On Saturday, June 29, Forest Hills Stadium in Queens saw Goose fans flocking towards the venue well before doors opened. With strong but pleasant winds blowing in alongside them, the anticipation was undeniable as large lines formed to snag posters and merch. Long time friends reuniting, new friends being made, the vibes were high as everyone in the audience eagerly awaited what was to come.
Forest Hills was their second stop in New York on what has been a lengthy nationwide spring and early summer tour. If it wasn’t already hard enough to deny how unstoppable this band is, the announcement that this show was their biggest headlining show to date all but solidifies it, selling out the venue of 13,000 people. This isn’t the first time their draw power in New York was in full view, the band previously sold out two nights at Radio City Music Hall, boasting crowds of more than 6,000.
Excitement was at its peak when Goose hit the stage, greeted by the audience chanting “Gooooose” loudly, but low pitched. As is also usual custom, Peter Anspach saluted the crowd with “What’s up, New York City?!” before embarking on what was to be an evening of pure music-magic. The super catchy and funky notes of “Hot Tea” rang out to open the first set. Hips and arms swayed side to side, smiles were everywhere as fans matched lead singer and guitarist Rick Mitarotunda’s scatting.
The first set featured covers, foreshadowing what would come much later. The band tapped into their deep catalog by busting out “Hot Love & the Lazy Poet” from their own side project, Vasudo, and following that, “I Would Die 4 U,” a tribute to the illustrious Prince. The evening’s exceptional vibes were expounded during set-break, as the audience bore witness and cheered on a marriage proposal which saw the bride to be saying yes enthusiastically.
Goose showcased just how deep and expansive their catalogue of music is during the second set, with electrifying renditions of “Travelers” and “Elmeg The Wise.” A beautiful version of “Thatch” came after, bringing the evening to uncharted heights. Closing out set 2 was the title track off their 2023 album, Dripfield, a song that truly exemplifies the essence of what Goose represents as a band.
A brave and bold new frontier, honoring the footsteps of their predecessors, but carving out their own path. An exciting contemporary take on the classic jam band model, incorporating new sounds and tech with traditional instruments and improvisation. Jams that serve very well written songs, not songs that serve the epic jams. All of this enhanced by an impressive lighting design by Andrew Goedde, seeing Goose live is a must for any fan of live music.
The encore saw the band once again tapping into their deep arsenal, busting out one more cover from Vasudo, “Give It Time”, which was the perfect note to end to the evening on. As light wind and rain began to trickle in, the audience flocked out the venue paying the elements no mind as the anticipation began once again for their next show. Goose will embark on another lengthy fall tour, which tickets are on sale for now.
Hugely popular country-rock band, Hootie & The Blowfish touched down in Bethel on Thursday, June 27 during their “Summer Camp With Trucks” tour.
Bethel Woods Center For The Arts is a stone’s throw from the original site of the Woodstock music festival, and joining Hootie & The Blowfish is Collective Soul and Edwin McCain. Collective Soul is celebrating their 30th anniversary and did so by releasing their newest record, Here To Eternity.
As fans were still finding their seats, buying merchandise and beverages, McCain graced the stage. Joining McCain was Larry Chaney on lead guitar with Craig Shields on saxophone and keyboards. The trio had a short set yet prepped the crowd for the rock and roll later in the show. Throughout McCain’s set, he shared stories about his family and laughed with the audience in between songs. Some of his most popular songs like “I’ll Be” and “I Could Not Ask For More,” were received well by the fans. The trio’s chemistry on stage was extremely noticeable while they were on stage.
All the bands were on a tight schedule so Collective Soul hopped quickly on stage. The band blasted into their first song, “Mother’s Love” off their brand new record. The crowd rose to their feet at the start of the set and did not sit until the end of the last song, “Run.” Collective Soul’s style of rock is different than Hootie & The Blowfish’s yet at the same time, complimented each other. It was great to see so many people have equal interest in Collective Soul and Hootie & The Blowfish. The band’s nine-song set was packed with some of their biggest hits. The crowd sang along to every one of the group’s songs.
Collective Soul is fronted by Ed Roland on lead vocals and acoustic guitar. Joining Ed is his brother Dean Roland and Jesse Triplett on guitars. Will Turpin was on bass and Johnny Rabb on drums.
Collective Soul has always been a great band and their stage presence is unmatched. All of their songs are catchy and their legion of fans brought their singing voice with them. As the band started a cover of AC/DC’s Dirty Deeds Done Dirt Cheap, McCain ran on stage to help sing. This brought a loud cheer from the audience. “December,” off the band’s self-titled record was the second to last song played but was the fan favorite. The fans that sat down immediately stood up and took out their phones to record the tune.
With the sun now dipping behind the general admission lawn, the stage quickly was turned over. Hootie & The Blowfish’s road crew did a swift and efficient job at getting the gear all set and ready to go. Before anyone could get a new beer, 001: A SpaceOdyssey’s theme song was blasted into the set and the house lights dimmed.
Hootie & The Blowfish jumped into a cover of 54-40’s “I Go Blind” as the first song. Like Collective Soul, fans in the lower section remained on their feet for the entire 23-song set. The energy from the crowd was soaked up by the band as they had smiles on their face from the first note till the last.
The band is led by singer and guitarist Darius Rucker. Joining Rucker is Mark Bryan on lead guitar, Dean Felber on bass and Jim Sonefeld on drums. In addition to the quartet are touring musicians Gary Greene, Garry Murray and Lee Turner.
With the temperature dropping below the 60s, the cooler weather didn’t deter the band or fans. The rock-infused country style made fans feel right at home at the site of “peace and love.” Throughout the band’s set, they sprinkled in a ton of covers including “For What It’s Worth” by Buffalo Springfield, “Hey, Hey What Can I Do” by Led Zeppelin and “Solitude” by McCain. The latter even saw McCain, yet again, grace the stage to perform the song. The cheers for McCain were louder than the other two times. The band did a great job at adding their own twists to some of those classic covers and made some of the songs the memorable tunes of the evening.
The team that was mixing the band’s sound was at the top of their game. The band overall sounded great. No member was louder than the other, they were just perfect. Behind the band was a spectacular video screen with top-notch graphics of live video and different animations. It was amazing to see different animations of campfires and big trees displaying different color lights to the audience.
It’s difficult to not play the famous tune “Wagon Wheel” for Rucker and fans got their money’s worth when that song was played towards the back half of the set. Fans screamed at the top of their lungs and embraced their friends and partners. This tune has become a favorite among music lovers and it was a great song to hear live, it sent chills down the spines of fans across the amphitheater.
With the band in full command of the stage – and one shoeless Bryan – the band weaved in and out of covers and original material before the end of the set. The final song before the set was over was “Hold My Hand,” off of 1994’s Cracked Rear View and, like “Wagon Wheel,” people embraced each other as the band waved goodbye.
It wasn’t until the three-song encore started that more thunderous cheers were heard. “Go and Tell Him (Soup Song)” was the first song up to bat before a cover of Stone Temple Pilots’ “Interstate Love Song” was played. The STP song was one of the best songs and covers played that evening. Rucker’s vocals were on course with original singer, Scott Weiland and the rest of the band followed his lead.
Of course, “Only Wanna Be With You” was the very last song of the evening and while fans were slowly filing out of the crowd and into the cold night, there was not one negative word said. The crowd loved the entire show and it was all they could talk about as they left the amphitheater.
Hootie & The Blowfish’s “Summer Camp With Trucks” tour has two more dates left. On September 5, they will be in Long Island and on September 6 they will be in Syracuse. This is truly a show you do not want to miss, it’s spectacular in every sense of the word.
Edwin McCain setlist: Darwin’s Children, I Could Not Ask For More, Promise of You, I’ll Be
Collective Soul setlist: Mother’s Love, Bluer Than So Blue, Heavy, Shine, The World I Know, Dirty Deeds Done Dirt Cheap (AC/DC cover), Where the River Flows, December, Run
Hootie & The Blowfish setlist: I Go Blind (54-40 cover), Wishing, I Will Wait, Time, Running From an Angel, For What It’s Worth (Buffalo Springfield cover), Hannah Jane, Not Even the Trees, Will the Circle Be Unbroken? (William MacEwan cover), Desert Mountian Showdown, I Hope I Don’t Fall in Love With You (Tom Waits cover), Wagon Wheel (Old Crow Medicine Shop cover), Miss California, Hey, Hey What Can I Do (Led Zeppelin cover,) Solitude (Edwin McCain cover), Old Man & Me / Mo Money Mo Problems / Big Poppa, Let Her Cry, Losing My Religion (R.E.M cover), Alright, Hold My Hand, Go and Tell Him (Soup Song), Interstate Love Song (Stone Temple Pilots cover), Only Wanna Be With You
Papadosio brought their Summer Sequence Festival to Wonderland Forest on June 21 and 22 in Lafayette, New York. Summer Sequence has been around in different variations since 2017. This summer they decided to give the new venue in the Finger Lakes a try, moving the festival from their home in the Blue Ridge Mountains of Asheville, North Carolina.
Wonderland Forest, still in it’s nascent phase, was a great low-key location for a music festival, as it was intimate and hassle free. Everything was centrally located with two campgrounds on either side of the venue, and besides a trek up the hill for the late-night stage, you were never a far walk from anything. The main stage, nestled in the forest was intimate, and the trees offered a great spot for people to set up their hammocks and set up their own home bases away from their camp site. I did not venture into the other campground area, so I’m not sure if they had any other food options out that way, but the main stage did have a small menu for food. They cooked it made-to-order and they had a pretty damn good wood-fired pizza as an option. If you are camping there for a festival in the future it would probably be smart to not depend on those options for the whole weekend though. The Finger Lakes offers a ton of opportunities to take in some nature in the afternoon, both onsite and offsite, exiting and entering the venue was a breeze.
Papadosio are a mix of Prog Rock, Livetronica, Jazz and Jamband, and their eclectic style reflected on the wide-ranging line-up. Along with Psy-Dub producer Ott, both acts were scheduled to play longer sets each night. After some afternoon Yoga, the music started both days around noon. The afternoons started off laid back, with sparse crowds but as the days went on, the crowd thickened out and were really ready to go by 7 or so.
As it was a new venue, there were still a few kinks to the weekend. As reported, a neighbor in the area is not exactly excited about the venue, and the late-night stage on Friday was shut down early at 2 AM (it was supposed to go until 5). Because of the legal issues with the sound, the late-night for Saturday was entirely canceled. The late-night stage itself was a hike up the mountain, but the venue had shuttles to remedy this and escorted people back down into the late of the night. To no fault of anyone, Ott’s Saturday’s set was cut short after only 45 minutes, as a lighting storm appeared in the area. Everyone went back to take shelter at their camp sites, some left but most stayed in the hopes that Papadosio would still be able to properly close out their festival. During the break the storm turned into a torrential downpour, but as quickly as it started, it stopped. Right before their scheduled set at 10, you could hear some sounds from the stage, and the lights turned back on. Someone from venue drove around in an ATV and let people know that Papadosio would be coming on soon.
Papadosio was able to play their final set, you could tell that everyone was enjoying getting a win at the end. Wonderland Forest was a great spot for their Summer Sequence Festival, the weekend was a success with only a few hiccups. Hopefully the venue is able to work out some of the issues and they will be able to come back next summer. Papadosio still has several dates planned throughout the summer, including the Secret Dreams Music & Arts Festival in Ohio and AVL Fest in North Carolina. Wonderland Forest will be bringing back the Disco Biscuits over the 4th of July weekend for their second Biscoland music festival.
If there was a music style I had to describe as ethereally tender and mystical, yet perfectly encapsulates the feeling of standing in the middle of a swarm of men while eternally wanting to scream your guts out – I would instantly push you towards Paris Paloma’s music.
Infused with Greek and biblical references, the 24-year-old UK artist somehow manages to incorporate serene vivid storytelling in her music while simultaneously arousing the most primal and aggressive feminine urges in her audience. Folk-music with a bit of a dark gothic twist, Paris Paloma dominated the stage on Jun. 26 at Bowery Ballroom and left the crowd screaming in utter awe at her evocative stage presence.
Photo by Alisha Goel
The concert started with a uniquely soothing and harmonic performance by The Army, The Navy. The American duo, consisting of Maia Ciambriello and Sasha Goldberg, serenaded the crowd with some fan favorites like “Alexandra,” and prepared the audience for a hypnotic evening at Bowery. Much like Paris’ music, the duo’s lyrics are jam-packed with intimate and poignant stories, and their music comes across as earnestly confessional. Their calming and intricate harmonies were done on their acoustic guitar, and their chord progressions felt fresh and extremely delicate.
Photo by Alisha Goel
When 24-year-old Giorgia Merolli was asked to describe her connection to Paloma’s music, she said: “I discovered Paris when Labor went viral, and I think one reason why that song went viral is because it’s the most descriptive universal way that we women can relate to us being women. I’ve never heard an artist depict so simply, yet impactfully, the female experience of oppression and shielding our real emotions just to conform to some sort of societal norm.”
Opening her set with the first song in her upcoming debut album “Cacophony,” Paloma desperately repeated the line “What did I do wrong /Will you tell me what I did wrong, what did I,” heartbreakingly resonating with her audience on the pains of feverously scrambling to figure out and reason the abhorrent behavior of past loves in aching toxic relationships.
Photo by Alisha Goel
With her vulnerability and absolute openness in songwriting, Paloma transported everyone from the vast hall at Bowery to what felt like an intimate private gathering. Candidly expressing her grief and struggles surviving in a patriarchal society, Paloma gathered something so uniquely personal to her and used it to forge an iron-clad bond of fury and understanding between every woman present in the room attentively listening to her potent voice.
Paloma also sang “as good a reason,” a lyrical concoction providing a refreshing perspective on ageism and self-love in a society that thrives on manufacturing insecurities. One of the most personally impactful songs for me from the night was titled “the fruits,” a discomforting but visceral exploration of uneven power dynamics and submissiveness.
Photo by Alisha Goel
Paloma surprised the crowd with some of her unreleased songs from her new upcoming debut album. My personal favorite was “the warmth,” which started with what felt like the most beautifully disassociating siren call, and continued with incredulously haunting symphonies and drum beats, making it remarkably distinctive from anything I’ve heard from her before.
Photo by Alisha Goel
Paloma ended the night with her viral TikTok song “labour,” the song which rapidly made her way to the Top 30 on the UK singles chart, and became an anthem for womanhood and the queer community. Screaming “labour” breathlessly on the top of my lungs was an utterly transcending religious experience. It was like we were all bound by one beautiful string – a string harboring chaos and feminine rage and fostering a phenomenon I can only describe as pure and raw human connection. All our collective tears and frustrations binded together, and I found solace and comfort in our universal aches. It was cathartic. I felt liberated.
Photo by Alisha Goel
Paris Paloma – Bowery Ballroom – June 26, 2024
Setlist: my mind (now), drywall, boys, bugs & men, notre dame, as good a reason, knitting song (unreleased), the warmth (unreleased), the last woman on earth (unreleased), bones on the beach (unreleased), the fruits, yeti
Encore: labour
Paris Paloma’s debut album “Cacophony” will be released on August 30.
Photo by Alisha GoelPhoto by Alisha GoelPhoto by Alisha GoelPhoto by Alisha GoelPhoto by Alisha Goel
It was an exhilarating homecoming jam for Mikaela Davis at Thursday nightâs show at the Colony in Woodstock. The June 27 show was full of high energy, dancing, and an extraordinary show from a group of versatile musicians.
Davis, originally from Rochester and now based out of Catskill, is currently on a tour of headline shows and festivals opening for Amos Lee. This show was even more significant, marking her return to the Hudson Valley before embarking on a West Coast tour in July.Â
The audience got a taste of what they were about to witness when she joined opener Rich Ruth on stage for a harp contribution. Davis’ harp playing was recently featured on Ruth’s latest release Water Still Flows. Ruth along with his band and Davis, treated the audience to a special collaborative performance.
Another highlight of the night with Mikaela Davis at Colony in Woodstock was the remarkable musicianship exhibited by the band. By crossing genres, they exemplified how a variety of musical backgrounds can come together to create new distinctive pieces of art. It’s not every day there’s a harp and a double-neck bass in the same band. The experimentation allowed for making the environment feel like a jam session where everyone in the room was equal to the performers, witnessing genuine virtuosity.
After spending the last few years playing with legends like Bob Weir and Phil Lesh, it’s no surprise that Davis chooses to cover a Grateful Dead song at most of her shows. Characteristically, she ended the show with the Jerry Garcia tune “Bird Song.” This was an extremely successful way of uniting the room even more, by playing a song loved by everyone with such positive energy.
On Thursday, June 27, the Northwell at Jones Beach Theater celebrated its 72nd anniversary with a ribbon-cutting ceremony to unveil the latest renovations in a multimillion-dollar project. The event marked a significant milestone for the historic venue, originally constructed in the 1950s, and highlighted its ongoing evolution to enhance the concert-going experience.
George Gorman, Regional Director of New York State Parks, welcomed the gathered crowd, acknowledging the hard work of the staff, Live Nation, and New York State Parks in bringing the project to fruition. He emphasized the theater’s rich history and the importance of these renovations in preserving its legacy. Gorman extended special thanks to New York State Senator Kevin Thomas, Governor Kathy Hochul, and other key supporters for their contributions, which were crucial in making the renovations possible.
During the ceremony, Tom See, Live Nation’s President of Venue Nation, spoke enthusiastically about the enhancements made to the theater. “The reopening of Jones Beach Theater is the start of the next chapter in the venue’s history,” he said. “As part of the venue’s renovation, you’ll just see it when you step on up. Check out this amazing brand new entry. A state-of-the-art entry of Instagrammable moments and you’ll walk right into a community plaza.”
The new community plaza, approximately the size of a football field, represents a significant improvement. “We never had that location at Jones Beach where the community could be able to hang out,” See explained. “We put them right into a concourse and it had lines and a difficult way to maneuver. But now this open concourse provides the community a place to come in, enjoy food and beverages before they go in and see the show.”
The renovations also include a reimagined premium experience, offering 280-degree views of Zachs Bay. To ensure fans enjoy as much of the show as possible and spend less time in lines, the venue has added more than 30% more food and beverage outlets. “So you can hang out, enjoy the show, and spend time with family,” See noted. “But most importantly, we added 20% more fresh food options.”
The ceremony concluded with the official ribbon-cutting, symbolizing the start of the next chapter for Northwell Jones Beach Theater. Attendees were invited to explore the new features and enjoy the event, setting the stage for many more memorable performances at this iconic venue.
Cake returned to Ommegang Brewery in Cooperstown, on Saturday, June 22, greeting over 7,000 fans who went the distance to attend this sold-out show in Central New York during a heat wave.
Cake, from California, has been around since the 1990s and has released original songs (“Going the Distance,” “Short Skirt” and “A Long Jacket”) and covers (“I Will Survive”) that never seem to age. Cake always makes an effort to stop in New York throughout their tours. This show was the fourth time Cake has been invited to play at the Ommegang Brewery.
Although Cake isn’t from New York, it felt like a homecoming show. The backdrop of the stage and the tree on stage blended into the mountains of New York surrounding the brewery and stage. The show opened melodically with Willie Nelsons’ ‘Sad Songs and Waltzes’ before launching into back to back songs from across their entire song catalogue – “Opera Singer,” “Rock and Roll Lifestyle,” “Long Time,” “Frank Sinatra”. Lead singer, Jon McCrea, who’s voice hasn’t aged a bit, also wasn’t stingy in use of the famous vibraslap throughout their set especially since many audience members egged him on by playing their own vibraslaps from the crowd.
The show slowed back down for ‘Mexico’ and the fans’ voiced echoes the words and melodies back to them. The frontman explained that they usually stop for a set break but they would continue to play ‘Shadow Stabbing’ and fight the impeding storm to stay away.
Sadly, lightning struck right after the song concluded and everyone was asked to evacuate the grounds to wait out the storm. Emails were sent out at around 10pm stating the show was cancelled, despite most people lacking any phone reception in the mountains to receive the update.
People went home soggy and disappointed after a short and sweet show and an hour long wait to know if the show would continue. But many Cake fans were satisfied to hear and singalong to songs old and new on a mostly beautiful day in New York and were relieved to know Cake will still be touring.
Cake is heading back to California to continue their tour in July. Perhaps, perhaps, perhaps they will be back to Ommegang soon to finish the show they started and plant a tree for the Cake Forest.
Cake – Ommegang Brewery, Cooperstown, NY – Saturday, June 22, 2024
Setlist: Sad Songs and Waltzes, Opera singer, Perhaps, Perhaps, Perhaps, Long Time, Rock and Roll Lifestyle, Meanwhile, Rick Jamesâ¦, Frank Sinatra, Sheep Go To Heaven, Mexico, Shadow Stabbing
On Friday, June 21, Wilco performed the first night of a string of three shows at the Beacon Theatre.
Opening for Wilco at the sold-out show was Brooklyn-based Cut Worms. This summer tour supports Wilco’s latest album, Cousin, released in September 2023.
The art deco interior of Beacon Theatre felt like the perfect venue for the band hailing from Chicago, a city known for its extravagant architecture. “I always remember this place because the exit signs have the Black Flag font,” frontman Jeff Tweedy joked to the crowd. “That’s how I know where I am.” The band has a new EP, Hot Sun Cool Shroud, set for release on June 28. The EP release coincides with Wilco’s Solid Sound Festival at the Massachusetts Museum of Contemporary Art in North Adams, MA.
Wilco performed songs spanning 30 years of the band’s discography. There were many celebrations throughout the night, including the 20th anniversary of A Ghost Is Born and a “Happy Birthday” crowd sing-a-long for the band’s multi-instrumentalist Pat Sansone. The crowd maintained high energy throughout the night, with many standing ovations and encouragement from the band along the way. “Were you singing? It sounded good.” Tweedy quipped after “Passenger Side.”
The band performed a four song encore before ending night one of their NYC run. Wilco performs again at Beacon Theatre in NYC on June 24. Their Solid Sound Festival in Massachusetts runs from June 28-30, followed by a few more summer tour dates across North America.
Wilco – Beacon Theatre, NYC – Friday, June 21, 2024
Setlist: Misunderstood, Forget the Flowers, Handshake Drugs, Pittsburgh, I Am My Mother, Cruel Country, I Am Trying to Break Your Heart, Meant to Be, If I Ever Was a Child, Summer Teeth, Hummingbird, Bird Without a Tail/Base of My Skull, Passenger Side, Evicted, Impossible Germany, Jesus, Etc., Whole Love, The Late Greats, Heavy Metal Drummer, I’m the Man Who Loves You
Encore: Falling Apart (Right Now), California Stars, Via Chicago, Spiders (Kidsmoke)
Year 21 of the Rochester International Jazz Festival kicked of this weekend, with 13 indoor venues as well as four open air stages being used during the nine-day event.
Bad Sneakers
Starting on June 21, streets around the famed Eastman School of Music were closed and transformed into a music lovers haven, with Gibbs St being becoming Jazz St for the next 9 days. The hub of the festival, Jazz St has a large stage with viewing from 180 degrees around, a large air-conditioned merchandise shop, beer trucks, and culinary promenade the opposite end. There are also info booths around to help visitors navigate and get questions answered.
Kingfish Ingram
Also conveniently located along Jazz St are four indoor venues, including Kodak Hall (Eastman Theatre), which hosted the legendary Taj Mahal on Friday night and Lee Ritenour on Saturday.
Mahal brought a show that mixes old school stripped down blues with tropical vibes, as he played the keyboard, guitar, and banjo. With steel drum, bass, and drums to add to the sounds, Taj and crew energized the crowd on the first of nine amazing nights of music.
Christie Dashiell
The following night, Ritenour took the stage and wowed yet another packed house of music fans. With sixteen Grammy nominations and one win (1985 “Early A.M. Attitude”), Ritenour’s music has not gone un-noticed, as he showcased his guitar skills with specials guests Randy Brecker and Bill Evans for roughly two hours.
Across the street from Kodak Hall is Max Rochester, which provides an airy atrium setting, with amazing acoustics for more casual sets, such as the soulful sounds of Christie Dashiell and Franck Amsallem‘s perfectly arranged piano pieces. Stop by Max at Eastman this week for some amazing culinary delights and perfect ambient sounds as you sip your spirits.
One of my favorite venues during the festival is The Little Theatre. Just outside the perimeter of the festival, this nostalgic theatre greets you with the aromas of classic popcorn as you make your way across the hall to the 1929 300 seat theater. A step back in time, indeed. As with recent years, The Little hosts Roots and Americans acts. Small acts, with minimal gear to set up, but amazing sounds and stories. This weekend, Thunderstorm Artis stopped by and told stories of being one of eleven kids (number 7 to be precise) and island life in Oahu. His laid-back personality, smooth and poignant vocals, and witty rizz paired perfectly the crowds for each of his 2 shows as well the venue itself. A finalist from The Voice, Artis is quickly making his name known.
You want free shows? They are plentiful each night of the festival. The blues serenaded the intersection of East Ave and Chestnut St for nearly three hours as Christone “Kingfish” Ingram and Chris Beard played on Saturday night to a packed street that stretched nearly a full block out and half block each way. This festival is more than grammas jazz records, as it encompasses many genres and takes.
The Jazz St Stage hosts free shows from 330pm until 10 every night. Local high school jazz bands get showcased, the Army band, and various other young local ensembles have opportunities. Later on, more noticeable acts will shake the stage, as Miss Emily did.
Hailing from Prince Edward County in Ontario, Miss Emily has a powerful soulful voice that resonates to every corner of the room she is in. Playing songs she wrote for her daughter and about mother nature (ironically as the winds picked up around the area), Emily played 2 sets for the Sunday evening crowd. Chatting with her after her first set, she says said she was amazed at the festival and the area in general and would love to come back with a full band in the future. This night was just her and the keyboardist.
âMiss Emilyâs voice has got to be heard to be believed – raw, expressive, transitioning flawlessly from a plaintive cry to a sonorous growl, weaving blues, country and rock while she does it. Miss Emily is unafraid to dig deep when she sings, tackling big, messy feelings in her songs – and you can feel it in every note.â
â Rob Baker (The Tragically Hip)
New venues for this year’s festivities are The Duke and Inn on Broadway. The Duke sits just outside the perimeter of the festival, and it is taking up space in a former retail mecca that is growing back up with the area around it. 18 sets will adorn the small stage over the week. It is the fourth business for ownership who also own a small plate venue right across the hall.
The Inn on Broadway is 95-year-old, 25 room boutique hotel and steakhouse that many visitors will pass as the make their way to the main event. The musical venue is an elegant second floor ballroom, with great sound and lots of natural light.
With the first weekend in the books, the Rochester Jazz Festival is primed for a strong finish as acts such as Sheila E, Brubeck Brothers Quartet, Bill Charlap, Samara Joy, and John Oates roll into town. Local favorite, Joy, is making her first appearance as a headliner at the festival, after playing smaller stages in recent years. The festival concludes Saturday night, June 29.
“CMA Fest,” the Music Event of Summer, will air its annual concert television special on ABC, Tuesday June 25 at 8pm EST. It will be available to stream on Hulu the following day.
The War and Treaty perform at CMA Fest
The three hour special will be hosted by Jelly Roll and Ashley McBride and will recap four days of musical performances and surprise collaborations which occurred during CMA Fest in Nashville, June 6-9.
Courtesy of Country Music Association
Tuesday’s special will feature performances by Kelsea Ballerini, Big & Rich, Clint Black, Brothers Osborne, Luke Bryan, Terri Clark, Jordan Davis, Jackson Dean, Billy F Gibbons, HARDY, Jelly Roll, Cody Johnson, Little Big Town, Lynyrd Skynyrd, Ashley McBryde, Parker McCollum, Megan Moroney, Jon Pardi, Carly Pearce, Post Malone, Shaboozey, Blake Shelton, Brittney Spencer, The War And Treaty, Thomas Rhett, Keith Urban, Gretchen Wilson, Lainey Wilson and Bailey Zimmerman.
The Castellows perform at CMA Fest
Ahead of watching the CMA Fest Concert Special, check out the full recap from New York State Music for the CMAC festival this month here.
