Category: Media

Bonnaroo 2024: A First-Timer’s View of ‘Roo

Bonnaroo 2024 was my first time attending a music festival of this size as well as camping there. Going into it, I had no idea what to expect or how vast the grounds and crowds would be. The sheer scale of the festival was awe-inspiring, and was a humbling experience to be part of.

The festival drew over 70,000 Bonnaroovians to the festival in Manchester, TN over four days, June 13-16 with the festival completely sold out. Throughout the festival, the temperature soared to a high of 94 degrees, but that didn’t dampen the spirits of Bonnaroovians from partying all day and night.

Bonnaroo Day 1: June 13

I arrived at the media camping grounds at 8 am to claim my spot and swiftly set up camp before the gates for Centeroo opened at noon. At noon, I made my way to Centeroo for the first time and walked the grounds. Right away, there was a contagious energy of excitement on the ground from veteran Bonnaroovians returning home to first-timers like myself in awe of all of it.

While exploring Centeroo, I made my way to the House of Matroomony. I heard about this house performing weddings at Bonnaroo and thought the idea was cute; little did I know when I walked in there, I would witness and photograph the first wedding of Bonnaroo. The couple was Savannah and Nathan Ingle, who were officiated by Virginia Slim Jim. What a way to kick off my Bonnaroo.

Savannah and Nathan Ingle center left and right, Virginia Slim Jim in the center

My first show of the day was later in the evening Durand Bernarr at the This Tent. His set was high energy, and he had a fantastic stage presence and the crowd was eating up his performance from the moment he walked out in his all-denim look. Throughout his performance, he sang songs from his EP En Route released May 31 this year. I stayed at This Tent for the next show Nation of Language. This was my first time hearing and seeing them perform, and it was a thrilling experience. The band has an 80s synth pop melodic sound to them that really works and kept the crowd grooving. They started their set off with ‘A New Goodbye’ from their new studio album Strange Disciple. From the This Tent, I quickly had to make my way to the What Stage to catch headliner Pretty Lights.

Durand Bernarr

Pretty Lights had such an imaginative backdrop behind the DJ booth, a wall of circuit panels with wires that was part of his setup. With a band accompanying him, Derek Vincent Smith started his set by hyping up the crowd and giving them a performance of “Swirl Song/Sun Machine,” the lighting that followed keeping the crowd hyped and flowing to the tunes.

Towards the end of the song, hearing the crowd sing lyrics from David Bowie‘s “Memory of a Free Festival” – ‘Sun Machine is coming down and we’re gonna have a party’ – was such a magical moment. Hearing the crowd of that magnitude for my first time at the festival was just a small taste of what would come the next couple of days. To finish off my first day of Bonnaroo, I made my way to That Tent to see Geese. Another first-timer seeing and hearing of this band, who brought their punk-rock fusion and had the crowd in their grasp from the moment they got on the stage.

Pretty Lights Crowd

Bonnaroo Day 2: June 14

Friday was a jam-packed day for music. Starting my afternoon off at the That Tent for MIKE who brought his profound sound that showcased his lyrics and wisdom within the music. Throughout his set, he got great crowd participation whenever he interacted with them. He performed songs from his new record ‘Burning Desire’ and a couple of songs that were untitled and were still a work in progress. The crowd loved each song he did.

After MIKE’s set, I headed towards This Tent for Bonny Light Horseman. The band brought a calm demeanor with their folk sound and strong lyrics behind each song. It was a nice change of pace, from all the hustle and bustle that a festival can bring. After the calm, I made it to Which Stage for The Japanese House who continues the same level of calm in her performance. A blue sky and cloud backdrop set the tone perfectly for it. She performed an unreleased song called ‘Smiley Face’. In her words, it’s “about my big gay love,” and the crowd went absolutely crazy for it.

MIKE

Drivers Era at the What Stage had tremendous energy throughout their whole set. There was amazing chemistry between the band and the crowd that carried the performance. ‘Turn Up the Music’, ‘Get Off My Phone’ and ‘Feel You Now’ started the set, and all around you couldn’t have walked away after their set without having a smile on your face. I then raced over to This Tent to catch Grouplove, my second time seeing them perform, and I knew the moment that they took to the stage they were going to take everyone on a ride with them. The atmosphere was so electric and contagious. I had such a fun time photographing them.

The Drivers Era, Ross Lynch

I got a little break before heading back to Which Stage for Lizzy McAlpine. Her stage setup was quite unique, it was giving off living room vibes, with a band set up straight across the stage with her being right in the middle and having stage light stands as her backlight across them all. Her performance felt very intimate, no matter where you were in the crowd. She started her set with ‘doomsday’ that got everyone in their feelings from the start. In the middle of her set, she did a mashup of Rascal Flatts “Bless the Broken Road” and John Denver’s “Leaving on a Jet Plane” that the crowd loved.

After getting in my feels with Lizzy, Maggie Rogers took the Which Stage next. Maggie had by far one of my favorite artist’s entrances of the festival. Her band started playing the intro to ‘It Was Coming All Along’, and she rose from a lift on top of her stage stairs case, and when she popped up, the crowd went crazy for her. She went on to perform ‘Drunk’ and ‘That’s Where I Am’ but by the end of her third song, I had scurried off to the What Stage for headliner Post Malone.

Maggie Rogers

Post Malone’s intro was the most exciting thus far this weekend, starting with a string quartet walking out and beginning to play softly, then getting louder, followed by a female guitarist who gave a killer guitar solo that led into the band’s intro to ‘Better Now’ and his entrance to the stage was accompanied with pyrotechnic fireworks. The crowd was beyond ready for Posty, and from the moment he took to the stage, the crowd sang every song along with him. He had such a smooth transition into ‘Wow’ and a mashup of ‘Zack And Codeine’ and ‘Psycho.’

Post Malone

To wrap up my night, I headed back to the Which stage for my most anticipated show of the night T-Pain. I don’t think people really realized how many hits this man has. His set was packed with almost all of them, he started his set with ‘Take Your Shirt Off’ and then went into ‘Up Down’ then ‘Bag of Money’. After the third song I quickly went to put my camera away to go join the crowd for the rest of his set.

To be part of this crowd was truly insane, everyone was having such an amazing time singing, and two stepping the night away. He had such tremendous stage presence throughout the whole set. My favorite songs he performed were ‘Good Life’, ‘Black and Yellow’, ‘Kiss Kiss’, and his cover of Sam Smith’s ‘Stay With Me’ blew me away! Crowd favorites were ‘2 Step’, ‘Low’, cover of Journey’s ‘Don’t Stop Believin’ and of course ‘Buy U a Drank’. He wrapped up his set by doing ‘All I Do Is Win’ and ‘I’m on a Boat’.

Bonnaroo Day 3: June 15

I managed to get some sleep after T-Pain’s late set, which went into the early morning. By noon, it had reached the festival’s hottest temperature at 94 degrees. I made my way to Outteroo and headed towards Plaza 3 House of Yes Pride Parade. This was the fourth year that the House of Yes has hosted the Pride Parade.

When I arrived and entered the House of Yes was a truly heartwarming moment, to be surrounded by the queer community and feel love in the air instantly. Knowing everyone in that room was in a safe space to be their authentic self and no judgment by anyone. Just before the pride parade kicked off, a little dance party broke out in the House of Yes. Everyone was enjoying themselves, and soon enough, the parade kicked off, and the party continued outside. From the House of Yes, the parade took everyone to Where in The Wood for the after-party, where the dance party continued with a DJ set.

I made my way back into Centeroo to catch my first show of the day, The Maine at the What Stage. The rock band brought high energy that had the crowd dancing from their opening song ‘Blame’ and they performed ‘Sticky’ and ‘Slip The Noose’. I finally had a nice break from the sun before going to the Which Stage for Brittany Howard. I’ve been a big Brittany Howard fan for quite some time now, and to finally have gotten to photograph her and see her perform was such a dream. Her vocals are so unique and powerful, the energy she gave off the stage was amazing. ‘Earth Sign’ started her set, with her soulful vocal chops that set the tone for her set. Her soulful voice continued into ‘Georgia’ and the song ‘Stay High’ gave the crowd an insight into the wide range of her vocal ability and sound she has developed.

From one soulful performance to another one. I made my way back to What Stage for Jon Batiste. As with Brittany, I was excited for Jon’s set. His vocals and lyrics are so powerful, and on top of that, there aren’t that many people who can pull off a sequin suit, but he did. There are no words to describe the sheer radiant energy he was giving to the crowd. My favorite song he performed was ‘Freedom’, an energetic song and mood booster that had the crowd on their feet dancing.

Jon Batiste

I boogied my way back to Which Stage for my favorite artist at the festival, Renee Rapp. I’ve been lucky enough to have seen her perform before, but this was my first time photographing her, and she did not disappoint. Her fans were among the loudest at the festival at that time. I love how Renee is able to do such smooth transitions from her upbeat songs ‘Talk Too Much ‘and ‘Poison Poison’ right into her softer song ‘Bruises.’ I enjoyed the rest of her set once I was done, my personal favorites were ‘Not My Fault’, ‘Pretty Girls’, ‘Tummy Hurts’ and the song she hates ‘Too Well’. After her set, I walked away from it with one of the biggest smiles on my face.

Renee Rapp

To end my night, This Tent had the Dashboard Confessional Emo Superjam. Bonnaroo is known for doing Superjams where a mix of artists perform a set based on the theme and it’s always a festival highlight. When I got there, I saw Dashboard Confessional and Andrew McMahan doing Something Corporate’s “I Woke Up In a Car.” By this point, I was running on about 5 hours of sleep, and it was finally catching up to me. I left the Superjam early and called it a night.

Dashboard Confessional and Andrew McMahon, Emo SuperJam

Bonnaroo Day 4: June 16

I couldn’t believe it was the final day of the festival, and I had so much in store for myself that day. I couldn’t miss seeing Chappell Roan on the Which Stage. This artist is right up there with T-Pain, Renee Rapp, Brittany Howard, and Jon Batiste for my must-see performances while here. She’s been having one hell of a year, and had by far the biggest crowd for any artist at the festival. She and her band are dressed in all latex doctor/nurses outfits. The sheer volume of the crowd could be heard throughout the festival grounds and camping grounds. ‘Femininomenon’ got the party going with a song ‘with a fucking beat.’

With every song, the crowd was singing right along with Chappell. She then went into ‘Naked in Manhattan’ and ‘Super Graphic Ultra Modern Girl’. Hands down the most anticipated song of hers I was looking forward to and also a crowd favorite is ‘HOT TO GO’. To see the sea of people in the crowd doing the dance was so magical and definitely a core memory for me from the festival. She debuted a new song called ‘The Subway,’ another show that left a smile on my face afterward.

Chappell Roan, photographed from the crowd

With a little break, I headed to the What Stage for Carly Rae Jepsen. Right from the start, she brought out high energy, and there was a strong crowd connection from the beginning when she sang ‘Now That I Found You’. Unfortunately, due to thunder and lightning, her set was cut short, but after the weather cleared up, she was able to get back on stage and finish her set. Due to the weather, the schedule changed a little, but that’s just festival life for you.

Which Stage had Goth Babe, and they were another artist that I hadn’t heard of before, and I really didn’t know what to expect. When he came out to start his set, I was pleasantly surprised. He had an indie vibe to him with a hint of pop. I definitely jammed to his music while in the pit and instantly became a fan. For as much as I wanted to stay for his set, I had to head out to catch Megan Thee Stallion on What Stage.

Goth Babe

Megan knows how to put on a show! She started her set with ‘HISS’ accompanied with pyrotechnics. The crowd roared when she came out and kept the energy going with ‘Ungrateful’ and ‘Thot Shit’. For the last time of the festival, I made my way back to Which Stage for Jason Isbell and the 400 Unit. With his Americana sound, he slowed down the pace and had everyone bobbing and singing to ‘King of Oklahoma’ and ‘Stockholm.’

Here is where I made an executive decision to stay for two songs of his instead of the three in order to make it to my last show of Bonnaroo at the This Tent for Taking Back Sunday. I made it just in time as the band was starting to play ‘S’Old.’ The crowd was electric for the pop-punk group, and honestly, it was such a perfect way for me to end my Bonnaroo experience.

Megan Thee Stallion

Reflection

I am forever thankful to have had this opportunity to have come and cover Bonnaroo 2024. Before I got to Bonnaroo, I heard and read about The Bonnaroovian Code and didn’t really think too much about it. As I sit here reflecting on my time on the farm I understand now when everyone says ‘The Bonnaroovian code isn’t just for four days a year in Tennessee – it’s for all Bonnaroovians, everywhere and all the time. Bringing the spirit of Bonnaroo with you out into the world.’ I can’t wait to go back for round two in 2025.

June 22, 2024
Artist Spotlight: Little Stranger

Meet Little Stranger: an eclectic musical duo hailing from Charleston, South Carolina, originally rooted in the vibrant city of Philadelphia. The band is known for their unique blend of indie rap pop, infusing funky distorted guitar riffs with soulful trumpet and saxophone melodies. Their dynamic sound and playful stage presence have captivated audiences across the country, establishing them as a notable act in the contemporary music scene.

Little Stranger @ Gov Ball 2024. Photograph by Chinaza Ajuonuma

A Genre-Blending Phenomenon

When it comes to genre-blending and innovative soundscapes, Little Stranger stands out as a trailblazer in the indie music world. The Charleston-based duo, originally from Philadelphia, has carved a niche for themselves with their eclectic mix of indie rap pop, a fusion that combines the raw energy of hip-hop with the melodic charm of indie pop and the vibrancy of live instruments.

Roots and Formation

Little Stranger is the brainchild of John and Kevin Shields (no relation), two musicians whose artistic synergy has led to the creation of a distinctive sound that defies conventional genre boundaries. Their journey began in Philadelphia, where they honed their craft and developed a unique musical identity before moving to Charleston. The relocation infused their music with a fresh perspective, adding layers of Southern charm to their already dynamic style.

Little Stranger @ Gov Ball 2024. Photograph by Chinaza Ajuonuma

Musical Style and Influences

The hallmark of Little Stranger’s music is its infectious energy and playful spirit. Their songs often feature funky distorted guitar riffs, complemented by trumpet and saxophone backups that add a soulful touch to their sound. Tracks like “Coffee & a Joint” resonate deeply with their audience, offering relatable themes wrapped in catchy melodies. Their music is not only aural but also visual, with their live performances characterized by vibrant, playful antics and an engaging stage presence.

New Single and Upcoming Album

The duo recently released their new single “Sofia” off their upcoming album Sat Around Trippin, set to be released on June 28. “Sofia” is a groovy track that deals with a breakup in typical Little Stranger fashion, featuring quick-witted lyrics that poke fun at both their ex and themselves. The song’s playful yet introspective tone perfectly encapsulates the band’s unique approach to songwriting.

Little Stranger @ Gov Ball 2024. Photograph by Chinaza Ajuonuma

Live Performances and Audience Connection

Little Stranger’s live shows are a testament to their reputation as performers who know how to entertain and connect with their audience. At events like the Governors Ball, they have wowed crowds with their high-energy sets and whimsical stage antics. Kevin’s humorous quips, such as “everything’s legal so you can do whatever you want today” and playful banter about the attractiveness of the crowd, create an atmosphere of inclusivity and fun.

Headline Tour

Adding to their excitement, Little Stranger is embarking on a headline tour that includes stops at Brooklyn Bowl in Williamsburg and Buffalo Iron Works in Buffalo. This tour promises to bring their energetic performances and distinctive sound to a wider audience, further solidifying their presence in the music scene.

Looking to the Future

With a growing fanbase and a string of successful performances, including their recent set at Governors Bal 2024, Little Stranger is poised to continue their ascent in the music world. Their commitment to innovation and their ability to blend genres seamlessly ensures that they remain at the forefront of the indie music scene.

In a musical landscape often dominated by mainstream sounds, Little Stranger brings a refreshing change with their indie rap pop fusion, proving that creativity and originality still have a significant place in the industry. As they continue to evolve and push the boundaries of their sound, fans can look forward to more exciting music and unforgettable live performances from this dynamic duo.

June 20, 2024
Spafford and Mike Gantzer Find Their Way Home in Woodstock

It was a hometown throwdown with an added twist for Spafford Saturday night. Playing the third show of their summer tour at The Colony in Woodstock on June 15, it notably featured Mike Gantzer of Aqueous filling in for Spafford guitarist Brian Moss as he continues dealing with the effects of a brutal crash the band was involved in earlier this spring. More than the sum of its parts, the show must go on and it did, yielding a most memorable and unique night of improvisational jams.

Mike Gantzer of Aqueous filled in for Spafford guitarist Brian Moss during the Woodstock performance on 6/15/24.

The quaint counterculture community of Woodstock was bustling with activity in the hours leading up to the show. Colorful, vibrant and welcoming, the main drag was covered in pride flags and business was booming at the numerous mom-and-pop gift shops, galleries, and gastropubs around town. The energy in the air felt like a throwback in time, reminding me of the neighborhood block parties when I was young and everything felt safe. Prior to showtime, early attendees at The Colony were treated to the delightful Americana sounds of The Jack Grace Band on the back patio stage. It was inside on the Ballroom stage, however, where the real magic was about to take place.

Spafford performing at The Colony in Woodstock, NY 6/15/24.

Fresh off their first gigs together in Rochester and the Northlands Music Festival, this incarnation of Spafford hit the ground running hard. With a schedule that includes 10 shows in 11 days, don’t let anyone tell you touring life is easy. Consisting of bassist Jordan Fairless, drummer Nick Tkachyk and keyboardist Cory Schechtman, the Spafford members humbly welcomed and thanked guitarist Mike Gantzer for joining them on this run of shows. Easing into things with an opening improvisational groove, it was around 17 minutes in when the band landed on the first actual Spafford song of the night, the explosive fan favorite “It’s a Bunch.”

Performing with man down, Spafford looked to Mike Ganzter to man up on 6/15/24.

Playing with a man down, it was here when Gantzer really stepped up and cut loose first the time, announcing his presence with swagger and authority, showcasing his undeniable ability as a player. Emoting with passion and simultaneously shredding his sparkling blue Gibson axe with the best of them, let’s be clear, no one can “replace” Brian Moss, but it was around this part of the show when you realized this was an unprecedented kind of Spafford experience. That we were witnessing something special and not only were things going to be just fine, they were going to be absolute fire.

Leaning heavily on bassist Jordan Fairless to handle the majority of vocal duties on this run, Saturday night at The Colony took on extra special significance for him. After celebrating his wedding anniversary two days prior, it was not only a homecoming for Jordan, but a full-on family reunion as well. With his beautiful wife and daughter in attendance, every time the local Woodstock resident stepped up to the mic you could see the sparkle in his eyes as he sang out to them. Touching and beautiful, the first time we’d hear it was on “Lonely,” a song written years ago and has emerged as one of the bands biggest jam vehicles.

It was a hometown throwdown for Spafford’s bassist Jordan Fairless who lives in Woodstock.

Clocking in just shy of the 20-minute mark, it was the clear standout of the first set and just seemed to hit a little harder given the circumstances of this particular night. Jordan’s soothing vocals carried over into the bluesy come down of “Shake You Loose” from 2022’s Simple Mysteries and would send the audience burning straight through intermission.

Met a man in New York and he had no time for me.

His New York minutes, they were ticking away.

But I’m not gonna give up, no I’ll just keep on standing here.

Waiting for that day…when we all say.

You don’t have to be lonely. Look no further, you can hold me.

And I will hold you till you’re not lonely.

We’ve got each other, and I’ll be on your side till the morning comes.
-Lyrics from “Lonely”

Prior to the start of the second set, the unofficial fifth member and band namesake, Chuck “Spafford” Johnson who would treat the audience to a reading of his poem “Would Etal.” A privilege to hear one of “Chuck’s Dreams” in person, his purpose with the band cannot be overstated. Aside from being a published poet, Johnson has also penned the lyrics for several of the bands most beloved songs, including “My Road, My Road,” “The Postman,” and “Slip and Squander.” He’s also the man primarily responsible for running the free Spafford live streams on YouTube and doing what some might call “God’s work.” Fans can’t thank him enough.

Chuck’s Dream: Lyricist Chuck “Spafford” Johnson read his poem “Would Etal” during set break on 6/15/2024.

Returning to the stage for round two, Spafford wasted no time putting the pedal to the metal by opening with “Diesel Driver,” a song that many fans have now come to associate with the aforementioned crash in March that still lingers over the band. It’s exploratory jam would segue nicely into the new and highly danceable Corey Schectman space-funk instrumental “Machine Elves” that had the entire room moving and grooving. Another sentimental moment came next as Fairless sang the blues based “Home (One Place I’ll Never Be). Dedicating the song to his wife two days prior, here he was able to sing it to her in person and just down the street from where they now live.

Spafford performing at The Colony in Woodstock, NY 6/15/24.

Playing up the novelty of Jordan’s homecoming, the undisputed jam of the night evolved next in the form of a near 30 minute version of “Leave the Light On,” a song first played by the band in 2012. This time, however, it seemed to take on a whole new level of maturity. Listening intently to each other and exchanging glances, the creativity flowed between the four musicians on stage. Largely anchored by the handiwork of drummer Nick Tkachyk, you would never know this lineup has only played a few shows together.

Mike Gantzer performing with Spafford at The Colony on 6/15/24.

Finding some limits and pushing through them, the playing was relentless and the improv was intense. With Gantzer pouring every ounce his of passion and spirit into the performance, you know somewhere out there Brian Moss is smiling knowing he made the right call. Feeling more comfortable with each passing show, you can see the healthy respect these guys have for each other and the budding friendship that’s blooming.

It’s so cold at night, and I pretend that it’s all right.

But I keep your candle burning in the window.

Leave the light on for me lady.

So in the darkness I can find my way home.

Leave the light on for me lady.

Let me know that I’m not alone
-Lyrics from “Leave the Light On”

Holding court near the merch stand with a small group of people listening intently, Gantzer opened up about the challenges of learning such intricate material in such a short time. While comparisons to Moss are inevitable and both players are among the scene’s elite, it’s not quite as turn-key when it comes to the type of improvisation Spafford is known for. Making it clear that he was honored to get the call and that he’s feeling a bit of pressure to deliver the goods, he humbly noted he “can’t play the songs like Brian does, that he can only play like himself.” Feeding off the crowd’s energy and hoping to send it all the way back to his friend, it’s fair to say Uncle Mike met all expectations and exceeded them in Woodstock.

Mike Gantzer performing with Spafford at The Colony on 6/15/24.

Returning to the stage for a brief encore, Jordan would address the crowd once again, thanking them for coming out to the show and thanking Gantzer for his incredible job filling in. After planting the homecoming seeds all night long, Spafford would finally spit them out with the lone cover and final song of the evening, a tasty take on Herbe Hancock’s “Watermelon Man.”

Mike Gantzer will remain with the Spafford through the remainder of the month before the band reevaluates. Following a scheduled run through Colorado and an appearance at the 4848 Festival in July, East Coast fans won’t need to wait long to see Spafford again. They’ve just announced a number of new tour dates in August that includes a stop at Lincoln Hill Farms in Canandaigua, linking up with red-hot New York jammers Annie in the Water. As for the future of guitarist Brian Moss, no one seems quite sure when he’ll return to the fold. Requesting privacy at this time, we here at NYS Music wish him all the best and hope the healing power of music starts working its magic soon.

Spafford | June 15, 2024 | The Colony | Woodstock, NY

Set1: Jam > It’s a Bunch > Lonely, Shake You Loose.

Set 2: Diesel Driver > Machine Elves, Home (One Place I’ll Never Be) < Leave the Light On.

Encore: Watermelon Man (Herbie Hancock).

June 20, 2024
20 Years Later: Phish’s 2004 SPAC Run

In June 2004, the “end” was nigh for Phish as a band. The thought-to-be career-ending Coventry festival was slated for mid-August and all indications at this time was that there was no turning back and to savor every last performance. Before Phish would hang it up though, they graced SPAC with a two-day run over Father’s Day Weekend that featured moments of sheer brilliance, musical flubs that were all too common to this era and a surprise dad of their own that evoked memories of a happier time in the band’s history.

This particular SPAC run, only the fourth and fifth times that the band has ever played here, starts off with a bit of a surprise in the form of a “Reba” opener. Phish breezes through the composed sections of this intricate arrangement with ease before a relatively brief but euphoric improvised jam that follows. Alas, there would be no whistle-led ending to this one. Instead the band immediately pivots to a much more traditional show opener in “Runaway Jim.” Trey Anastasio leads the way on this one with some driving guitar fills which continually increase the tempo and depth of the ensuing jam until it comes to a head.

Tonight’s show maintains a relatively old school feel to it early on with the “NICU” that comes next with the “looked back on those days when my life was a haze” and the “Play it, Leo” lines both getting a hearty round of applause from the SPAC faithful. Phish then finally dives into their newer material with “Scents and Subtle Sounds” from their Undermind album which was just officially released last week. There would be no slow introduction for this one though as heard on the album. Instead Phish immediately jumps into the lyrical portion of the song, the first time they would ever do this. “Scents” yields another brief but truly uplifting outro jam with keyboardist Page McConnell pounding away on the piano while he and bassist Mike Gordon bookend it with harmonized lyrics.

Phish 2004 SPAC poster by Louis Arzonico

There’s a noticeable break between songs afterwards, perhaps with Phish trying decide how to end this first set at SPAC. It begins with a very slow, almost plodding “Wolfman’s Brother” that the band really takes their time with and certainly doesn’t suffer from a lack of funk. The “Walls of the Cave” that follows provides some of the best moments of the first set. After its typical thunderous outro jam, Phish takes it around the block and then some, going into a full Type II ambient/melodic jam that includes guitar riffs from Anastasio that would reappear in tomorrow night’s second set. As the jam slowly peters out, drummer Jon Fishman starts up the signature high-hat intro to “David Bowie” which closes out the first set in grand fashion.

Phish jumps right back into the deep end to begin the second set with the second ever performance of “A Song I Heard The Ocean Sing,” another new selection from Undermind which debuted days earlier in Brooklyn. It showcases the band’s true colors with a rollicking early jam that stays true to the song’s original structure before veering off into another exploratory Type II vehicle that elicits authentic aquatic vibes in its early stages before a slow and gradual reshape back to form.

poster by Jason Lees

This sets for the stage for “Piper,” a legendary version that phish.net properly describes as “a multi-section improvisational super heavyweight.” There’s no slow build in this 30-minute plus rendition that some argue is the best one of all time. Phish gets right down to business immediately, ripping through the brief lyrical section before leaping into a ferocious jam that starts off at an incredible pace and doesn’t let up for a while. At one point, the jam starts to ascend in a true “Tweezer Reprise”-like fashion without the song ever actually being played, with Anastasio going full rock god mode and vamping maniacally. It’s all adds up to a “Piper” that rivals the one played at Camp Oswego in 1999 and one that certainly belongs in any “Best Of” discussion.

The groove that develops on the back end of “Piper” eventually rounds cleanly into the beginning of “Gotta Jibboo.” Anastasio has the digital delay loop ready to go and this yields another joyous albeit brief jam that never rounds back into the end of “Jibboo.” Phish instead pivots to “Limb By Limb” with a standout version that features a series of patiently crafted, blissful peaks. “Cavern” then brings the second set to a close, marred a little bit by Anastasio completely spacing on some of the lyrics. Phish ends the first show at SPAC this weekend with a tame and relatively nondescript “Wading In the Velvet Sea.” Unfortunately, the same couldn’t be said about their “last” one of these at Coventry later this summer.

June 19 review by Tim O’Shea

Phish – Saratoga Performing Arts Center (SPAC) – Saratoga Springs, NY – Saturday, June 19, 2004

Set 1: Reba, Runaway Jim>NICU>Scents and Subtle Sounds, Wolfman’s Brother, Walls of the Cave->David Bowie

Set 2: A Song I Heard The Ocean Sing>Piper->Gotta Jibboo>Limb by Limb, Cavern

E: Wading in the Velvet Sea

https://www.youtube.com/watch?v=_UIBFR2eVVs

In 2009, fans returned to SPAC for what would be a five-years and two month gap between Phish shows in Saratoga Springs, but no one at the time knew this, let alone the band. Having only played SPAC five times between 1994 and 2004, the band found new affinity for the (originally) summer home of the New York City Ballet and Philadelphia Orchestra. With Anastasio spending time from 2007-08 living in Saratoga Springs while serving probation, return trips to SPAC have been frequent, almost annual events, marking 19 shows since 2009 alone.

But this 2.0 era show stands out (as does the night before) with jam highlights throughout, erasing even if briefly the specter of the band’s ‘final’ shows coming up less than two months later. Never has the phrase “never miss a Sunday show” been more ominous, as for some, this would be the last time they would see the band perform live for many years.

Phish SPAC 2004 poster by Ryan Kerrigan

Opening up the first set with an energetic “Rift” that lit the audience up, segueing into “Julius” during which Trey broke a guitar string. Following the repair, the band was joined by Dr. Jack McConnell, the father of Page “Chairman of the Boards” McConnell, who performed “Bill Bailey, Won’t You Please Come Home” for the first time since 1999, even donning his tap shoes to soft shoe on this Father’s Day. This sit-in followed Jay-Z joining Phish just two days later in Coney Island on “99 Problems” and “Big Pimpin’.’

Shirt design by Tripp

The “Waves” that followed had a heavier flow to it, pushing past the composed section and keeping the song upbeat and lively until the end. A funky ‘Gumbo” gave way to a trio of shorter songs – “Water in the Sky,” “Horn” and “Poor Heart,” which offered a break in the action, before delivering a 22+ minute version of The Who’s “Drowned.” You could lump “Drowned” in with the second set jamming that followed, and rightly so – this version of “Drowned” is often overlooked because of the lore that has followed the second set of 6/20/2004, but should not be. Anastasio is in the zone throughout, shredding and leading the way, even working in a tease of Deep Purple’s “Lazy.”

Set two began with Round Room track “Seven Below” that showed early promise on December 31, 2002, and delivered in each appearance until that point. Starting out dark and working the tempo up, “-7” found its way into a rocking version of “Ghost.” This pairing would be found that November in Albany as another substantial “Seven Below” > “Ghost.’

An all-time great jam followed, with the rocking funk of “Twist” getting the balcony bouncing. At 21 minutes long, this deserves a few listens. By 7:00, the first Type II jam has lifted off, and as you listen, every two minutes, there is a fresh section of improv dissimilar from the previous two minutes. The jam from 7:00-17:00 just keeps evolving and developing, with Anastasio once again leading the way, while Fishman and Gordon lay down the rhythm to keep the pace. Locked in, after 17:00, “Twist” shreds until Anastasio pulls out the ‘hose’ and winds the song towards conclusion.

shirt design by Dylan Levene

“You Enjoy Myself” would follow and close the set, offering thunderous approval from fans and giving SPAC the ever rare, and coveted, four song set. An encore of “Good Times Bad Times” was bittersweet and is served as a mantra for that summer’s fateful tour, one that would put the band on hold for four and a half years, but bring them back stronger than ever in 2009.

June 20 review by Pete Mason

Phish SPAC 2004 poster by AJ Masthay

Setlist via Phish.net

Phish – Saratoga Performing Arts Center (SPAC), Saratoga Springs, NY – Sunday, June 20, 2004

Set 1: Rift > Julius, Bill Bailey, Won’t You Please Come Home?[1], Waves, Gumbo, Water in the Sky, Horn, Poor Heart > Drowned
Set 2: Seven Below > Ghost -> Twist, You Enjoy Myself
Encore: Good Times Bad Times
[1] Dr. Jack McConnell on vocals and tap shoes

Listen to both shows on Relisten.

June 19, 2024
Deniro Con: A Tribute to an Icon at the Tribeca Film Festival

From June 14th to June 16th, the Tribeca Film Festival hosted an extraordinary event, Deniro Con, celebrating the illustrious career and 80th birthday of New York icon and Tribeca co-founder, Robert De Niro.

This special tribute brought together a remarkable lineup of De Niro’s collaborators, including Chazz Palminteri, Quentin Tarantino, Billy Crystal, Whoopi Goldberg, Christopher Walken, Martin Scorsese, and Nas, among others.

A Star-Studded Celebration

Deniro Con was an extraordinary gathering that honored De Niro’s extensive career and contributions to cinema. The event featured a multitude of panels, discussions, and screenings, highlighting the legendary actor’s collaborations and iconic roles. The presence of industry giants and close associates underscored De Niro’s significant impact on film and his enduring legacy.

Opening Day: “Jackie Brown” Screening and Tarantino Conversation

The festivities kicked off on June 14th with a screening of “Jackie Brown” at the SVA Theater. Presented in its original 35mm format, the screening was followed by an engaging 45-minute conversation between Quentin Tarantino and Robert De Niro. The discussion delved into De Niro’s portrayal of Louis, a character marked by his minimal dialogue but profound physicality and nuanced expressions.

Tarantino admitted to a slight regret for not giving De Niro more lines, recognizing the actor’s exceptional talent with dialogue. However, he praised De Niro’s ability to convey depth through subtle gestures and expressions, capturing the complexity of a man dulled by prison but not devoid of intelligence. They also reflected on broader filmmaking aspects, such as the importance of authentic period settings and the dynamic relationships between actors and directors. Tarantino lauded De Niro’s versatility, acknowledging how he captivates audiences across diverse roles.

Day Two: “Mean Streets” and a Dialogue with Scorsese and Nas

On June 15th, the Beacon Theatre hosted a screening of “Mean Streets,” followed by a riveting conversation featuring Martin Scorsese, Robert De Niro, and moderated by rapper Nas. The dialogue, introduced by Tribeca co-founder Jane Rosenthal, provided a retrospective on the prolific 50-year collaboration between Scorsese and De Niro, which began with “Mean Streets” and spanned ten films, including their latest, “Killers of the Flower Moon.”

Scorsese discussed the enduring relevance of “Mean Streets,” highlighting its authentic depiction of New York City’s essence, loyalty, and immigrant experiences. He shared anecdotes about the film’s production challenges, including navigating local organized crime and funding obstacles. De Niro and Scorsese emphasized the authenticity and lasting impact of their work, comparing their cinematic influence to that of top-tier musicians in their fields.

De Niro Is an Icon: An Exhibit & Immersive Film

A central feature of Deniro Con was the exhibit “DE NIRO IS AN ICON: AN EXHIBIT & IMMERSIVE FILM,” held at Spring Studios in Tribeca. This career-spanning exhibit celebrated De Niro’s 80 years with over 300 items primarily sourced from his personal archive. The collection included rare images and videos, annotated scripts, costumes, research materials, and storyboards, offering fans a comprehensive look at his monumental career.

A standout element of the exhibit was the short film “De Niro, New York,” produced by Little Cinema and showcased within the Hexadome. This cutting-edge structure, crafted by Berlin’s Institute for Sound and Music, provided an immersive viewing experience, further highlighting De Niro’s deep connection to New York City.

Screenings Around the City

In addition to the central exhibits at Spring Studios, Deniro Con screenings took place across various theaters in New York City, including the iconic Beacon Theatre. These screenings allowed fans to revisit De Niro’s seminal works in classic cinematic settings, enhancing the celebratory atmosphere of the event.

Conclusion

Deniro Con was a fitting tribute to Robert De Niro’s monumental contributions to film and his indelible mark on the industry. Through insightful conversations, rare exhibits, and nostalgic screenings, the event encapsulated the essence of De Niro’s career, celebrating the man who has become a true icon of cinema and a beloved figure in New York City. As De Niro continues to inspire future generations, Deniro Con stands as a testament to his enduring legacy and unparalleled talent.

June 19, 2024
In Focus: of Montreal in Rochester

of Montreal played The Water Street Music Hall in Rochester on June 7. Touring in support of their newest album, Lady on the Cusp, Kevin Barnes brought his psychedelic fever dream of a show to an enthusiastic and sometimes costumed crowd.

Part of legendary Atlanta psych collective Elephant 6, the band has been around since the 90’s so they have a vast catalogue of experimental pop to pull from.

of Montreal shows include a circus like cast of costumed, eccentric, gender bending characters, who take over the stage and mess and tease both the crowd and Kevin Barnes. It feels like the drama club found some good acid and decided to crash the stage.

You have no idea what’s coming next and their playful presence adds some intrigue and often times hilarity to the show. They played several new tracks from their new album, while cherry-picking some crowd favorites and an old rarity or two.

June 19, 2024
In Focus: CMA Fest Takes Over Nashville

Country music’s biggest party invaded downtown Nashville June 6-9, as CMA Fest returned for its 51st edition. The four day long event featured hundreds of musical acts performing on one of nine official stages, with many other performances and events lined up across town.

Music ran daily from 10am until almost midnight with most of these performances free to those in attendance. Only the night time performances at Nissan Stadium and Ascend Amphitheater charged admission. Stadium performers included Jelly Roll, Luke Bryan, Lainey Wilson, Old Dominion and many others.

Ascend Amphitheater during CMA Fest

CMA Fest kicked off under Thursday June 6 under beautiful blue skies and typical warm southern temperatures. Early arrivers were treated to a special Q&A session at the CMA Close Up Stage with country legend Dolly Parton, while the Riverfront Stage opened the music portion with a set by Dylan Scott (who would perform at the Ascend Amphitheater later that evening). Warren Zeiders packed the Riverfront Stage Thursday afternoon, showcasing his gritty country rock. Early on it became clear that the CMA talet valued the fans in attendance, as it was common to see acts hop off stage and meet fans following their performance.

Warren Zeiders

As the sun set on day one, fans made their way across the Cumberland River to Nissan Stadium for sets by Lynyrd Skynyrd, Thomas Rhett, Shaboozey and Chapel Hart (among many others). The night also featured surprise performances by Post Malone and Blake Shelton.

Brett Young

A not so quick walk down the famed Broadway on Friday morning and one would realize the packed Thursday crowd had grown enormously for Friday’s festivities. Shortly after noon, the Reverb Stage reached audience capacity, as fans flocked to see rising sensation Shaboozey perform his blend of hip hop and country sounds, in high energy style. The Riverfront Stage would follow suit and reach capacity soon after, in anticipation of performances by Niko Moon and Collie Caillat. Those waiting in the hot sun were treated to sets by Alana Springsteen and BRELAND. Moon, dressed in neon green and a sun hat, radiated messages of love and positivity, themes that would reoccur through out the weekend.

Alana Springsteen

The party ramped up Saturday, with The War and Treaty kicking off the festivities on the Riverfront Stage, while Dasha, fresh off a stadium performance the previous night, opened the Chevy Vibes Stage. Shaylen would draw quite the crowd early afternoon, mixing country and alternative styles in a display of angst and passion. The afternoon would also see performances form acts such as Restless Road and Ingrid Andress. Perhaps the star of the afternoon was Tucker Wetmore, who filled the Hard Rock Stage to capacity, and saw fans spill on to Broadway and surrounding streets to try and catch a glimpse of the set.

The War and Treaty

CMA Fest marked a pinnacle moment in the careers for many of the performers who took the stage over the four day festival. The War and Treaty preached the need to be your “authentic self” as you strived to achieve whatever goals you set for yourself. Country-rocker Shaylen became visibly choked up and moved to tears during “What If I Don’t”, a song she wrote soon after moving to Nashville to give her music career one last chance. Jelly Roll, a Nashville native, lamented on trips to Nissan Stadium with his late father to watch the Titans play and cherished how he was now performing in that same stadium. In all, it was a weekend dedicated to celebrating and honoring both the successes and rising stars in country music, all the while placing the fan at the forefront.

Ascend Amphitheater, CMA Fest

Chayce Beckham

CMA Fest

50 Years at the Opry, CMA Fest

Dasha

Drew Parker

Dylan Scott

Ella Langley

Ella Langley

Gavin DeGraw

Gina Venier

Ingrid Andress

The Kentucky Gentlemen

Lee Brice

Lee Brice

CMA Fest

Nissan Stadium during CMA Fest

Restless Road

Shaylen

The War and Treaty

June 16, 2024
Jerry Garcia Band Glides Down Music Mountain: June 16, 1982

As the Grateful Dead found themselves in between tours in the early summer of 1982, side projects were apparently the name of the game in order to stay musically limber. And a new music venue in South Fallsburg, NY was more than happy to have them. Jerry Garcia Band kicked off a string of shows in the Northeast at Music Mountain on a co-bill with Bob Weir’s Bobby and the Midnites. This new venue in Sullivan County at a revamped hotel lodge that never quite made it actually played host to the first permissible concerts in the area since Woodstock in its very brief existence.

One of the last of the few shows ever played here was this heralded Jerry Garcia Band show on this day in 1982 that’s loaded with classic cover song selections and a few JGB “originals.” This particular iteration of the band features some of Garcia’s closest and longtime collaborators playing together and it certainly comes through in the sound. Bill Kreutzmann, his Grateful Dead cohort, is on drums with John Kahn manning the bass guitar. Longtime JGB member Melvin Seals is joined on keys by Jimmy Warren. And Julie Stafford and Liz Stires provide the backup vocals.

Jerry Garcia Band ticket stub – June 16, 1982

The show begins with a vintage take on Smokey Robinson’s “How Sweet It Is,” a staple in the Jerry Garcia Band songbook. A sizzling early guitar solo sets the stage for responses from Melvin Seals and Warren on keys with everyone in the band getting a chance to shine right from the start. The harmonized vocals add a layer of authenticity to this cover. Bill Kreutzmann then starts up the next number on the bass drum by himself as the rest of the band patiently merges into the beginning of “Catfish John,” a much lesser known cover song that JGB has also made one of its own. Garcia takes the wah pedal/effect out for a spin much to the delight of the Music Mountain crowd with the rhythm section maintaining a steady pocket of groove throughout. After some fun interplay with Seals, Garcia then fires in one last funky guitar solo on this well cooked “Catfish.”

Music Mountain – South Fallsburg, NY

In the three-spot is another Jerry Garcia Band regular, “That’s What Love Will Make You Do.” Originally credited to Little Milton in 1971, the song was played numerous times by Legion Of Mary, an all-too-brief previous side project of Garcia’s from the 70s that also featured Kahn, Martin Fierro on saxophone and flute along with Merl Saunders on keys. Their familiarity with this number comes through in spades as Garcia and Saunders take turns ripping through their respective solos on another groove-heavy funk vehicle that has Music Mountain in full swing.

Things finally cool off a bit with “Valerie,” a Robert Hunter-penned song that would go on to appear on Garcia’s Run For The Roses which would be officially released later this year. It’s got elements of “Loser” woven throughout and all the feel of an early 70s Dead song dressed up in a JGB jacket that fits perfectly in this spot. And, of course, it wouldn’t be a Grateful Dead-related show without a nod to Chuck Berry and the band takes care of this in the form of a ripping cover of “Let It Rock” that sees Garcia unleashing another bevvy of scintillating guitar runs. This funnels right into a set-closing “Deal” that’s as tight as any GD version with the harmonized backup vocals from Stires and Stafford adding some additional flavor to it.

A spirited Music Mountain crowd welcomes the Jerry Garcia Band back for a second set that starts with another cover, this time it’s “(I’m A) Road Runner,” a song first recorded by Junior Walker and the All-Stars in 1965. This would become another JGB live show staple throughout the years. Seals and Garcia get into some heavy interplay on this one as the the band stretches this “pop” hit into a fun, relaxed jam. “Love In The Afternoon” then follows, another Robert Hunter-penned song that first appeared on Garcia’s Cats Under The Stars album from 1978, his first LP using the band name Jerry Garcia Band and his first LP on the Arista label.

The real meat and potatoes of the second set, and perhaps the show itself, is the “Don’t Let Go” that comes next. It’s a near 20-minute joy ride of deep funk and some of the more exploratory jamming of the evening. The rhythm section of Kahn and Kreutzmann is hard at work once again and develop a deep groove that Garcia plays off of effortlessly. With Seals adding additional layers of sound atop it all, it makes for a lively jam that’s rife with musical cohesion and craftsmanship. Almost suddenly, the rest of the band then eases up that allows for a brief Kreuztmann drum solo that then turns into a bass duel with Kahn before Garcia slowly reenters the mix. It’s a loose, acid jazzy type jam that’s one of the show’s true highlights.

Although there would be no traditional encore tonight, the rest of the set almost feels like one, starting with a super slow take of The Band’s “The Night They Drove Ol’ Dixie Down.” With the tempo dialed down to an absolute crawl, this gives one of the last Garcia guitar solos of the night some added poignance and emotion. The beautiful backup vocals from Stires and Stafford certainly doesn’t hurt either. The show then comes to a close with “Run For the Roses,” the title track of the soon to be released album and another classic Garcia-Hunter collaboration. And with that, Jerry Garcia band puts the finishing stamp on one of the last shows to ever take place at the ill fated Music Mountain.

An apparently rain-soaked show from Bobby and the Midnites that went well into the night then followed – check out the audio here.

https://www.youtube.com/watch?v=uE27loWjRq0

Jerry Garcia Band – Music Mountain, South Fallsburg, NY – June 16, 1982

Set 1: How Sweet It Is (To Be Loved By You), Catfish John, That’s What Love Will Make You Do, Valerie, Let It Rock > Deal

Set 2: (I’m A) Road Runner, Love In The Afternoon, Don’t Let Go, The Night They Drove Ol’ Dixie Down, Run For the Roses

June 16, 2024
In Focus: Kris Davis & Lutosławski Quartet at Dizzy’s Club

On Thursday, June 13 the 8th Jazztopad Festival kicked off with performances from composer and pianist Kris Davis accompanied by the Lutosławski Quartet at Dizzy’s Club of Jazz At Lincoln Center.

The Jazztopad Festival, running from June 13 to 27, will have shows across New York, Philadelphia, and Canada. The Polish festival celebrates Jazz music and the talents of musicians worldwide. By bringing Jazztopad to North America and legendary venues like Dizzy’s Club, the music and artists featured are exposed to new audiences. Its partnership with the Polish Cultural Institute New York makes the festival possible.

Thursday’s performance included the premiere of Kris Davis’ new piece “The Solastalgia Suite,” written for the Lutosławski Quartet. Specifically, this show marks the first time she composed for strings. The quartet includes Roksana Kwaśnikowska on 1st violin, Marcin Markowicz on 2nd violin, Artur Rozmysłowicz on the viola, and Maciej Młodawski on the cello.

The first piece played, “The Solastalgia Suite,” started slow and bitter, as the audience patiently anticipated the brand-new composition. The music eventually built up to the extravagant song everyone was waiting for. Undeniably, attendees’ genuine respect and appreciation for the music echoed throughout the room. As Davis led on the piano and the Quartet responded accordingly, their synchronization exemplified their talents.

Set to the backdrop of the sun setting on the iconic Columbus Circle view, the performance began the festival with a heartwarming and celebratory experience.

June 16, 2024
Dreamer Boy at Baby’s All Right

Dreamer Boy is the alter ego of Zach Taylor, a rising star in the indie pop scene known for his dreamy soundscapes and heartfelt lyrics. Hailing from Nashville, Tennessee, Dreamer Boy blends elements of lo-fi pop, bedroom pop, and indie rock to create a unique musical experience that resonates with listeners across various genres. His music often explores themes of love, self-discovery, and nostalgia, wrapped in lush, atmospheric production.

Dreamer Boy released his debut album Love, Nostalgia in 2018, receiving praise for its introspective lyrics and innovative sound. Following this, he released All the Ways We Are Together in 2021, further establishing his presence in the indie music world. Dreamer Boy’s ability to craft emotionally resonant songs with a laid-back vibe has earned him a dedicated fan base and critical acclaim.

Dreamer Boy’s performance at Baby’s All Right in Brooklyn on June 11th was nothing short of magical, marking his triumphant return to New York City with a late-night show that left the audience enchanted and wanting more.

Eager fans filled the intimate venue to capacity, creating an electric atmosphere that perfectly set the stage for Dreamer Boy’s unique blend of indie pop. As the lights dimmed and the first notes filled the room, Zach Taylor, adorned in a painted clown face with a giant star over his eye, cowboy hat, and cowboy boots, took the stage with an infectious energy.

A Cowboy’s Charm

One of the most endearing aspects of Dreamer Boy’s performance was his playful and carefree demeanor. Throughout the night, he delighted the crowd with goofy little dance moves, his cowboy boots adding a whimsical touch to his already charming stage presence. His lightheartedness was contagious, and the audience couldn’t help but smile and dance along with him.

Audience Participation

Dreamer Boy’s interaction with the audience was a highlight of the night. He exclaimed early in the set, “We made it to the big city!” which the crowd met with enthusiastic cheers. His genuine excitement and gratitude for being in New York City were palpable, adding a layer of authenticity to his performance.

At one point, he playfully asked the crowd, “Can I get a yeehaw?” The audience responded with a resounding “Yeehaw!” that echoed through the venue, solidifying the bond between the artist and his fans. Later in the night, he expressed his appreciation by saying, “Thanks for having us yâall, this is too fun, this is too fun,” capturing the joyous spirit of the evening.

Dreamer Boy’s setlist for the night included a mix of fan favorites and newer tracks, each performed with an emotional depth that drew the audience in. His vocals, layered over dreamy instrumentals, created a sonic landscape that transported listeners to a place of introspection and bliss. Songs like “Falling for the Wrong One” and “Crybaby” showcased his lyrical prowess and ability to connect with the audience on a personal level.

The intimate venue allowed a close connection between Dreamer Boy and his fans, making the performance feel shared. Dreamy visuals and ambient lighting enhanced the show’s ethereal vibe, creating a captivating atmosphere that perfectly complemented his music.

Dreamer Boy’s show at Baby’s All Right showcased his growth as an artist. His playful personality and engaging presence stood out. Heartfelt music and fun moments made the performance emotionally resonant. As he rises in indie music, Dreamer Boy’s unique sound and genuine audience connection shine. Fans left the venue smiling and with hearts full of his dreamy melodies. They eagerly anticipate his next visit to the big city.

June 16, 2024