Amid a winter storm that ushered in spring, banjo virtuoso and father of modern bluegrass, Tony Trischka, performed to a crowd of brave travelers in The Egg’s Swyer Theater on Saturday, March 23.
Roughly 30 fans braved the elements to see Trischka’s tribute to Earl Scruggs, the legendary three-finger banjoist, titled EarlJam. Featuring Michael Daves (vocals, guitar) Jared Engel (bass) and Brittany Haas (fiddle), the show traced the story of Scruggs from his childhood to his later years.
Celebrating this tour, Trischka said, “Earl is my North Star, a lifetime pathway. And I’m not alone. Through his music, this shy kid from Flint Hill, North Carolina went on to enrich countless thousands of lives. At the age of 13, when I first heard 16 notes of Scruggs style banjo playing, I put down my folk guitar and mercilessly pestered my parents to buy me a banjo. Once in my hands, that 5-string became my obsession and has been for close to 60 years.”
“The depth of his genius becomes ever more apparent when I transcribe his solos, which I’ve been doing my entire musical life and with renewed vigor. Discovering new twists and turns in his playing is pure joy and in fact the inspiration for this tribute show.”
Tony Trischka on Earl Scruggs
The show was full of Scruggs songs, including popular fare “Salty Dog,” “Foggy Mountain Breakdown,” and the seminal TV show theme, “The Ballad of Jed Clampett,” as well as covers mixed in, ranging from Bob Dylan to Grateful Dead and The Band.
Trischka, a Syracuse native, is a not only a banjo innovator, but he is also an educator, influencing everyone from Béla Fleck to Steve Martin.
A treat for fans of new era bluegrass enjoyed “Brown’s Ferry Blues,” the first track off Trischka’s upcoming album, recently recorded with Billy Strings.
While it was a cold, miserable night of weather outside, Trischka and the music of Earl Scruggs kept it memorable inside for the small crowd of dedicated fans, paying them a nod during “Mama Don’t ‘Low” by changing the lyrics to “Mama don’t ‘low no snow driving ’round here.”
Tony Trischka’s EarlJam – The Egg, Swyer Theater – Saturday, March 23, 2024
Setlist: Kentucky Bullfight, Reuben, Heavy Traffic Ahead, Salty Dog, Foggy Mountain Breakdown, Six White Horses, Earl’s Breakdown, Martha White Theme, Fiddle and Banjo, Ballad of Jed Clampett, Can’t Stop me from Dreaming, Mama Don’t ‘Low, Rainy Day Women #12 and 35, Brown’s Ferry Blues, Liza Jane, Casey Jones, Chinese Breakdown, Here Comes the Bride, Gentle on My Mind, You’ve Got to Die, Farewell Blues, Fox Chase
On March 23, 2024, the Long Island Music and Entertainment Hall of Fame welcomed one of its own, the illustrious composer and lyricist Stephen Schwartz, with an induction ceremony that will be remembered for years to come.
Held at the LIMEHOF in Stony Brook, this evening was a testament to Schwartz’s immense contributions to the world of music and theater, as well as his profound influence on countless artists.
Stephen Schwartz
Hosted by the legendary Paul Shaffer and directed by Paul Kreppel, the event was a star-studded affair, filled with heartfelt tributes, captivating performances, and a palpable sense of admiration for the honoree. From the opening remarks to the final curtain call, the evening was a fitting tribute to a man whose talent knows no bounds.
Before the ceremony began, Paul Shaffer, in a conversation with the press, eloquently expressed his admiration for Stephen Schwartz. Reflecting on their collaboration over the years, Shaffer praised Schwartz’s ability to immerse himself in characters when composing music, citing his magical touch and profound impact on Shaffer’s career. He emphasized Schwartz’s willingness to share his knowledge and mentorship, underscoring the importance of talent and dedication in the industry.
Paul Shaffer
As the show commenced, Shaffer took the stage to introduce the house band and Hall of Fame director Ernie Canadea. The atmosphere was electric as the audience prepared for an unforgettable evening. Performances of iconic songs from Schwartz’s repertoire, including “Prepare Ye!” from Godspell and “Magic To Do” from Pippin, showcased the timeless appeal of his music and the versatility of his compositions.
The house band, comprised of seasoned musicians, added a layer of magic to the performances. Doug Quinn, known for his work with the Quinn Brothers, graced the stage on guitar, alongside Steve Mayness on bass and Rick Shutter on drums. Their impeccable musicianship complemented the vocal performances, creating an unforgettable musical experience.
One of the evening’s highlights came when Stephen Reinhardt took the stage to share his personal story of how Schwartz changed the trajectory of his life. With heartfelt gratitude, Reinhardt recounted how Schwartz’s mentorship and belief in his talent opened doors and paved the way for his success in the industry. His heartfelt words resonated with everyone in attendance, underscoring the profound impact Schwartz has had on countless lives.
Teal Wicks
As the night progressed, the stage was graced by an array of talented performers, each paying homage to Schwartz with their stirring renditions of his most beloved songs. DeMarius R. Copes mesmerized the audience with his rendition of “Magic To Do” from Pippin, while Teal Wicks captivated hearts with her performance of “Wizard and I” from Wicked. Carrie St. Louis and Max Grossman delivered a show-stopping rendition of “Popular” from Wicked, showcasing their vocal prowess and stage presence.
Finally, the moment everyone had been waiting for arrived as Paul Shaffer had the honor of inducting Stephen Schwartz into the Long Island Music and Entertainment Hall of Fame (LIMEHOF). With heartfelt words, Shaffer presented Schwartz with the prestigious award, symbolizing the culmination of a lifetime of achievements.
Paul Shaffer
In his acceptance speech, Schwartz expressed his gratitude for the honor, acknowledging the significance of being recognized by his hometown. He thanked his friends and collaborators for their unwavering support and paid tribute to the performers who had brought his music to life throughout the evening.
As the final notes of “Day By Day” from Godspell filled the air, there was a sense of collective joy and appreciation for the man whose music had touched the hearts of millions. The induction of Stephen Schwartz into the Long Island Music and Entertainment Hall of Fame was not just a celebration of one man’s talent but a testament to the power of music to inspire, uplift, and unite us all.
Musical Numbers: Prepare Ye! (Godspell) performed by Paul Shaffer, Rick Shutter, Steve Manes and Doug Quinn, Magic To Do (Pippin) performed by DeMarius R. Copes, Corner Of The Sky (Pippin) performed by Sam Simahk, Bless The Lord (Godspell) performed by Alysia Velez, West End Avenue (The Magic Show) performed by Dale Soules, All Good Gifts (Godspell) performed by Demarius R. Copes, Colors of the Wind (Pocahontas) performed by Alysia Velez, Kevin Newton, and Peter DelGrosso, Wizard and I (Wicked) performed by Teal Wicks and Max Grossman, Popular (Wicked) performed by Carrie St. Louis and Max Grossman, For Good (Wicked) Performed by Carrie St. Louis, Teal Wicks and Max Grossman.
We continue our look back at one of the more influential and memorable series of shows The Grateful Dead have ever played in the State of New York. On this day in 1990, the Dead continued their first ever run of shows at The Knick in Albany, formally known as Knickerbocker Arena. The three-night run sees the band in peak form and contains so many musical highlights that it was rightly crafted into a three-disc 1996 live release entitled Dozin’ At The Knick. After a brilliant first night, the band shows no letup in this second night that features a prime portion of the second set that’s all featured on the album.
The show begins with a succinct but crisp “Greatest Story Ever Told,” with Jerry Garcia’s signature guitar tone present early and often. The vocal harmonies of Bob Weir and Brent Mydland are on point as the band seems fully engaged from the get-go. “Touch of Grey” then follows in the two-spot, the Dead’s “hit” from their 1987 In The Dark release that introduced the band to so many. Garcia nails all of the vocals and phrasing, in addition to the signature ripping guitar solo, and Mydland joining in on harmonies seems to take this “Grey” to another level. It’s a surprise this wasn’t include for Dozin’ At The Knick selection.
Weir then leads the band through a bluesy cover of “Wang Dang Doodle” before Mydland does the same on one of his signature tunes, “Never Trust A Woman.” Brent’s soulful vocals combined with increasingly powerful runs on the organ make this one of the finer versions ever played, sadly also one of the last as well. The Dead then cue up a classic love song for the Knick, one familiar to Jerry Garcia Band setlists, “Jack-a-Roe.” The tune about doing anything in the name of love, which can be traced back as far as the early 1800s, features story tale-like lyrics and a couple of ripping runs by Garcia on guitar on the band’s modern day take on it.
They follow this up with another cover, this time a wonderful take of the Bob Dylan-penned “When I Paint My Masterpiece.” Weir handles the bluesy vocals with aplomb, which rise in intensity from start to finish, wrapping up a fun three-song section of the first set. This grouping of songs is prominently featured on the first disc of Dozin’ At The Knick and it’s no surprise why.
The band then shifts back into “jam” mode and unleash a 13-minute “Bird Song” that’s one of the highlights of the show. It features a jam that takes off immediately and, fittingly, bounces and flutters around in a way only the Dead can manipulate. Garcia goes through a multitude of guitar filters and the resumption of the composed section seems to come out of nowhere. Seizing this momentum, the first set then ends with a triumphant “Let It Grow” that’s highlighted by some nimble bass lines from Phil Lesh and more explosive runs from Garcia up and down the fretboard. It caps off a first set at the Knick bookended with two Dead originals played to perfection with a fun mix of cover songs thrown in between.
To begin the second set, “Eyes of the World” quietly starts up in a much slower, groovier tempo than most of its predecessors. It’s a pristine version with some nice interplay between Garcia and Lesh throughout and with the instrumental sections between verses executed to perfection as the band seems fully engaged right away after the set break.
As the “Eyes” jam dwindles down to drums-only, so starts the beginning of “Samson of Delilah” in a clean segue. Mydland shines on keys in a jam that starts off strong and never lets up as the Dead treat the Knick crowd to another one of their takes of a traditional arrangement, this one with Biblical roots. From this, the opening chords of “Crazy Fingers” emerge and Garcia reassumes the helm. It’s a slow. deliberate take on this Dead classic and Garcia drops another guitar solo in an accompanying fashion.
As the tempo finally begins to pick up at the end, the Dead execute another fairly seamless segue into another live staple, “Truckin’.” Weir leads the band on vocals on a brief, but jubilant take of this classic number that doesn’t stretch out too far. Instead, a blues-heavy riff soon develops and the Dead immediately launch into a cover of Howlin’ Wolf’s “Spoonful.” This one gets capped off will a full-on, short but sweet “Mind Left Body” outro jam, with Garcia playing through a trumpet-like filter. This was likely a nod to the full-fledged MLB jam that took place just the night before.
This sets the stage for the traditional mid-second set “Drums” -> “Space” section and drummers Mickey Hart and Bill Kreutzmann proceed to go through every percussive tool at their disposal. The “Space” section is highlighted by Garcia and Mydland both noodling maniacally on their respective instruments before Garcia unleashes a trombone-like guitar effect to change the mood and Mydland slowly starts up another one of his signature tunes, “I Will Take You Home,” in a very silky transition.
Once “Home” finishes up, the mood shifts from sentimental to joyous once more as the Dead treat the Knick to their ripping cover of “Goin’ Down The Feeling Bad.” This yields a brief but jubilant jam with Garcia singing the verses energetically, but as it quickly descends in pace, he quickly slides into the opening licks of the always contemplative “Black Peter” and the Dead deliver a poignant version.
To close out the set, they then launch into a cover of Chuck Berry’s “Around and Around” a song they’ve mastered and made their own by now. Weir belts out the vocals that rise in intensity with each passing verse and the Dead give the Knick crowd one last dose of pure rock and roll as only they can. The entire sequence from “Space” to “Around and Around” is seamless and near flawless and prominently featured for all to enjoy on Disc 3 of Dozin’ at the Knick.
To close out night two of the run, the band shows their love for American-based rock once more with a second Dylan cover, this time it’s “Quinn the Eskimo.” This shuts the door on night two at the Knick, with one left to play.
Check out Archive.org for a great recording of the entire show.
Grateful Dead Knickerbocker Arena – Albany, NY 3/25/90
Set 1: Greatest Strory Ever Told > Touch of Grey, Wang Dang Doodle, Never Trust A Woman, Jack-a-Roe, When I Paint My Masterpiece, Let It Grow
Set 2: Eyes of the World > Samson and Delilah, Crazy Fingers > Truckin’ > Spoonful > Drums > Space > I Will Take You Home > Goin; Down The Road Feeling Bad > Black Peter > Around and Around
E: The Might Quinn (Quinn the Eskimo)
View this and more Grateful Dead shows from across the years in New York State with our interactive map below
On Tuesday, March 19, Gary Clark Jr. performed at The Soho Sessions, an exclusive music-driven community known for curating exceptional live experiences in NYC. Clark Jr. was celebrating the release of his new album released this week, titled JPEG RAW.
In attendance were Actor Richard Kind, Jane Rose, Promoter Peter Shapiro, Elle Fanning, Fran DeFeo, David Fricke, Gus Wenner, Steve Schirripa among others. photo by Kim Mancuso Photography.
In addition to celebrating Clark’s new album, this edition of The Soho Sessions also celebrated music through raising awareness and funds for Music Will, the organization that has provided music teacher training, curriculum, and instruments to over 6,000 schools across all 50 states – impacting over 1.6 million students to date.
photo by Kim Mancuso Photography.
The nonprofit strives to reach a million more students by 2027 while making music education accessible to all students regardless of their socio-economic circumstances. Music Will runs the largest nonprofit music program in the U.S. public school system.
Music Will believes that music education is a right, not a privilege, and it should reflect the cultures of the students it serves. That’s why, for two decades now, their programs have taught students such popular American genres as rock, pop, R&B, Latin, rap and country—alongside styles already taught in schools, such as classical and jazz.
Chief Relationship Officer, Janice Polizzotto (right) pictured sitting with Soho Sessions executives. photo by Kim Mancuso Photography.
Additionally, more than 70 colleges and universities now use their approach to music education majors. Several state departments of education have partnered with Music Will to grow music education in the schools they serve. Its mission of transforming lives by transforming music education has grown into a movement.
On March 20, history and music intertwined at the Resnick Education Wing at Carnegie Hall, where an exclusive first listen event was held for Alice Coltrane’s Live at Carnegie Hall album. This event marked the culmination of years of anticipation for fans worldwide, as the concert, originally performed in 1971, was finally set for release on March 22, under the title Alice Coltrane – The Carnegie Hall Concert.
Alice Coltrane, a luminary in the jazz world and a spiritual seeker, took the stage at Carnegie Hall for a special gala benefiting the Integral Yoga Institute. Backed by an ensemble of renowned musicians, including Pharoah Sanders, Archie Shepp, Jimmy Garrison, and Cecil McBee, among others, Alice delivered a transcendent performance that captured the essence of her musical and spiritual journey.
The evening began with a captivating listen to the album, transporting listeners back to that pivotal moment in 1971 when Alice Coltrane graced the stage at Carnegie Hall. The audience was then treated to a thought-provoking panel discussion hosted by Marcus J. Moore, featuring esteemed guests Michelle Coltrane, Brandee Younger, and Cecil McBee.
The panel discussion delved into various aspects of Alice Coltrane’s music and legacy, offering insights into her creative process, spiritual journey, and the impact of her music on contemporary artists. Throughout the conversation, panelists shared personal anecdotes, reflections, and interpretations of Alice’s music, providing a deeper understanding of her artistry and influence.
One of the key themes that emerged from the discussion was the improvisational nature of Alice Coltrane’s music. Cecil McBee, reflecting on his experience playing alongside her, highlighted the freedom and spontaneity she encouraged in her band members. He emphasized that Alice created an environment where musicians could express themselves authentically, without constraints or preconceived notions.
Michelle Coltrane, drawing from her childhood memories, spoke eloquently about her mother’s musical legacy and spiritual evolution. She described Alice’s transition from grief to spiritual awakening following the death of John Coltrane, her husband. Michelle emphasized the profound impact of Alice’s music on her own artistic journey, citing instances where her mother’s influence could be heard in her compositions.
Brandee Younger, a contemporary harpist and composer, shared her perspective on Alice Coltrane’s influence on her own work. She discussed how Alice’s music transcended boundaries, incorporating elements of jazz, gospel, Indian classical music, and world music to create a unique and transformative listening experience. Brandee expressed admiration for Alice’s fearless experimentation and dedication to spiritual exploration.
The panelists also explored the spiritual dimensions of Alice Coltrane’s music, highlighting her deep connection to Indian spirituality and her role as a spiritual leader. They discussed how her music served as a conduit for spiritual expression, offering solace, inspiration, and transcendence to listeners around the world.
As the event concluded, it became evident that Alice Coltrane’s legacy extends far beyond the confines of a concert hall or recording studio. Her music continues to resonate with audiences of all generations, inspiring artists, musicians, and spiritual seekers alike. Through her pioneering spirit, unwavering dedication to her craft, and profound spirituality, Alice Coltrane left an indelible mark on the world of music and beyond.
Waterparks is a dynamic, genre bending trio hailing from Houston, Texas, consisting of charismatic frontman Awsten Knight, guitarist Geoff Wigington, and drummer Otto Wood. With their high-energy stage presence and genre-defying sound, Waterparks has become a force to be reckoned with in the alternative music scene.
Waterparks brought their electrifying energy and infectious enthusiasm to the MGM Music Hall at Fenway Park as part of “The Sneaking out of Heaven Tour,” with fans lined up around the venue as early as 3 AM, these fans left in awe with a high-octane performance and unforgettable moments.
From the moment they stepped onstage, frontman Awsten Knight and his bandmates captivated the crowd with their signature blend of pop-rock anthems and irresistible hooks. The atmosphere was electric as fans sang along to every word, their voices blending harmoniously with the band’s infectious melodies.
Throughout the night, Waterparks delivered one memorable moment after another, from Awsten’s impromptu phone call to a fan’s boss, quitting their job on their behalf, to the spirited chants of “fuck these kids” and “support the moms.” Awsten’s playful banter and charismatic stage presence kept the energy levels high, while guitarist Geoff whirlwind performance earned him the endearing nickname “Hurricane Geoff.”
The band’s setlist was a perfect mix of old favorites and new hits, with standout moments including fans making Awsten wear a gifted shirt that said “I F*ck Fish”, followed up by their hit “Fuck About It” resulting in a hilarious exchange between Awsten and Otto. Awsten’s solo piano performance on the B stage showcased his versatility as a musician, while his humorous attempt to coax crew member Lucas into an Ed Sheeran cover provided a lighthearted moment of fun.
As the night came to a close, Waterparks left the crowd wanting more with an electrifying encore performance of “Turbulent” and “Real Super Dark” solidifying their status as one of the most exciting acts in modern alternative music. With their infectious energy and undeniable talent, Waterparks proved once again why they are a force to be reckoned with in the music industry.
Setlist: Watch What Happens Next, Blonde, Greatest Hits Medley (Fuzzy / Violet! / American Graffiti / The Secret Life of Me / Just Kidding / See You in the Future / Lowkey As Hell), Why Can’t I [Liz Phair cover], Stupid for You, You’d Be Paranoid Too (If Everyone Was Out to Get You), SOULSUCKER, SNEAKING OUT OF HEAVEN, Magnetic, RITUAL, SELF-SABOTAGE, BRAINWASHED, FUCK ABOUT IT, High Definition, Snow Globe, Crying Over It All, 21 Questions, I Miss Having Sex but at Least I Don’t Wanna Die Anymore, FUNERAL GREY
The Ghost Club’s concert at Elsewhere, as part of “The King Whatever Tour,” was a riveting display of indie rock energy and resilience. Led by the enigmatic frontman Domenic Dunegan, the five-piece band delivered a performance that was as emotionally charged as it was musically compelling.
Despite facing a momentary setback when Domenic accidentally hit his head while standing up on the bar, he soldiered on with unwavering determination, embodying the band’s ethos of perseverance against the odds.
From the moment they took the stage, The Ghost Club commanded attention with their incisive songwriting and sharp commentary on themes of masculinity, self-reflection, and resilience. Hits like “Creature of the Shadows” and “I Feel Fine” had the crowd entranced, while live debuts of “It’s Your Call” and “I’m Sold” showcased the band’s willingness to push boundaries and explore new sonic territories.
A defining moment of the evening came during their cover of Black Sabbath’s “War Pigs,” where Domenic’s electrifying stage presence and raw emotion electrified the audience. Despite his injury, he continued to deliver a mesmerizing performance, captivating the crowd with every lyric and melody.
As the night progressed, The Ghost Club treated fans to a string of live debuts, including the poignant “If I Fell (Don’t Wait Here for Me)” and the anthemic title track “King Whatever.” Closing out the set with the haunting ballad “Don’t Let Go,” Domenic and the band left an indelible mark on everyone in attendance, proving that they are a force to be reckoned with in the indie rock scene.
Overall, The Ghost Club’s performance at Elsewhere was a testament to their resilience, passion, and unwavering commitment to their craft. Despite facing challenges along the way, they delivered a show that was both powerful and unforgettable, leaving fans eagerly anticipating their next performance.
Stay tuned for their upcoming album “King Whatever” set to release ahead of this summer!
Setlist: Creature of the Shadows, All I Know, It’s Your Call (Live Debut), I’m Sold (Live Debut), I Feel Fine, War Pigs (Black Sabbath cover), Sucker, Two Steps Ahead, If I Fell (Don’t Wait Here for Me) (Live Debut), Hate Me Too, King Whatever(Live Debut), Same Graves, Don’t Let Go
Bar Italia made their highly anticipated return to NYC with a cigarette-tinged concert at Warsaw in Brooklyn on March 15. Touring with their new album, The Twits, and making their way across the US to their Coachella debut, the band gave one of their best performances to date. The band entered the stage cast in warm, low-key lighting to an ecstatic crowd and filled the room with guitar buzz and imagery-filled lyrics.
The British shoegaze/post-punk trio, signed to Matador Records, includes Sam Fenton and Jezmi Fehmi of Double Virgo and singer-songwriter Nina Cristante. They formed in 2020 to instant recognition but stayed away from the press until late last year, even keeping their names hidden from fans. This garnered them a mysterious image that they are now attempting to shed. They also added a new drummer, Liam Toon, just days before the show.
The band has garnered a strong following in New York after making two trips from the UK last year. For an international band of their size, they have made a particular effort to play in NYC, and it has paid off for them, as Friday’s show was more than packed with eager fans. Now they’re off to continue across the US, eventually making stops on the West Coast, including two days at Coachella.
Opening for them was Scarlet Rae, a Brooklyn-based singer-songwriter who did a great job of setting the tone for the show and got a lively reaction from the crowd.
It’s a feat how Bar Italia can get a crowd moving and cheering without almost any audience interaction. They uttered about 10 words between songs the entire show, but the audience was there for the music, and the music was electric. That’s not to say the band was closed off. They were full of smiles the whole night and didn’t hold back, showing a lot of emotion on stage.
The interaction between the trio’s vocals formed a texture that cannot be compared to any other act. Sam Fenton and Jezmi Fehmi’s distorted guitar riffs reverberated through the venue as they played “My Little Tony,” wallowing in their dramatic vocals before being lifted up by Nina Cristante and her tambourine in the chorus. The song’s lyrics connect deeply, focusing on imagery that conjures small, intimate scenes that convey displeasure for how our generation has learned to socialize.
They capped off the main set with “World’s Greatest Emoter,” a song title referencing an interview in which Liam Payne described actor Will Smith as the “world’s best emoter” after he slapped the comedian Chris Rock at the 2022 Oscars. The room was pounding with this song, and it only got more intense as they faked the audience out, ending the song multiple times, only to drop right back in seconds later at twice the volume. This was a highlight for the band’s new drummer, Liam Toon, whose skilled playing helped balance the song’s instrumentation with the song’s dense vocals and guitar.
The crowd was feverish by the time the band said thank you and walked off stage, only to walk back on moments later unceremoniously. The band capitalized on this, playing three of their most popular songs. They capped the concert off with “Skylinny,” which had the entire crowd of 1,100 people chanting, “Run-a-runaway, Run-a-runaway.”
This was the kind of concert that made you stop for a minute after to take in your surroundings and breathe. Hopefully, Coachella brings good things for Bar Italia because we are sure NY would be happy to welcome them back whenever they feel like hopping the pond again.
Bar Italia – Warsaw, Brooklyn – March 15, 2024
Setlist: Friends, my little tony, calm down with me, Real house vibes (desperate house vibes), twist, Jelsy, Brush w Faith, harpee, Nurse!, punkt, glory hunter, my kiss era, Polly Amour, worlds greatest emoter
On Wednesday, March 13, a hungry crowd packed into Empire Live on North Pearl Street for the Disco Biscuits, currently on tour ahead of the release of Revolution in Motion, Part 1, due out on March 29.
The show marked a return to a smaller venue in Albany, instead of the Palace Theatre, where the Philadelphia trance-fusion pioneers have played 7 times, dating back to 2004. The 1,000 capacity Empire Live offered a club feel to the show, an underground vibe where fans of the Biscuits could gather and dance to nearly three and a half hours of live electronic jams. For a night, this was Albany, New York’s hottest club, and even with sightlines what they are, the crowd carried on and enjoyed the mid-week throw down late into the night.
Opening up with “Morph Dusseldorf,” the twists came early with samples of Dolly Parton’s “Jolene” dropped into the nascent “Morph” jam, honoring a fan’s birthday request and offering a glimpse of untzgrass, at long last. “Triumph” slipped in next, giving way to 30 glorious minutes of “Save the Robots” leeching into the ending of “Astronaut,” giving way to an inverted version of the fan favorite. A resounding “Suspended in the Air” middle section of “Astronaut” was particularly blissful, while the ending section was peppered by another sample, this time Tone Loc’s “Funky Cold Medina,” with the middle-age crowd nodding at each other upon recognition of the now 35-year old song.
After a standard 30 minute setbreak, the Biscuits returned with “M.E.M.P.H.I.S.,” venturing out into a spacious jam that found its way into the end of “Naeba,” which would be the second inverted song of the night. The slow churn into the song, as well as the stretched out ending were disco bliss, had plenty of room for improv as well as to dance – this was not a coincidance.
A Tractorbeam version (instrumental) of recent debut “Dino Baby” followed and made way to “Another Plan of Attack,” the two songs being the newest songs of the night, following nearly two hours of old school songs. With sampling becoming commonplace this tour, another surprise in the form of “Hella Good” from No Doubt was found in parts of “Another Plan of Attack,” and while this could have been the end of the night, the Biscuits whisked their way into a 36-minute “I-Man” that had twists and turns and the crowd fist pumping along well past midnight.
An encore featuring the recently released “Spaga’s Last Stand” was all that was left in this deep tank of electronica improvisation, where we find the Biscuits at the top of their game.
The Disco Biscuits will be back in New York on March 29 at Webster Hall for the album release show, followed by two nights at Town Ballroom in Buffalo over March 30 and 31.
Setlist via Biscuits Internet Project Disco Biscuits – Empire Live – Albany, NY – March 13, 2024 Soundcheck: Magellan, Wet Set 1: Morph Dusseldorf 1, Triumph > Save The Robots > Astronaut 2 3 > Save The Robots Set 2: M.E.M.P.H.I.S. > Naeba 2 > Dino Baby 4 > Another Plan of Attack 5 > I-Man Encore: Spaga’s Last Stand 1 with ‘Jolene’ (Dolly Parton) samples 2 inverted 3 with ‘Funky Cold Medina’ (Tone Loc) samples 4 Tractorbeam version (instrumental) 5 with ‘Hella Good’ (No Doubt) teases
On Thursday March 14, Offset took his “SET IT OFF” tour to the Palladium in Times Square for its third stop. The rapper enlisted a strong group of up and coming artists to warm up the crowd before his performance.
Offset at Palladium Times Square. Photo by Lucas Kurzweil
The first rising talent of the night was YRN Mango Foo, followed by SleazyWorld Go and then Skilla Baby. Skilla took it upon himself to enter the mosh pit and perform most of his set from the crowd. In between songs, Skilla would have the fans chant four simple words: “I will have fun,” until late in his set where he sang a cover of FUN.’s “We Are Young” while in the mosh pit. After the openers, Hot 97’s own Funk Flex took the stage to perform a DJ set. Flex’s song choices and comedic adlibs ensured the crowd was ready for Offset to take the stage.
Skilla Baby at Palladium Times Square. Photo by Lucas Kurzweil
Offset opened with a plethora of songs from his new album, specifically: “Say My Grace,” “Fan,” “Broads Day,” “Big Dawg,” and “On the River.” With a live band behind and a set of stairs streaming down the center of the stage, there was never a dull moment. Offset had backup dancers and high energy throughout the entire show.
Offset at Palladium Times Square. Photo by Lucas Kurzweil
Offset decided to give New York a taste of their own music. He brought out Brooklyn rap group 41 as well as Bronx artist Cash Cobain. 41 and Cash Cobain both brought a great representation of New York rap to the stage.
But Offset had one more special guest to round off the night. Near the end of the show, Offset and his DJ were talking back and forth saying, “we still gotta do it for New York,” before, abruptly, the beat to A Boogie Wit Da Hoodie’s “My Shit” started playing, and a few seconds later, A Boogie himself joined Offset on stage. The Bronx rapper performed “My Shit” and “Drowning” for his hometown crowd, sporting a Yankees cap and a Highbridge chain.
A Boogie Wit da Hoodie at Palladium Times Square. Photo by Lucas Kurzweil
Offset ended the night with some of his older classics, “Motorsport,” “Narcos,” “Clout,” “Ric Flair Drip,” and “Bad and Boujee.” Tickets for the rest of the “SET IT OFF” tour are available here.
Offset at Palladium Times Square. Photo by Lucas Kurzweil
Offset setlist: Say My Grace, Fan, Broad Day, Big Dawg, On the River, Danger, Ghostface Killers, Rap Saved Me, Legacy, No Complaints, Patek Water, 100 Racks, Monday, Hop Out, Skyami, Don’t You Lie, Zeze, Worth It, Fight Night, Call Casting, Last Memory, Motorsport, Narcos, Clout, Ric Flair Drop, Bad n Boujee
Offset (left) and A Boogie Wit da Hoodie (right) at Palladium Times Square. Photo by Lucas Kurzweil
Offset Upcoming Tour Dates Fri Mar 15; Boston, MA; Citizens House of Blues Boston Sun Mar 17; Toronto, ON; HISTORY Tue Mar 19; Detroit, MI; The Fillmore Detroit Wed Mar 20; Grand Rapids, MI; GLC Live at 20 Monroe Fri Mar 22; Cincinnati, OH; Bogart’s Sat Mar 23; Chicago, IL; Byline Bank Aragon Ballroom Wed Mar 27; Denver, CO; Fillmore Auditorium Fri Mar 29; Los Angeles, CA; Hollywood Palladium Sat Mar 30; San Francisco, CA; The Masonic Mon Apr 1; Anaheim, CA; House of Blues Anaheim Wed Apr 3; Phoenix, AZ; The Van Buren Fri Apr 5; Dallas, TX; South Side Ballroom Sun Apr 7; Houston, TX; Bayou Music Center
Skilla Baby at Palladium Times Square. Photo by Lucas KurzweilOffset at Palladium Times Square. Photo by Lucas KurzweilOffset at Palladium Times Square. Photo by Lucas KurzweilA Boogie Wit da Hoodie at Palladium Times Square. Photo by Lucas KurzweilYRN Mango Foo Go at Palladium Times Square. Photo by Lucas KurzweilYRN Mango Foo Go at Palladium Times Square. Photo by Lucas KurzweilSleazyworld Go at Palladium Times Square. Photo by Lucas KurzweilOffset at Palladium Times Square. Photo by Lucas Kurzweil41 at Palladium Times Square. Photo by Lucas KurzweilSleazyworld Go at Palladium Times Square. Photo by Lucas KurzweilOffset at Palladium Times Square. Photo by Lucas Kurzweil
