air venue with a capacity of 3,500, maintaining the space’s signature charm while elevating the audience experience entirely.
This development marks an exciting expansion of what was thought of as possible for fans of the venue and New York’s music scene at large- attendees and artists alike.
For more information on this revolutionary expansion, upcoming shows, and other announcements about The Rooftop at Pier 17, be sure to check out their official website here.
