At an event at Sirius Studio in New York City, Benny the Butcher marked a pivotal moment in his career as he celebrated the release of his latest album, “Everybody Can’t Go.” The album, a significant milestone as his first major label release under Def Jam, has already been making waves in the hip-hop scene.
The studio session was nothing short of electrifying, featuring an exclusive interview with Benny conducted by DStroy and Gray Rizzy. The atmosphere was charged with excitement as the rapper delved into the creative process behind the album and shared insights into the journey that led him to this groundbreaking release.
Benny treated the audience to a captivating live performance, showcasing his lyrical talent with renditions of three tracks from the album. “Big Dog,” “Jermaine’s Graduation,” and “Back Again” echoed through the studio, leaving an indelible mark on everyone present. The raw and authentic energy in Benny’s delivery resonated with fans and further solidified his status as a force to be reckoned with in the rap game.
The studio audience played an integral role in the event, engaging with Benny through a series of thought-provoking questions. This interactive element provided a unique glimpse into the artist’s mindset and the stories behind the tracks that make up “Everybody Can’t Go.”
A surprise guest appearance by none other than Bun B elevated the celebration to new heights. The special call from the legendary rapper not only underscored the impact of Benny’s work but also emphasized the camaraderie and respect within the hip-hop community.
“Everybody Can’t Go” is not just an album but a testament to Benny the Butcher’s evolution as an artist. The Def Jam release marks a significant chapter in his career, and the Sirius Studio event served as a fitting tribute to the hard work and dedication that went into crafting this masterpiece.
Meet Me @ The Altar, the vibrant and genre-defying trio, is redefining the punk and pop-punk scene with their electrifying energy and empowering anthems. With lead vocalist Edith Victoria, guitarist Tea Campbell, and drummer Ada Juarez, the band’s dynamic sound reflects their diverse influences and shared passion for breaking barriers in the music industry. Hailing from different corners of the U.S., MMATA found their common ground, and swiftly became a force to be reckoned within the world of punk.
MMATA’s “Say it To My Face Tour” stop at Irving Plaza on January 25 was an exhilarating celebration of punk, diversity, and unapologetic self-expression. The night kicked off with stellar performances by Elliot Lee, John Hardie, and Honey Revenge, setting the stage for a high-octane headlining act.
As MMATA took the stage, the atmosphere crackled with excitement. A fan in the front row held a sign that declared “Ada is my everything,” a testament to the profound connection the band fosters with their supporters. The show became a participatory experience when Edith let the crowd choose between two songs, playfully warning them about the sad backstory of “A Few Tomorrows” before launching into it, resulting in playful banter between the band and their adoring audience.
Edith, Tea, and Ada’s banter with the crowd showcased not only their musical prowess but also their genuine connection with fans. They acknowledged a dedicated fan who had attended 10 shows with applause, reinforcing the reciprocal love between the band and their followers. The concert marked a significant milestone for MMATA, as they headlined at Irving Plaza for the first time, reflecting on their journey from opening for MUNA in 2022 to sharing the stage at Madison Square Garden with 5 Seconds of Summer.
Inflatable beach balls bounced through the crowd, adding to the playful atmosphere, while Edith’s confusion about the continued existence of BeReal revealed a charming, down-to-earth side. The concert took unexpected turns, such as Tea’s witty remarks during the intro to “Hit’s Like a Girl,” celebrating love and adding a personal touch to the night.
A standout segment dubbed “Songs We Wish We Wrote” featured spirited covers, including “Since You’ve Been Gone” and “Burnin’ Up,” showcasing the band’s versatility and sense of humor. The fan project during “Garden,” where paper flowers bloomed in the crowd, was a visually stunning moment, and Edith’s acceptance of a flower from a fan emphasized the symbiotic relationship between the band and their admirers.
Meet Me @ The Altar used their platform for more than music, incorporating activism into the show with the presence of Headcount volunteers promoting voter registration. Crowdsurfing added a final touch of chaos to the night, encapsulating the raw, unfiltered spirit of punk.
In summary, Meet Me @ The Altar’s concert at Irving Plaza wasn’t just a show; it was a riotous celebration of individuality, shared experiences, and the unifying power of music. The trio’s ability to seamlessly blend punk, pop-punk, and heartfelt lyrics created an atmosphere that resonated with the diverse audience, making it a night to remember.
Setlist: Same Language, Now or Never, Try, A Few Tomorrows (Crowd voted for this over May the Odds Be Ever In Your Favor), Hit Like a Girl, It’s Over for Me, Since U Been Gone (Partial Kelly Clarkson cover), Take Me Away (Partial Christina Vidal cover), Burnin’ Up (Partial Jonas Brothers cover), T.M.I, Garden, Feel a Thing, Kool, Say It (to My Face)
Sooner or later, they say everything old is eventually new again. This seems particularly true when it comes to the surging revival of Americana/Bluegrass music and on Wednesday, January 24, concert fans in Albany found that out firsthand. Sharing the stage at The Hollow for a co-headlining night of frantic finger pickin’ and foot stompin’ brilliance, Ashville, NC’s Fireside Collective and Nashville’s Airshow demonstrated beyond the shadow of a doubt why they are two of the hottest emerging forces in ‘Newgrass” music today.
Fireside Collective brought the heat to The Hollow on 1/24/24.
First on the docket put together by Guthrie Bell Productions was Airshow. Originally formed in Reading, PA, it wasn’t until childhood best friends Steve Gallagher (guitar/vocal) and Cody Chelius (mandolin/vocals) met up with Bill Baker (bass/vocals) and John Rodrigue (drums/vocals) in Nashville that their high energy jams really started to soar. Two studio albums and a boatload of live recordings later, Airshow finally landed in Albany for the first time.
Nashville’s Airshow made their Albany debut at The Hollow on 1/24/24.
After filling up their bellies at The Hollow’s adjoing restaurant, the guys quickly started burning off the calories by opening with “Burning the Hardwood Floor.” As tardy fans slowly filled in the room while the band worked their way through numbers like “Up Dog,” “On’ry and Mean” and “Up in the Clouds,” it wasn’t long before you could see what all the fuss was about. More jammy and electric sounding than traditional Bluegrass, the Oysterhead shirt worn by Chelius gave the band instant street credit and signified they were students of improvisation by some of the best to ever do it.
Through a bevy of effects pedals, guitarist Steve Gallagher effortlessly made his acoustic sound like a raunchy electric axe, which paid huge dividends on songs like the funky “Skydiver” and “Up on the Ridge.” After showcasing their chops and technicality on the high-octane barn burner called “Spider Bite,” Airshow would ignite the crowd even further by their hilarious synchronized dance moves on their final number, “Up On The Hill.” An excellent set that surpassed my expectations, this certainly was not your father’s bluegrass I was expecting. It was better.
Cody Chelius of Airshow performing at The Hollow on 1/24/24.
As the pouring rain outside The Hollow continued, things inside were just starting to heat up. Making their return to the Capital Region after wowing fans at last year’s Eastbound Throwdown and again at Cohoes Music Hall opening for Kitchen Dwellers, Fireside Collective have quickly earned a reputation for their ferocious and infectious live shows. Consisting of Joe Cicero (guitar); Jesse Iaquinto (mandolin); Tommy Maher (resonator guitar) and Carson White (bass), this tour also marks the latest addition to Collective by way of drummer Mike Tillis.
Fireside Collective performing in Albany on 1/24/24.
Kicking things into high gear with a “Devil’s On the Hillside” > “Choctaw Hayride” combo, the band was firing on all cylinders from the very start. Seamlessly trading vocal harmonies and instrumental leads at the drop of a hat, the band jelled together like a well-oiled machine. A tender, more, country styled vibe emerged on “Done Deal” from the bands 2020 album Elements, before a stellar re-imaged cover of “It’s All Over Now Baby Blue” endeared itself upon unsuspecting ears resulting in big time smiles both on stage and off.
Fireside Collective performing at The Hollow on 1/24/24.
Shifting focus to songs from the latest Fireside Collective album Across the Divide, “Let it Ride” threw caution to the wind, while extended jams on “Your Song Goes On” and “When You Fall” showcased some of the hottest licks and best interplay of the night between Tommy Maher and Jesse Iaquinto. After “Don’t Stop Lovin’ Me” came a special treat for those in attendance at The Hollow. Announcing a brand-new song saved for this specific night, the band would debut “Down in the Hollow” in the most appropriate and satisfying way possible. Check out fan shot footage of that exciting moment in the clip below.
Throwing it back to an oldie but a goodie from Larry Sparks and the Lonesome Ramblers on “These Old Blues,” Fireside Collective kept it classy while paying proper respect to the forefathers of the Americana/folk genre. From the past to the present, the extended jam out of “And the Rain Came Down” felt like hearing a bit of the future. This was Newgrass and the fun-loving crowd at The Hollow couldn’t get enough. So much so that local promoter Greg Bell of Guthrie Bell Productions approached the stage and asked the boys to play one more. Happy to oblige and perhaps pander to the obvious Deadheads in the audience, Fireside Collective spontaneously uncorked a 12-minute rendition of the Grateful Dead classic “Scarlet Begonias” to bring the already hot show to a scorching close. Watch fan shot footage of that in the clip below.
Guthrie Bell Productions does it again, I mean what a show! Two great young bands with musical chops and maturity far beyond their years. I suppose I walked in expecting some sort of hump day hoedown, but what I got felt more akin to a Saturday night rock ‘n roll rager. With choice cover songs, original debuts and a gorgeous commemorative poster designed Chelsea Housand, Fireside Collective and Airshow at The Hollow was an absolute barn burner.
Fireside Collective | January 24, 2024 | The Hollow | Albany, NY
Setlist: Devils On the Hillside > Choctaw Hayride, Done Deal, It’s All Over Now Baby Blue, Let It Ride, Your Song Goes On, When You Fail > Jam, Don’t Stop Lovin’ Me, Down in the Hollow*, These Old Blues, And the Rain Came Down > Jam
Encore: Scarlet Begonias
*Original debut
Airshow | January 24, 2024 | The Hollow | Albany, NY
Setlist: Burning the Hardwood Floor, Up Dog, Lonesome On’ry and Mean, Up in the Clouds, Skydiver, Up on the Ridge, Greenway, Spider Bite, Up on the Hill.
Shooting for the moon with infinite potential, Asbury Parks’ next big thing is Fungkshui. Not stopping there, they may also be the next big thing in the Capital Region too. With frequent visits to the area, including recent high octane rock performances at Putnam Place and the Rye Bread Music Festival (RFB), the fun-loving psychedelic prog-funk quintet is quickly and consistently earning high praise from high people in high places.
Fungkshui performing at Lark Hall in Albany 1/25/2024.
Whether Fungkshui (pronounced funk shway) are playing to packed clubs along the boardwalks of New Jersey, or randomly stopping in for an unannounced happy hour improv set at The Eleven, it seems the band has found their ‘home away from home’ at Albany’s Lark Hall. As friendly with their staff as they are with their fans, Fungkshui originally made a good first impression at the hall last March while opening for acclaimed avant-garde jazz trio LaMP. Later returning for “Funk Night” with the E-Block in September, NYS Music was there for the for their most recent throwdown on Thursday, January 25th.
Teaming up with sonic astrological improv jammers Quantum Cosmic, a new experimental side project featuring members of Annie in the Water, Raisinhead and The Switch, the dynamic pairing of bands proved to be the perfect combination of good vibes and good times. On a night full of other-worldly jams, technical proficiency, soaring and sublime guitar solos, guest sit-ins, and enough funk to make you want to float around the room and dance with total strangers, both bands turned in peak performances that you ‘outta be kicking yourself for missing.
Blasting off a little later than the advertised 8pm start, Quantum Cosmic quickly made up for lost time by inviting the audience to help telepathically guide them through their all-improvised set. Encouraging listeners to share their positive and creative thoughts as well as birthday wishes to drummer Joshua West, “Just hopefully you’re not a dick about it, ” joked guitarist Michael Lashomb, who also plays with the ever-busy West in Annie in the Water.
Along with Matt Richards on keys, Raisinhead guitarist Ted Grey and bassist James Woods, the band who hasn’t played the same show twice and gambles on “making it up as they go along’ would surprise everyone by also inviting up fellow Annie in the Water/Space Carnival bassist Chris Meier for a memorable trippy dip on the AITW OG staple “The River,” in which the birthday boy West hilariously changed (forgot?) some of the lyrics. After coming back down to earth for a brief intermission, things at the hall were about to get even more Fungky.
Chris Meier sits in with Quantum Cosmic at Lark Hall 1/25/2024.
Barreling their way towards Nectars in Burlington, VT, the road to get there saw Fungkshui work their way through New York by way of gigs at Snug Harbor in New Paltz, an unannounced acoustic set at The Eleven and finally, their fiery headlining set in Albany. Kicking things into gear with a technically proficient and impressive “Meat Salad” >“Ready To Go” > “Power Out” jam sandwich, it was immediately evident what all the fuss over this band is about. Part punk, part prog and overflowing with all kinds of primal groove, there is no denying the twin ax attack and chemistry of guitarists Jack Reed and Max Vitale. Along with the luscious locks of Jon Scheps on the low end, drummer Bobby Reilly and the band’s most recent addition of Dan Hogan on keys, Fungkshui took the Lark Hall stage by sheer force.
Fungkshui performing at Lark Hall in Albany 1/25/2024.
Feeling confident and comfortable in the surroundings, Fungkshui would take the opportunity to debut a new song called “Run It” before getting down and dirty on “Barefoot Blues” and the playful “Dan Dan The Waterman.” One of the true highlights of the night came when the band invited Annie in the Water/Quantum Cosmic keyboardist Matt Richards out for some dueling piano action on Dan Hogan’s well-lit rig. Catharsis through collaboration shining through disco ball lights and huge smiles beaming from the faces of everyone on stage, it was the kind of magic musical moment that makes Lark Hall such a special place to see a show.
Matt Richards sits in with Fungkshui in Albany 1/25/2024.
An unexpected guilty pleasure came next in the form of Alice DeeJay’s “Better Off Alone,” which had the whole room dancing around each other in circles. After successfully showing their hand, Fungkshui would then “Ante Up” and “Fade Away” before going deep into the night with one last party jam, “That’ll Do.”
Matt Richards sits in with Fungkshui in Albany 1/25/2024.
With such a formidable relationship already forming between the band and the venue, you almost can’t help but feel optimistic there will be many more magical Fungkshui moments on Lark for years to come. Fresh off the release of their first full length album “Ready to Go,” it’s clear this band is just that. Buckle up in 2024, Fungkshui is about to blast off, and what can I say, I’m totally here for it.
Watch fan shot footage of Fungkshui performing “That’ll Do” in the video clip below:
Fungkshui | January 25, 2024 | Lark Hall | Albany
Setlist: Meat Salad > Ready To Go > Power Out, Run it•, Barefoot Blues > Dan Dan The Water Man, Didn’t Know Anything, Better Off Alone*, Ante Up, Fades Away, That’ll Do
*= Alice DeeJay Cover •= Original Song Debut
Quantum Cosmic | January 25, 2024 | Lark Hall | Albany, NY
Today marks the anniversary of the final show of one of the earliest Grateful Dead side projects. Lead guitarist Jerry Garcia along with Howard Wales delivered one last live interpretation of their jazz-rock fusion album Hooteroll to an audience at the University of Buffalo on this day in 1972. Wales, an avant-garde keyboard player, helped compose all songs on the album which was released the previous year.
The Buffalo gig ended a string of shows played at smaller venues in the Northeast, including one at Syracuse University the week before. While Jerry Garcia may have been the main draw, this tour is also renowned for introducing many to The Mahavishnu Orchestra for the first time, a burgeoning live act with the great Jon McLaughlin on guitar who opened the shows and, according to some bystanders, blew the main act off the stage sometimes.
But Garcia and Wales would get the final word each night with extended takes on Hooteroll, playing alongside Jerry Love on drums, Jimmy Vincent on guitar, and Roger Troy (aka Jellyroll) on bass and vocals, with the group announced as “Howard Wales and Friends.” Unfortunately, no known recordings of tonight’s performance exist, but this excellent one from the show three nights before in Boston paints a clear picture of what transpired at these shows, with the band immediately launching into the frenzied, organ-driven jam “Southside Strut,” the first track of the album, then going off from there.
The music never comes to a complete stop as the band weaves in and out of different tempos and arrangements, although mixing up the songs from the order in which they appear on the album. A section called “Outer Space Regions” completely lives up to its billing before a soul-heavy “Carry Me Back” with Jellyroll on vocals re-energizes everything. Another selection from the album, “DC 502” surrounds a verified “Drums” section as well later on. See Youtube for a full setlist. The entire show is essentially a long, enjoyable 90-minute jam that covers all of Hooteroll and then some.
Photo: Gordon James
Before being played in Buffalo and the Northeast, the seeds of Hooteroll were planted in San Francisco, as Garcia and Wales wound up performing at Monday night jam sessions at The Matrix. This would also be where Jerry met bassist John Kahn for the first time, marking the beginning of their long time partnership. For Jerry, the appeal of this outfit was the ability to play in a more relaxed context than Dead shows. Wales was a serious musician, and Jerry had to work hard to keep up with him, which he would say did more for his ear than anyone else he played with.
Howard didn’t have tunings or anything, he just played. Sometimes he would do these things that were so outside that you just couldn’t – unless you knew where it was going, you had no idea where to start. Sometimes they’d turn out to be just these things like four-bar blues turnarounds, relatively simple musical things, but they were so extended the way he’d play them – ‘God, what is this?’
~ Jerry Garcia, 1991 Interview
With the Hooteroll tour now concluded, Garcia would next turn his attention to a string of shows with another longtime collaborator, Merl Saunders, back home in the San Francisco area.
The Town Ballroom in Buffalo was set ablaze with raw energy and pulsating rhythms on January 23, as four powerhouse bands – Avoid, Counterparts, The Devil Wears Prada, and Fit For A King – took to the stage for a sold-out show on a rainy Tuesday night. Fans from across the city gathered in anticipation of a night that promised to be nothing short of epic, and they were not disappointed.
Fit For a King
Kicking off the evening with a relentless onslaught of hardcore energy, Avoid, got to work getting the crowd but the first thing that stood out before the music got underwear was the singer repping a local city hero, #17, Josh Allen from the Buffalo Bills with his Jersey.
Avoid
Going up next with a relentless onslaught of hardcore energy, Counterparts wasted no time in setting the tone for the night. Hailing from Ontario, Canada, the band delivered a blistering set that had the crowd moshing and screaming along to every word. With their signature blend of melodic hooks and ferocious breakdowns, Counterparts proved why they are considered one of the most exciting acts in the hardcore scene today.
Next up was metalcore stalwarts The Devil Wears Prada, who took the stage by storm with their electrifying stage presence and infectious energy. Drawing from their extensive catalog of hits spanning over a decade, the band treated fans to a set filled with fan favorites and new material alike. From the haunting melodies of “Sacrifice” to the crushing heaviness of “Danger: Wildman,” The Devil Wears Prada delivered a performance that left the crowd in awe.
The Devil Wears Prada
Closing out the night at Town Ballroom were metalcore juggernauts Fit For A King, who wasted no time in unleashing a sonic assault that left the audience reeling. With their bone-crushing riffs and anthemic choruses, the band commanded the stage with authority, inciting mass sing-alongs and frenzied circle pits throughout their set. Tracks “Tower of Pain” and “When Everything Means Nothing” hit with visceral intensity, showcasing the band’s undeniable skill and musicianship.
But beyond just the music, what truly made the night special was the palpable sense of camaraderie between the bands and their fans. From the shared shouts of the famous Buffalo chant “Let’s go Buffalo!” to the sweaty embraces in the pit, it was clear that this was more than just a concert – it was a community coming together to celebrate the power of music.
For the second episode of Saturday Night Live in 2024, Studio 8H welcomed back Madame Web actress Dakota Johnson, along with musical guest and SNL Five-Timer Club member, Justin Timberlake.
The opening sketch this evening through was a bit more of a cold and dry open, making light of the NFL season coming to an end this weekend (short of the Super Bowl), and draining the last comedic bits of Taylor Swift’s influence, out of the football and SNL seasons.
During Johnson’s monologue where she reminisced about her last stint as host, and brought up The Social Network co-star Justin Timberlake, who showed up to casually remind Johnson that he’s available for sketches, given his Five-Timer Club status.
During the “Waiters” sketch, Sarah Sherman displayed equal parts Gilda Radner and Kristin Wiig with her unique quirk worked in.
“The Barry Gibb Talkshow” returned for the first time since 2013, taking a look at the 2024 election, with Jimmy Fallon making a special appearance as Barry Gibb and Timberlake as Robin Gibb. Bringing this back was a no-brainer with Timberlake on the show this week, even if Fallon has gotten a little tiring as of late.
“Home Videos” would be the highlight of the episode, with Andrew Dismukes as a son who learns his parents were on a Maury Povich-style talk show, where his father (Mikey Day) learned he was the father.
An always a welcome short from Please Don’t Destroy kept their hot streak going, even if Dakota Johnson did knock the trio down a peg, referring to Ben Marshall, John Higgins, and Martin Herlihy as ‘The Lonelier Island’ in a roast-filled segment.
Timberlake performed “Sanctified” for his first song, the second single from his upcoming sixth solo album, Everything I Thought It Was, due out on March 15. JT was joined by Houston rapper Tobe Nwigwe for the rock/rap/R&B number, walking in from stage left, flanked by dancers clad in flowing white dresses, an appearance that was teased last week on Nwigwe’s Instagram.
https://www.youtube.com/watch?v=zLC8XiBxV1k
Timberlake’s second song was the first single from Everything I Thought It Was, “Selfish,” the same title as a 2011 release from his ex, Britney Spears. Surrounded by white neon lines along cascading walls, stripped down with just a drummer and keyboardist, Timberlake sang softly in contrast to “Sanctified,” a more passionate and smooth pop hit in “Selfish.”
SNL returns on Saturday, February 3 with host Ayo Edebiri and musical guest Jennifer Lopez.
Indie-folk artist Alec Duckart, known professionally as Searows, played a sold-out show January 25 at New York City’s Mercury Lounge as part of his first headline tour.
Alec Duckart – Photo by Molly Higgins
The show was the last of the tour’s U.S. leg and his second in the NYC area, having played Brooklyn venue Baby’s All Right the day before. The intimate, 250-capacity Mercury Lounge proved to be a cozy home for Duckart’s serene sound.
The crowd of fans, mostly in their teens and twenties, cheered and shouted “I love you”s while Duckart tuned his guitar, before opening with his 2023 single “Older.” The room was hushed as Duckart captivated his audience—the crowd swayed and sang along quietly, but many were silently transfixed by Duckart’s blissful acoustic guitar and poetic lyrics.
Duckart wrote, recorded, and produced his own debut album Guard Dog, which was released in September 2022. In 2023, Duckart released the single “House Song,” which has amassed nearly 20 million streams on Spotify. By the end of that year, Duckart signed to Matt Maltese’s record label, Last Recordings on Earth, and released his six-track EP End Of The World, which his ongoing tour is promoting.
Now that the U.S. leg of the tour is complete, Duckart will make stops in London and Paris. Duckart previously toured as a supporting act for artists including Maltese, Gracie Abrams, and Leith Ross.
Searows Setlist: Older, End of the World, Coming Clean, Collector, Keep the Rain, Roadkill, Used to be Friends, I Have More Than Enough, I Can and I Will, House Song
The music and art scenes in Brooklyn hold a rich and diverse history that plays a fundamental role in shaping American music culture. Music and art cohesively work together to display emotion, purpose and influence one medium on the other, with the ability to connect communities of people from different backgrounds and cultures through audio and visual languages. Brooklyn’s music and art scenes bring unify the borough with diversity, a melting pot and continually at the forefront of American culture.
The West Indie Day Parade
Now, and in decades prior, music and art have become a way of life to the rhythm of Brooklyn, one that is kept alive and running by successive generations of immigrants and transplants from across the world and nation. The power of creativity is not just about entertainment, but about sparking a community to create change, awareness, freedom and unity, becoming a culture that exists as a city’s heartbeat.
The culture of art exploded in the early 1980s from street art, which put the spotlight on local talent, including TAKI 183 who entangled the graffiti movement, highlighting the power of making a statement and pushing extensive boundaries. In the 2000’s, the Brooklyn art scene got hotter with the digital age and the use of technology as a tool to present digital born art, increasing our understanding of unique characteristic features. Artists began collaborating and the rise of art hubs allowed for universal creativity. Today, art in Brooklyn is accessible and continually celebrated.
Music records the collective and diverse history of Brooklyn, spanning across genres and generations. In the 1920‘s, jazz became the central sound, evolving and influencing numerous genres to this day. By the 1960s and 70s, the borough became a hub for soul, funk and R&B, and by the 1990’s, the growth of hip hop culture continues national influence today. By the 21st century, the rise of music festivals including BRIC, Afropunk, Brooklyn Folk and Brooklyn Hip-Hop festivals – as well as dozens of cultural and smaller music festivals, parades and events – continuing to bring the borough together through all walks of life.
The West Indie Day Parade
The West Indian Day parade has become one of New York’s major cultural celebrations and takes place on Labor Day to parade down the eastern parkway. West Indian culture trace their ancestors back to the Caribbean, where the island takes pride in multifaceted colorful dances, parties, and annual carnival celebrations.
With vibrant sequins and feathers, the parade highlights an extraordinary range of people and places that show all walks of life and the importance of unity. Caribbean art has become a diverse reflection of culture, seen in their costumes and elaborate face masks in a wide variety of styles inspired by natural and spiritual cohesive elements. The colorful traditions of Carnival and rich presentation of cultural identity has a boundless impact on the art that emerges through the historical parade that showcases pride, heritage, culture and the importance of identity.
Cultural identity has served as a catalyst for artistic expression, defined by music and art, allowing artists to explore their roots and traditions that serve as an intertwined visual language, creating a narrative that speaks to people of all ethnicities, religions and backgrounds. Not only does the West Indian Day parade attract a community for the annual celebration, it celebrates a bigger purpose of honor, respect, and support from the borough.
The Brooklyn Record and Arts Fair
The Brooklyn Flea Record and Art Fair – held on Saturday, September 30, 2023 at the Marsha P. Johnson State Park – celebrated 12 years of vinyl treasures with over 40 labels, record stores and collectors. The impact and resurgence of vinyl records on the music industry has revolutionized the creation of music, distribution, consumption, and ultimately helped acknowledge the value of the music community. Vinyl allowed music to become more accessible, enabling a visually captivating and engaging representation that highlights a deeper appreciation for the overall experience of music.
The record fair celebrates the unity of both mediums, a way for people of all ages to come together to see vendors that also value the evolution of music over the ages. Including alternative, indie, rock, metal, jazz, classical, pop, blues and much more. Artists and music enthusiasts come together to appreciate the tangible experience of holding a physical record that connects them to the roots of music, enhancing the auditory experience that keeps the love for music alive.
Art and music go hand in hand, sharing a relationship that evokes an emotional response and involves elements of rhythm, harmony and texture that coexist with one another. Music and art are tools for communication, ingrained into the fabric of our society, our relationships and can be understood universally beyond culture and language.
The harmony between the two share narrative moments, they inspire and influence one another, that create a unique dynamic that allows music and art to become part of the culture. Art and music share an intertwining relationship that cohesively evokes emotions, community and promote creativity. Building a culture as seen in Brooklyn permits an exploration of identity, communication and reflects symbiosis between the two art forms.
Between gamblers playing slot machines and Black Jack, fans crowded into the sold-out Great Cedar Showroom at Foxwoods Casino for the veteran rock band Extreme. The band is on the Thicker Than Blood Tour, supporting their new record, Six. This is the second show for the band after the tour kicked off at the Bergan Performing Arts Center in Englewood, New Jersey.
Extreme was founded in 1985 in Malden, Massachusetts and is made up of Gary Cherone on lead vocals, Nuno Bettencourt on guitar, Pat Badger on the bass guitar and Kevin Figueiredo on the drums.
Prior to Extreme taking the stage, the New York City native band, Living Colour warmed up the crowd for a 45-minute set. Like Extreme, Living Colour was founded in the mid-1980s and has produced classic hits like “Cult of Personality,” and “Glamour Boys.”
Living Colour is comprised of guitarist Vernon Reid, Doug Wimbish on the bass guitar, and Will Calhoun from the Bronx, on drums with fellow New Yorker, Corey Glover on lead vocals.
For the entire 45 minutes, Living Colour produced a powerful and memorable set that included eight songs. During the last song of the band’s performance, as they blasted into the aforementioned “Cult of Personality,” Glover hopped off the stage and walked into the crowd while belting out the lyrics to the song. The crowd erupted as Glover walked up and down each section of the theater, stopping for photos with fans and high-fiving concertgoers. Living Colour did a phenomenal job getting the crowd ready for Extreme.
As the clock ticked to 9 p.m., the houselights dimmed as the Extreme banner raised behind Figueiredo’s drum kit. With the blue spotlights on them, the band jumped right into “It (‘s a Monster)” off of the band’s most successful record, 1990’s Extreme II: Pornograffitti.
Throughout the entirety of the band’s set, they incorporated music from their entire discography starting with their self-titled debut record up until their most recent record. While storming through each song, Figueiredo was a man possessed on the drums. His kit didn’t stand a chance as he belted away throughout each song providing chest-thumping beats.
Fans who came to the show on the chilly Friday night were certainly in for a treat as Extreme played for two whole hours. At one point of the set, Figueiredo brought out a mini drum kit as the band embarked on a mini, two-song acoustic set that featured the beautiful ballads “Other Side of the Rainbow,” and “Hole Hearted.”
Even during the band’s acoustic set, there was still so much energy. Throughout the night Cherone slithered and stretched his way around the stage as Badger plucked at his bass guitar during Bettencourt’s shredding solos. It’s widely known that one of Bettencourt’s heroes was the late Eddie Van Halen and Bettencourt paid homage by playing the intro to Van Halen’s “Women In Love…” while saying “Happy Birthday Eddie.”
It was extremely impressive how each band member was able to work off one another and how they each complimented the other. The band’s stage presence and their comradery were visible from the stage and the smiles they had and the laughs they shared were heartwarming.
Each song that Extreme played was magical in its own way and it felt like the band was taking you on a career-spanning journey throughout the show. In between songs the band interacted with fans, joked around and overall gave the fans their money’s worth.
As the doors flew up at the end of the show and the sound of chips hitting poker tables and slot machines rang in the halls, fans left happy and smiles were shared all around as one of the most hard-working bands in rock and roll right now performed another mind-blowing show.
Living Colour Setlist: Middle Man, Leave It Alone, Ignorance Is Bliss, Open Letter (to a Landlord), White Lines (Don’t Do It)/Apache/The Message, Glamour Boys, Love Rears Its Ugly Head, Cult of Personality
ExtremeSetlist: It (‘s a Monster), Decadence Dance, #Rebel, Rest In Peace, Hip Today, Teacher’s Pet/Flesh ‘n’ Blood/Wind Me Up/Kid Ego, Play With Me, Other Side of the Rainbow, Hole Hearted, Drum Solo/Money Maker, Cupid’s Dead, Am I Ever Gonna Change, Thicker Than Blood, Midnight Express, Hurrican, More Than Words, Banshee, Take Us Alive/That’s All Right, Flight of the Bumblebee, Women In Love… (intro) Get The Funk Out, Small Town Beautiful/Song for Love, Rise
