On a picture perfect evening in the Southern Adirondacks, genre-blending guitarist Cory Wong held a unique and memorable performance with the Caroga Arts Collective in Caroga Lake, NY.
The venue itself is ungoing quite a transformation over the next few years, shifting into a small amphitheatre, with the shores of Caroga Lake right behind the stage. Located on the grounds of the former Sherman’s Amusement Park, Caroga Lake Music Festival brings a diverse and incredible array of live music events each summer, including an upcoming performance by David Alan Miller of the Albany Symphony Orchestra featuring Gerswhin’s “Rhapsody in Blue” in its centennial year.
This evening’s performance from the Poughkeepsie-born Cory Wong and company, including band members Yohannes Tona (bass), Kevin Gastongua (keys), Armando Lopez (percussion) and Eddie Arbash (saxophone), was illuminated by a small orchestra of 28, better known as the Caroga Arts Ensemble. The group of musicians is primarily strings and woodwinds, with a horn and marimba included for good measure.
During the evening, Wong’s original work was on display, interlacing jazz and rock elements throughout his compositions. A highlight later in the show was a well-polished rendition of the Beatles “Blackbird,” with a guest singer on vocals.
A tremendous highlight though was a performance of Bela Fleck and the Flecktones ‘Stomping Grounds,’ a song that reportedly helped Wong make the shift from college towards his music career.
All of this at a venue that in a few years will transform into a Southern Adirondacks destination for live music.
Caroga, NY is a great location for live music now, and will be an even greater one in the next few years. If you’re anywhere between Albany and Utica or the Southern Adirondacks, you need to put this on your destination list for live music.
As a bonus after the evening was over and the stage was cleaned up, Wong, his band and members of the Caroga Arts Ensemble took a spin on the more than century-old carousel at Sherman’s, jamming out as they went around and around.
The Krockathon Reboot on Saturday, July 27, brought a thrilling resurgence of rock music back to the NYS Fairgrounds. With a memorable lineup featuring Puddle of Mudd, Hoobastank, Nonpoint, Stabbing Westward, Boy Hits Car, and Brand New Sin, fans were in for an unforgettable day.
From the moment the gates opened, the festival grounds were alive with activity. Attendees indulged in classic festival pastimes like playing hacky sack and flocked to the Monster Energy booth to grab free drinks, fueling the vibrant atmosphere.
As the day wore on, the crowd’s energy only increased. Early in the day, fans enjoyed the performances while lounging on the grass, but as each band took the stage, the audience became more animated. By later in the day, Nonpoint’s powerful set had the crowd on their feet, with spontaneous crowd surfing and circle pits adding to the excitement.
Stabbing Westward’s darker, industrial sound provided a unique contrast to the day’s lineup, while Boy Hits Car and Brand New Sin set the tone with their high-energy opening performances. Hoobastank’s set was a highlight, with the crowd passionately singing along to every word of their hit song, “The Reason.”
The festival reached its peak when Puddle of Mudd took the stage. As the sun began to set, its golden rays cast a beautiful glow over the stage, creating a magical backdrop for the band’s performance. The crowd sang along to every hit and savored the moment as the sun set
Overall, the Krockathon Reboot was a triumph, offering a perfect blend of nostalgic rock hits and modern festival energy. The NYS Fairgrounds proved to be an ideal venue, accommodating the enthusiastic crowd and providing ample space for the day’s activities. With such a successful return, the future of Krockathon looks brighter than ever.
San Diego’s very own almost monday is an electrifying trio making waves in the alt pop scene. Comprised of the ever-charismatic lead vocalist Dawson Daugherty, guitarist Cole Clisby, and bassist Luke Fabry, the guys have perfected the art of blending surf rock, indie pop, and 80s new wave into a sound that’s as catchy as it is unique.
Since dropping their debut EP don’t say you’re ordinary, almost monday has been on an unstoppable ascent. Their music captures the essence of youthful exuberance, heartbreak, and the rollercoaster of life, all wrapped in upbeat, danceable tunes.
almost monday rocked Madison Square Garden on July 27th as they opened for AJR. Dawson, wearing an “I ❤️ NY” shirt, set a high-energy tone for the night.
The set started off with “is it too late?”, immediately grabbing the crowd’s attention with an upbeat rhythm. Dawson’s boundless energy was on full display as he bounded across the stage, throwing in some impressive martial arts kicks and slices at the climax of each song. The fans couldn’t get enough, cheering louder with each jump.
Following up with “cough drops” and “can’t slow down,” the band kept the momentum going, and the energy in the room only grew. The highlight came during “tidal wave,” when the anthemic chorus had the entire audience singing along, their voices echoing through the legendary arena.
With “sunburn” and “only wanna dance,” the band showcased their talent for crafting feel-good tunes that make you move. The chemistry between Dawson, Cole, and Luke was undeniable. Their playful stage interactions added extra charm to their performance. “sun keeps on shining” had a perfect summer vibe, bringing a touch of their sunny Californian roots to New York City.
Closing with “life goes by,” almost monday left everyone on a high note. The crowd’s response was nothing short of enthusiastic, with cheers and applause ringing out long after the final chord. It was clear that almost monday had won over many new fans that night.
Their dynamic performance, featuring Dawson’s karate kicks and infectious tunes, left everyone smiling and with a new favorite band.
almost monday isn’t just a band to watch; they’re a band you can’t afford to miss.
Setlist: is it too late?, cough drops, can’t slow down, tidal wave, sunburn, only wanna dance, sun keeps on shining, life goes by
Bethel, New York, once the iconic site of the original 1969 Woodstock Festival, was transformed into a haven of nu-metal nostalgia on Friday, July 26th when Limp Bizkit brought their Loserville Tour to Bethel Woods.
Notorious for their unforgettable set at Woodstock ’99, where their intense energy contributed to the festival’s infamous chaos, it took 25 years for Limp Bizkit to successfully rewrite the script. Now older and wiser and out for redemption, the band delivered a high-octane, testosterone-fueled performance that both honored and deviated from their controversial past.
Limp Bizkit performing at Bethel Woods on 7/26/24.
From the moment Fred Durst strutted onto the stage, sporting a backwards Yankees cap and a pinstriped Shohei Ohtani Japanese jersey, the audience—an eclectic mix of die-hard fans from the late ’90s and early 2000s and curious new listeners—erupted in a frenzy. The setlist, a deliberate nod to their greatest hits, had the crowd singing and headbanging along to former chart-toppers like “Nookie,” “Rollin’,” and “My Way.” Along with frontman Durst, all the OG members of Limp Bizkit were present and accounted for in Bethel.
Limp Bizkit’s Sam Rivers performing in Bethel, NY 7/26/24.
Bassist Sam Rivers was looking particularly dapper performing in all white suit and shades, while DJ Lethal and drummer John Otto confidently held things down from the risers in the back. Guitarist Wes Borland, the band’s enigmatic and theatrically dressed master of disguise, was truly a sight to behold. Wearing a gold battle helmet and a pseudo samurai gi, he resembled something of a cross between the Predator and a character straight out of the Warhammer games.
His dark black eyes barley visible as the iconic axman thrashed circles around the stage to songs like “Eat You Alive” and “Hot Dog.” After showing off some tasty Pantera and Metallica licks between songs, Borland would then break into a signature riff almost anyone can play, having a field day on an extended version of “Break Stuff,” the same song that became the scapegoat for the way things spiraled out of control at Woodstock ’99. This time, however, when the song kicked in, the people didn’t kick in nearly as hard. There were no fires set or crowd surfing on plywood the entire night.
Master of Disguise: Wes Borland shows off his latest look on 7/26/24.
The audience itself was a fascinating mix. There were those who had been at Woodstock ’99, now older but still wearing their vintage band tees and reliving the glory days. Alongside them were younger high school-aged fans, some experiencing the raw energy of Limp Bizkit live for the first time. Eavesdropping on a stranger’s conversation, I almost spit my drink out when a guy asked his friend if they’d ever seen Limp Bizkit before and she responded, “No, but I’ve heard a lot about him.” This blend of generations created a unique atmosphere, one where nostalgia met the present day in a powerful collision of sound, emotion and hormones.
Limp Bizkit’s in the house, yall. 7/26/24.
The history of Woodstock 1969 loomed large over the performance. Bethel, the birthplace of the peace and love movement, juxtaposed sharply with the aggressive, rebellious energy that Limp Bizkit embodied. Yet, this contrast seemed to be exactly what the crowd craved—a raw, unfiltered experience that tapped into the cathartic power of music. The resurgence of nu-metal, a genre that blends heavy metal with elements of rap and hip-hop, continues to captivate audiences. Fred Durst, as always, remained a polarizing figure and central to it all. Now in his 50’s and rocking a full silver beard, some see him as the quintessential anti-hero of the nu-metal era, a symbol of defiance and non-conformity.
Others, however, view him as a relic of a dark time in music history, often citing his vulgar and childish lyrics as the bands biggest handicap. Regardless, there is no denying Durst’s ability to command a stage and connect with an audience, even decades into his career. His provocative personality and off-the-cuff remarks kept the crowd at Bethel Woods on their toes all evening long as he clearly still resonates with a massive amount of fans. During the song “Livin’ it Up,” Durst would become one with the people by leaving the stage and performing while walking through the crowd. Later during “Full Nelson,” Durst would invite a bunch of kids up to sing with him and take selfies, a tender moment they will likely never forget.
Fred Durst performing with Limp Bizkit in Bethel, NY 7/26/24.
On the wheels of steel, DJ Lethal had his hands full all night playing samples of songs between songs. Touching on everything from Bon Jovi’s “Livin on a Prayer,” and Creedence Clearwater Revivals’ “Proud Mary” to the Beastie Boys “Fight For Your Right” and Cypress Hill’s “Insane in the Brain,” perhaps his most surprising selections were snippets from Britney Spears “Baby One More Time,” and George Michael’s song “Careless Whisper,” which Fred encouraged everyone to slow dance to.
DJ Lethal had his hands full in Loserville on 7/26/24.
After working their way through “Boiler.” Fred wound pander to the crowd some more, asking “How many people have been in a shitty relationship before and how many are in a shitty one right now? You can’t say it, because you’re with them tonight and your fucking miserable because you had to come to the Limp Bizkit concert with them, I understand.” Without missing a beat, the band would then drop into the song that started it all for the LB, their cover of George Michaels “Faith.” It was the only song played from the band’s 1997 debut album, Three Dollar Bill, Y’all$.
Limp Bizkit performing in Bethel 25 years after their infamous Woodstock ’99 performance 7/26/24.
Introducing its follow-up by saying, “This next song seriously chaps my nads,” the familiar riff of Mission Impossible had the crowd roar with delight when the band kicked into “Take a Look Around.” Getting a bit introspective in the middle of it, Durst would talk to the crowd once again. Using the opportunity to express his opinions on the current political climate, he would go on to suggest that politicians are using technology, cell phones in particular, to turn people against each other.
Declaring that it should always be “us against them” and that he will always be on the side of the people, he thanked everyone for coming out and rocking to some heavy music peacefully. Encouraging people to take a look around and hug their neighbors, Durst seemed genuinely appreciative for the strong turnout and that people still remember who they are. It was a clear sign of maturity for a group who, at one time, were considered the biggest and most juvenile band on the planet.
Limp Bizkit keeps rollin’ in Bethel, NY 7/26/24.
Prior to Limb Bizkit’s headlining set, Loserville kicked off with a diverse bill of opening acts that had a little something for everyone. Highlighted by underground rappers Bones featuring Eddy Baker and Xavier Wulf, their set had some of hardest rhymes and loudest bass I’ve ever heard in person. Before them was a dynamic synthpunk set from the one-man-band known as N8NOFACE. Mesmerizing the early attendees with his bizarre stage presence, guttural screams, and by slamming the microphone into his head to create drum beats, he openly discussed his struggles with crystal meth addiction, saying that for “anyone else who might be struggling, it doesn’t get easier, but it does gets better.”
Thanking Fred Durst from the bottom of his heart for taking him out on this tour, “Already Hate Your Next Boyfriend” was perhaps the song that stuck out most. Adding even more nostalgia to the festivities, actor Corey Feldman (yes that Corey Feldman) kicked off Loserville with a brief set of original music and over the top dance moves. A long-time friend of Durst, the two most recently collaborated on the music video for Feldman’s latest single “The Joke.”
Man of the People: Fred Durst reads the crowd in Bethel, NY 7/26/24.
As the night drew to a close, it was clear that Limp Bizkit’s performance in Bethel was more than just a concert. It was a testament to the enduring legacy of both the band and the historic site. It reminded everyone in attendance of the transformative power of music, capable of bridging gaps between eras, generations, and even differing personal tastes. For one night, Bethel and Limp Bizkit were once again at the center of a musical revolution, proving that while times change, the spirit of rock and rebellion is eternal.
Watch fan footage of Limp Bizkit performing “Faith” on 7/26/24.
Limp Bizkit | July, 26, 2024 | Bethel Woods | Bethel, NY
Setlist: Out of Style, Rollin’ (Air Raid Vehicle), Break Stuff, Hot Dog, Trust? My Generation, Livin’ It Up, My Way, Eat You Alive, Nookie, Full Nelson, Boiler, Faith, Take A Look Around, Break Stuff (Reprise).
On Thursday, July 18, Cola and Galene gave us a night to remember at NO FUN in Troy. They played the perfect show for local indie rock fans.
NO FUN is a live music venue on river street in Troy, an amazing place to hear live music and enjoy some drinks. NO FUN has a full schedule of upcoming concerts, so despite the name there’s lots of fun to be had.
Galene opened the night with tons of energy that they kept thought their whole set. Cola followed close behind and ended the night leaving us all searching for their next congratulations . Be sure to visit NO FUN when you’re in need of good music or a new favorite song.
Upcoming Shows at NO FUN
August 1: Joyer, Shower Curtain, Stroma, and Cooper’s Hawk at 7 PM
August 2: Nailed Shut, Frozen Sun, Torpedo Lane, and Greyfleshtethered at 7 PM
August 3: Planetarium Party (Virgo SZN) at 8 PM
August 4: Coquette, Trepidation, Vaexus, and Beasteliaphiliac at 7 PM
August 8: The Thing, Native Sun, and Attack Dogs at 7 PM
August 16: Big Scary Indian, Adequate Phil, and Otobo from 7–11 PM
The Double Bass Experience was in Syracuse on July 11th as part of the Jazz in the City Series.
The explosive Jazz Double Bass experience featuring Jacob Webb and Phylicia Rae takes an audience to a place where they’ve never been before. The combination of these two stars in contemporary jazz have obtained seven number one Billboard records under their belt.
As a matter of fact, Phylicia Rae is the first female lead bassist to ever obtain a number one record on Billboard’s smooth Jazz National Airplay Chart in the history of this genre. Her history making single “Now or Never,” featuring Marcus Anderson, has granted the opportunity for female bassists to thrive in this genre.
In addition to his bass skills, Jacob Webb founded Next Paradigm Records, a nine artist contemporary jazz roster of fresh talent acclaiming multiple number one hit Billboard singles. Today, Billboard has recognized Next Paradigm as the number four label in smooth Jazz.
With all this success, Jacob and Phylicia brough their show to Syracuse and created a night of great music. From their chart topping hits to covers of Earth Wind & Fire and more. Switching back and forth as the lead bass player Jacob & Phylicia created a magical evening of jazz.
Saturday, July 27 saw Andrew Hozier-Byrne, better known as Hozier, play a sold out show at the historic Bethel Woods Center for the Arts. Hozier is currently touring across North America with opener Allison Russell to celebrate the release of his Unreal Unearth album.
Hozier, photographed by Sarah Hyun
Hozier, born in Ireland but popular worldwide for his songs, “Take Me to Church” and “Too Sweet,” has made many stops in NY while on tour. He recently played four nights at Forest Hills Stadium in June. Hozier is well known for his powerful voice and honest songwriting, touching on themes of heartbreak, abuse, love, and humanity through his deeply personal and self-aware lyrics.
Hozier, photographed by Sarah Hyun
Fans flocked to the concert in the early afternoon, tailgating with friends and family in white skirts, floral tank tops, and Hozier merchandise. While the majority of people sat on the lawn, those who were lucky enough to snag good seats in the 20 minute period before completely selling out the show sat under the pavilion, with a clear view of Hozier and the stage. During the concert, friends, family, and couples danced freely, truly taking in the night. Hardly any phones were present—people were truly living in the moment.
Hozier, photographed by Sarah Hyun
During his song, “Like Real People Do,” Hozier experienced a guitar malfunction and quickly moved on to the next song on his setlist. He stated, “This is how you know I’m playing live,” followed by a few laughs from him and the crowd. He recognized a familiar face and shared a sweet interaction with the fan, stating, “Is that you? Yeah, yeah! Good to see you again… I love you too.”
Hozier, photographed by Sarah Hyun
Finally, he wrapped up the night with a surprisingly long, yet beautiful encore. He left the stage after “Take Me to Church” and snuck off to a separate makeshift area closer to the people in the nosebleeds, and performed a beautiful rendition of his song, “Cherry Wine.” Fans waved their phone flashlights in the air, looking up in awe, crying, and swaying peacefully to the eclectic music as Hozier entranced the crowd with his gentle vocals and intricate guitar playing.
Crowd, photographed by Sarah Hyun
Finally, to finish off the encore, he stopped to talk to the audience about the current social and political issues affecting the world. Hozier has always been vocal about his support of the LGBTQ+ community and in the importance of voting, protesting, and recognizing the violence that is happening in other countries. He stated, “I’d only like to see Palestine free from occupation, free from violence,” before leading into song, “Nina Cried Power.” Although Hozier does not have any more New York dates scheduled for the rest of his tour, he is sure to return in the future.
Hozier – Bethel Woods Center for the Arts – Saturday, July 27, 2024
Setlist: De Selby (Part 1), De Selby (Part 2), Jackie and Wilson, From Eden, Angel of Small Death and the Codeine Scene, Dinner & Diatribes, Francesca, It Will Come Back; I, Carrion (Icarian); Abstract (Psychopomp), Like Real People Do, Wildflower and Barley (with Allison Russell), Would that I, Too Sweet, Almost (Sweet Music), Eat Your Young, Movement, Take Me to Church
Encore: Cherry Wine, Unknown / Nth, Nina Cried Power, Work Song (with Allison Russell)
Billie Marten played a surprise show at Union Pool on Wednesday, July 24. The British indie/folk singer-songwriter announced the show in a handwritten note on Instagram teasing “mostly new stuff” to be played. Marten began her set with an announcement of a new record that she had just spent ten days recording down the street from Union Pool. She didn’t give a solid idea of when this new album might be coming out, but Marten’s last album, Drop Cherries, released just over a year ago on April 7, 2023.
Opening for Billie Marten was writer and musician Jana Horn. If you like Big Thief and Adrianne Lenker, you might also enjoy Jana Horn’s work. Intimate, interpersonal talk singing poetry over folksy drums and unique bass lines. She rode the line between banter and awkwardness perfectly, and the crowd had a great time. Marten then came out quietly onto the stage in Union Pool’s back room, which has the vibe of a Christmassy saloon. One pink light drenched Marten onstage with her acoustic guitar in her spaghetti strap top, light wash jeans, and red converse.
The show was very low-key. Marten’s pickup came loose and the sound engineer scrambled down from his spot up on the balcony as the crowd parted around him. Billie Marten told the audience to talk amongst themselves, and the room filled with a buzz until she was ready to play again. There was plenty of audience banter as Marten changed tunings between each song. We only got to hear four or five new songs, so there is definitely more to come down the road. Hopefully, Billie Marten will be able to put the finishing touches on her album soon, as we are all eagerly awaiting her next show in NY.
According to Webster’s Dictionary, a spectacle can be defined as “A visually striking performance or display.” If one were to add an addendum to this, they could add “The Flaming Lips in concert” and anyone would be hard pressed to dispute this.
The Flaming Lips brought their 2024 tour to Beak & Skiff in LaFayette on Tuesday, July 23. The psychedelic rockers from Oklahoma City were continuing a tour which has seen them play the 2002 album Yoshimi Battles the Pink Robotsin full, each night. most recently at Lewiston’s ArtPark. The album, one of 16 in The Flaming Lips catalog, brought the band their biggest commercial success, and has long been the centerpiece of the Lips’ highly regarded live performances.
As the 7:30pm start time drew close, a palpable energy set in across the apple orchard’s concert field. Front-man and equally skilled hype-man Wayne Coyne did his part to energize and excite the crowd as he sat side stage. Once the clock struck half past seven, Coyne moved to center stage and the band wasted no time getting the spectacle started. With the acoustic opening strums of Yoshimi’s “Fight Test”, and a large bust of confetti from the multiple confetti canons placed around the stage, the evening’s festivities were underway. As Coyne sang the song’s opening lyrics, giant pink robots inflated around the stage, dwarfing Coyne and his bandmates.
The spectacle would continue to take new heights as the band worked their way through the 2002 album. Dramatic lights draped the stage and the audience. Coyne shot copious amounts of confetti into the crowd, and tossed giant inflatable beach balls (again, filled with confetti) into the pit. He sang under a giant inflatable rainbow during “Do You Realize”, a song about cherishing the time you have with your loved ones.
Following the performance of Yoshimi Battles the Pink Robots (and a short intermission), the band returned for a second set, which paid homage to the many other stand out tracks through out their career. The band returned to the stage and launched into their 1993 hit “She Don’t Use Jelly”. Other highlights of the second set included “Flowers of Neptune”, “The Spark that Bled”, “Yeah Yeah Yeah Song”, and “Race for the Price”.
It would be easy to anticipate musicians merely going through the motions after 40 years of performances. The Flaming Lips did anything but this. Coyne donned a giant smile between each song, and regularly summoned more and more energy from the crowd. He told stories of the inspirations behind the music, and urged a message of peace and love. In all, the band seemed to take great pride in delivering their spectacle to the audience at Beak & Skiff.
In what would have originally seemed as an odd tour grouping, Counting Crows and Santana have embarked on a summer tour across North America playing a total of 29 shows.
For long time fans of both bands, this will of course not come as a shock as back in 2002 both bands toured together for the first time.
The tour kicked off in Florida and made its way to Long Island this past weekend, with a sold out show at Northwell Health at Jones Beach Theater in Wantagh. Counting Crows opening the night with a 13 song, 70 min set and Santana and his massive band ripping through 19 songs during their 105 min set.
Counting Crows Setlist: Hard Candy, Richard Manuel Is Dead, Mr. Jones, Colorblind, Omaha, Anna Begins, Miami, Big Yellow Taxi (Joni Mitchell cover), Round Here, Rain King, the 1 (Taylor Swift cover), A Long December, Hanginaround, Holiday in Spain
Santana Setlist: Soul Sacrifice, Jin-go-lo-ba (Babatunde Olatunji cover), Evil Ways (Willie Bobo cover), Black Magic Woman / Gypsy Queen, Oye cómo va (Tito Puente cover), Everybody’s Everything, Europa (Earth’s Cry, Heaven’s Smile), The Game of Love, She’s Not There / Spill the Wine / Papa Was a Rolling Stone / In-A-Gadda-Da-Vida, Sacalo, Hope You’re Feeling Better, (Da le) Yaleo, Put Your Lights On, Corazón espinado, Maria Maria, Foo Foo Encore: Are You Ready (The Chambers Brothers cover), Drum Solo, Smooth
