On January 23, 2024, the famous 92nd Street Y (92Y) was buzzing with excitement as Annette Insdorf led a lively talk with legendary filmmaker Martin Scorsese. The main focus of the event was a close look at Scorsese’s latest film, “Killers of the Flower Moon.” The audience enjoyed insights into the movie, and with Scorsese having earned an Oscar nomination, he now surpasses Steven Spielberg in directorial acclaim.
Adding to the historic moment, Lily Gladstone, who stars in the film, made history herself by becoming the first Native American actress to be Oscar-nominated. Her groundbreaking achievement is a testament to the film’s commitment to diversity and authenticity.
During the on-stage conversation, Scorsese delved into the intricacies of the filmmaking process, shedding light on the chemistry between the actors that brought his vision to life. One of the key elements discussed was the musical score, composed by Robbie Robertson. Scorsese shared insights into the collaborative process of creating the film’s music. This soundtrack, became Robertson’s last film score before he passed away in August 2023. The film is dedicated to his memory. Robertson’s musical talent earned him a posthumous nomination for the Academy Award for Best Original Score in 2024, showcasing the impact of his contribution to the movie’s emotional atmosphere.
Another standout point in the conversation was Scorsese’s commitment to authenticity in depicting the Osage Nation, a Native American tribe central to the film’s narrative. The director and his team actively engaged with members of the Osage Nation, meeting with them on multiple occasions to ensure accurate and respectful portrayals of their people and culture. This collaborative effort added a layer of depth to the film, making it a more immersive and genuine cinematic experience.
To sum it up, the night at 92Y showed us Martin Scorsese’s creative thinking and how he made “Killers of the Flower Moon.” This event celebrated not just his successes but also the diverse magic that makes movies special. It’s a noteworthy moment in his impressive journey in the film world.
The Disco Biscuits have announced an upcoming album release show for Revolution in Motion at New York City’s famous Webster Hall. The much anticipated gig is set to take place on March 29, coinciding with the release date of the band’s first new studio project in more than nine years. It comes in the midst of an already expansive 2024 winter tour, right in between performances scheduled for Wilkes Barre, Pa and Buffalo. It also marks the return of The Disco Biscuits to Webster Hall for the first time in nearly 25 years.
Revolution in Motion is already being touted by the Biscuits’ fanbase as the bands latest rock opera, following in the footsteps of Hot Air Balloon and Chemical Warfare Brigade. This latest one was originally conceptualized by guitarist Jon Gutwillig and collaborator Joey Friedman in 2021 before they brought Biscuits keyboardist Aron Magner in to help write the following year. The songs, which tell the tale of an alien interstellar journey, have all made their way into the band’s live repertoire one by one upon completion and are now ready for their official release in album form.
“With a large part of the space opera taking place in New York City, we thought it was only appropriate to play a show there on the day of its release,” noted Magner. “After our late-night rager at the Palladium over our New Year’s run in 2023, we can’t wait to get back to NYC and tell this story from start to finish.”
The Album Release Show at Webster Hall will go on sale to the public on Friday, January 26 at noon E.T. An Artist Presale will begin on Wednesday, January 24 at noon E.T. with the password: RevolutionInMotion. Visit www.discobiscuits.com for more information.
Rhythmic powerhouse Long Island band Bad Mary has released a new single “The Floor is Lava” accompanied by an imposing live video from their November show at New York’s Bowery Electric.
The New York-based Bad Mary are known for playing loud, fast, aggressive, and fun live shows. Drawing influences from the likes of The Ramones and Blondie, the band is known for constantly refining their sound and making waves in the rock music scene while having fun. The band recently performed at New York’s Bowery Electric where they performed “The Floor is Lava” and released a live music video of the performance.
Made up of their lead vocalist Amanda Mac, her husband Mike on bass, her dad Bill on drums, and her professor David on guitar, the NY-based rock band has seen a steady growth in both their local and fan bases. The band has continued to perform at prominent venues like The Knitting Factory and recently at the Bowery Electric.
The new live music video is off Bad Mary’s 2023 EP Trash & Glamour. The self-written and performed punchy yet melodic EP is available to stream on all major streaming services.
The band will also release a re-recorded mix of their song “Forget About It” to begin the celebration of the 10th Anniversary of their first album Better Days with re-recorded and remixed versions of the songs is expected to be released this spring.
On the chilly evening of January 19, music enthusiasts and Pink Floyd fans gathered at the Patchogue Theatre for an unforgettable experience—the Pink Floyd Laser Spectacular. This extraordinary event promised a unique blend of music, visual effects, and a journey through the iconic albums Dark Side of the Moon and The Wall.
As attendees entered the theater, they were greeted with a surprise: each person received two pairs of glasses, hinting at the immersive visual spectacle that awaited them. Excitement filled the air as fans took their seats, eagerly awaiting the start of the show.
The first half of the performance was dedicated to the timeless masterpiece, Dark Side of the Moon. As the lights dimmed, the audience donned their 3D glasses, instantly transported to a world where music and visuals harmonized in an otherworldly dance. The stage came alive with a mesmerizing display of lasers, perfectly synchronized with the ethereal sounds of Pink Floyd.
A large screen on the stage served as a canvas for three-dimensional images that seemed to leap out into the audience. The combination of 3D glasses and intricate laser work created a surreal experience, immersing everyone in the music and the visual storytelling. Each note seemed to manifest as a burst of color, and the iconic album unfolded in a way that transcended the traditional concert experience.
The transition to the second half of the show marked a shift in both sound and visuals. The focus turned to the legendary album The Wall, with a special twist. Audience members swapped their 3D glasses for prism glasses, adding a new layer of complexity to the visual experience.
The prism glasses enhanced the vibrant and kaleidoscopic visuals, complementing the powerful narrative of The Wall. As classic songs from the album echoed through the theater, fans found themselves immersed in a dreamlike state, surrounded by an ever-evolving tapestry of lights and colors.
The Pink Floyd Laser Spectacular at Patchogue Theatre wasn’t just a concert; it was a journey through the band’s iconic discography, brought to life with cutting-edge visual effects. The fusion of music, lasers, and 3D imagery created a truly immersive experience that left a lasting impression on everyone fortunate enough to attend.
The New York City psychedelic rock scene gained a formidable new entrant when Brooklyn-born Boojum took the stage for their first-ever show on Saturday, January 20.
Performing at the combination music venue/recording studio at Brooklyn’s Firstlive, the four-piece band of Chris Mackin (guitar/vocals), Josh Santiago (guitar/vocals), Sarah Elaz (bass/vocals), and Dan Shein (drums) debuted twelve original songs, with lyrics by poet and translator Tom Mackin.
Boojum was born out of a unique one-night-only event at New York’s Brooklyn Bowl that saw Elaz join the Beatles jam band Walrus (Mackin, Santiago and Shein) for a performance inspired by Lewis Carroll’s Alice in Wonderland. Refining that original music and doing away with the theatrical trappings of the “Walrus in Wonderland” show, Boojum’s debut was musically focused, showcasing a creative abundance across an inspired two-sets that kept attendees rapt with refreshing original jams.
While the strength of Tom Mackin’s songwriting was apparent when the audience insisted on an unprompted call-and-response during “Vanish Away,” the highlight of the evening was the original “The Mouse.” This bass-driven funky groove led the audience into a fist-pumping “Oysters” to close the first set. When the band retook the stage attendees were treated to another series of originals, peaking with the grooving “Looking Glass House.”
The full technical capabilities of Firstlive were also on display Saturday night, with Boojum not only leaning into the jam-scene trend of offering a multi-camera live stream of the show but also using the performance to begin recording an inaugural live album.
In recording their debut EP live, Boojum heightened the atmosphere with added excitement for attendees. The decision to eschew the controlled environment of a studio for the spontaneity and vibrancy of a live performance demonstrated confidence in craft and a belief in the power of the band’s live presentation.
Boojum’s debut performance is sure to leave a lasting impression when the inaugural show turns into a full album this spring. Their next performance is at The Sultan Room on March 16. The show will feature dancers, visuals, and guests with the band performing wonderland inspired songs from their forthcoming EP and more. Tickets are on sale now.
Boojum – Firstlive, Brooklyn – January 20, 2024
Set 1: Cheshire Cat, Vanish Away, Pig Baby , Vorpal Blade, The Mouse > Oysters
Set 2: Mr W. Rabbit > Snark 1, Looking Glass House > Sundial, Caterpillar Hookah
On Thursday, January 18, Miami’s alternative funk band Magic City Hippies performed at the Brooklyn Bowl in continuation of their ongoing winter tour featuring opening artists, The Palms and Josh Fudge.
The Palms formed in Los Angeles in 2015, and have become commendable in today’s independent musical landscape. Some of their top hits include “Breakin’ Up,” “Push Off,” and “All4you,” from their 2016 EP Sway.
Josh Fudge is an Oklahoma-born multi-instrumentalist who mixes modern vibrancy with alternative indie-pop that feels nostalgic. He is able to bring people together and creates an intimate, homegrown sensation throughout the crowd.
Magic City Hippies are originally from Miami and first dubbed themselves Robby Hunter Band before being renamed back in 2015. They began self producing in 2013 when their first self-titled EP was released. Over the years, their sound has evolved while utilizing loop pedals and incorporating elements of electronic indie rock with a strong emphasis on groove.
The band consists of lead vocalist and guitarist Robby Hunter, drummer Pat Howard, and guitarist John Coughlin. Some top hits include “Limestone” and “Fanfare” from the Hippie Castle EP and “Queen” and “Water Your Garden” from most recent album Water Your Garden.
Overall, their energetic live performance put on quite the show, blending a mix of psychedelic pop and funk groove while receiving both fan and critical attention during their musical success. Thursday night saw a youthful exchange between the artist and the crowd, cementing a memorable fifth night as part of their winter tour. MCH’s next pit stop is in Boston as we look forward to seeing what’s in store for the band’s evolution in the psych-funk music scene.
Over the weekend of January 12-13, 2024, NYC Winter Jazz Fest marked its 20th annual celebration. Talented artists captivated the audience with electrifying stage performances and incredible music across lower Manhattan and near downtown Brooklyn.
LPR Venue – 1.12.24
In 2005, Brice Rosenbloom initiated the NYC Winter Jazz Fest with the aim of providing exposure to underserved jazz artists. As the festival has grown over the past 16 years, The New York Times calls Winter Jazzfest “the city’s most renowned jazz festival.”
Rafiq Bhatia at Music Hall of Williamsburg – 1.13.24
The Manhattan Marathon took place at diverse venues, including City Winery, Zinc Bar, LPR, Zurcher Gallery, RACKET Future Sounds, Radio Nublu, and Nublu. Whether it was a smaller or larger venue, each location was filled with enthusiastic crowds eager to enjoy fantastic music.
Mamas Gun at Brooklyn Bowl – 1.13.24
Union Pool, Loove Labs, Music Hall of Williamsburg, Super Ingredients, Brooklyn Bowl, Jolene Sound room, Baby’s All Right, and several other venues played host to the Brooklyn Marathon. Despite the chilly weather, the excitement of fans remained undeterred as they eagerly gathered to listen to their favorite and new music. Every artist displayed exceptional talent, showcasing their dedication through singing or instrumental prowess. If you happened to miss this year’s Winter Jazz Fest, you definitely wouldn’t want to miss the next one.
Cisco Swank at Baby’s All Right – 1.13.24
Cisco Swank at Baby’s All Right – 1.13.24Alexis Lombre at Zinc Bar – 1.12.24
Mark Guiliana at Super Ingredient – 1.13.24Chiquita Magic at RACKET Future Sounds – 1.12.24
Mamas Gun at Brooklyn Bowl – 1.13.24
Brandee Younger at LPR – 1.12.24
LPR – 1.12.24
Ambrose Akinmusine at ROCKET Future Sounds – 1.12.24
After more than 18 months of introducing the songs to their loyal fans, the Disco Biscuits have released a seven-minute animated film, Revolution in Motion, Part 1, giving the first glimpse at their highly anticipated space rock opera.
Due for release on March 29, Revolution in Motion is the ninth album from the trancefusion pioneers and will feature newer Biscuits songs “Freeze,” “Buy the Time,” “The Deal,” and “Times Square,” in addition to tracks that were released in conjunction with the video, “Shocked,” “The Wormhole,” “Twisted in the Road” and “Another Plan of Attack.”
The animation tells the story of four aliens who embark on an interstellar journey, only to be thrown off course, into a wormhole, eventually ending up hovering above Times Square in mid-town Manhattan. With animation by Blunt Action, the video and audio combine to piece together the puzzle that has been created over a year and a half of song rollouts, many becoming fan-favorites and/or jam vehicles, while introducing viewers to Polyfuzia, Fuzzies, Space Trains and much more to come.
Jambands.com notes that the initial concept came from guitarist Jon “The Barber” Gutwillig, who worked with friend and collaborator Joey Friedman in August 2021, and bringing in keyboardist Aron Magner to write “music aliens would love.”
Part 2 of Revolution in Motion will be released on February 16. The Disco Biscuits embark on a Winter Tour this week in Nevada, and will be in New York in March. Full tour dates can be found below.
Disco Biscuits ‘Why We Dance’ 2024 Tour Dates
1/25 – Crystal Bay, NV – Crystal Bay Casino Ballroom 1/26 – Crystal Bay, NV – Crystal Bay Casino Ballroom 1/27 – San Francisco, CA – The Fillmore 1/28 – Santa Cruz, CA – The Catalyst 2/1 – Los Angeles, CA – The Fonda Theatre 2/2 – San Diego, CA – Observatory North Park 2/3 – Tucson, AZ – Gem & Jam Festival 2/5 – Aspen, CO – Belly Up 2/6 – Aspen, CO – Belly Up 2/7 – Aspen, CO – Belly Up 2/9 – Boulder, CO – Boulder Theater * (SOLD OUT) 2/10 – Boulder, CO – Boulder Theater * (SOLD OUT) 2/11 – Boulder, CO – Fox Theatre ^ (SOLD OUT) 3/7 – Silver Spring, MD – The Fillmore 3/8 – Silver Spring, MD – The Fillmore 3/9 – Pittsburgh, PA – Stage AE 3/10 – Charlottesville, VA – Jefferson Theater 3/13 – Albany, NY – Empire Live 3/14 – New Haven, CT – College Street Music Hall 3/15 – Portland, ME – State Theatre 3/16 – Boston, MA – House of Blues 3/28 – Wilkes-Barre, PA – F.M. Kirby Center 3/29 – TBA 3/30 – Buffalo, NY – Town Ballroom 3/31 – Buffalo, NY – Town Ballroom 4/2 – Louisville, KY – Mercury Ballroom 4/4 – New Orleans, LA – House of Blues 4/5 – Houston, TX – The Heights Theater 4/6 – Dallas, TX – Longhorn Ballroom 4/7 – Burnet, TX – Texas Eclipse Festival 4/11 – Asheville, NC – The Orange Peel 4/12 – Nashville, TN – Brooklyn Bowl 4/13 – Atlanta, GA – Tabernacle 4/14 – Raleigh, NC – Lincoln Theatre 6/20-23 – Rothbury, MI – Electric Forest Festival
On Thursday, January 19, Umphrey’s McGee made a triumphant return to New York with the kickoff of a two-night run at Brooklyn Steel. As part of their 2024 tour, the versatile band took the stage amidst a buzzing crowd eager for a musical journey.
Originating from South Bend, Indiana, Umphrey’s Mcgee has built a devoted fanbase in New York. They make frequent stops all over New York State – nearly every year in January, plus festival appearances – and it’s easy to see why. Early in the set, they dedicated a song to a friend in attendance celebrating their impressive 515th show.
The audience, unassuming yet in sync with the band’s vibe, engaged with each other while maintaining palpable excitement, with all eyes fixed on the stage. Opening with the crowd pleaser, “There’s No Crying In Mexico,” the night unfolded with a diverse array of songs and sounds, showcasing Umphrey’s Mcgee’s unique interpretation of the “jam band” concept. From psychedelic to progressive to punk, they seamlessly navigate various musical styles, demonstrating an undeniable chemistry among the bandmates.
The second set started with an electrifying cover of LCD Soundsystem’s “Tribulations” and concluded with a playful nod to Tenacious D’s “Kielbasa.” After leaving the stage, the band returned for an encore, bidding the audience farewell until the following night at Brooklyn Steel, followed by another one at Brooklyn Bowl. Their journey continues nationwide until the end of April, promising more musical adventures to fans across the country.
Nestled in Manhattan’s West Side since 1968, the cathedral of rock and roll, Madison Square Garden, opened its doors at 6:00 pm Friday night (January 12), welcoming into its friendly confines loyal card-carrying members of The Tool Army.
The last time Tool visited the hallowed grounds of Madison Square Garden (MSG) – more than 20 years ago – the city, and The Garden itself, were quite different. But one thing has endured the test of time, and that is Tool remains a thinking person’s band. One that is an amalgamation of analytical, primeval, uncompromising, bellicose, and melodic forces.
Madison Square Garden and the Empire State Building | Photo Credit: Michael Dinger
Following an autumn trek of North America and a subsequent two month hiatus, Tool’s Winter Tour 2024 features the latest support from psychedelic metal warriors Elder. Formed in the mid-aughts and hailing from a small seaside town in Massachusetts, frontman and guitarist Nick DiSalvo, bassist Jack Donovan, guitarist Michael Risberg and drummer Georg Edert currently call Berlin, Germany home.
Undoubtedly a momentous occasion to open for Tool, no less while gracing The World’s Most Famous Arena’s hallowed stage, Elder performed like the seasoned veterans they are, delivering on all fronts. Appearing onstage shortly after 7:30 pm, the foursome offered a 30-minute set that showcased exceptional musical craftmanship, taking the steadily growing audience on an evocative, sonic journey.
Known for long-scale compositions, DiSalvo and company presented a trio of stoner rock, mind-altering numbers collected from three of the six studio albums in their discography, including “Sanctuary” (Reflections of a Floating World, 2017), “Merged in Dreams – Ne Plus Ultra” (Innate Passage,2022), and “Halycon” (Omens, 2020).
Elder | Photo Credit: Michael Dinger
Promptly at 8:30 pm, as the heartbeat introduction to “Third Eye” (Ænima, 1996) began to play on tape over the house PA system, the 20,000-capacity venue went dark, and the crowd erupted with a collective, loud roar. One by one, members of the beloved Los Angeles outfit took to the stage, beginning with drummer Danny Carey, who as usual, was rocking NBA hoops gear. His jersey of choice Friday night was Quentin Grimes’ #6 of the hometown Knicks.
Following close behind Carey were bassist Justin Chancellor and guitarist Adam Jones, each of whom have already left an indelible mark in the annals of rock history with their individual technique and instrumental experimentation. As the title track from 2019’s Fear Inoculum got underway, vocalist Maynard James Keenan emerged from the dark shadows and came into view stage left. Wearing a white button down dress shirt and a dapper black suit vest, he clutched the microphone with both hands, revealing black fingerless gloves. Donning a blonde mohawk, Keenan prowled from side to side, high atop two risers constructed at opposite ends of the stage, and on which he would reside for the show’s duration.
Maynard James Keenan of Tool | Photo Credit: Michael Dinger
Before “The Pot” (10,000 Days, 2006) commenced, Keenan addressed us all regarding Tool’s well-known policy regarding cell phones:
So, here’s the deal. We’re gonna go for a little ride. We’re gonna connect. Take a little journey, together. Stay present. Stay in your body. Join us. Stay connected. Put your fucking phone away. [At the] end of the show, last song, you can pull your stupid phone out. Until then, stay with us. Are you ready?
Yes, we were all ready! With Tool’s seven pointed heptagram symbol dangling high above the stage, ‘open’ to signify an invitation into the collective unconscious, Tool’s entire set design was a remarkable sight to behold. Stunning visuals projected on the massive LED backdrop, which ranged from the depiction of skeletal zombie bodies with beaming alien eyes to a man trapped inside his own body, were supplemented by a spectacular laser light show that cut through the MSG atmosphere.
Danny Carey of Tool | Photo Credit: Michael Dinger
Following a 12-minute intermission and a goliath smack of the gong with his mallet, the second portion of the show embarked with Carey seated once again behind his massive kit. Another track from Fear Inoculum ensued, the futuristic interlude known as “Chocolate Chip Trip,” an electronic drum solo that saw the wizard Carey masterfully execute his Toolbox’s modular synthesizer.
Justin Chancellor of Tool | Photo Credit: Michael Dinger
Chancellor, bathed in a white spotlight, beastly strumming during a distortion and reverb filled bass exhibition, was rejoined by Jones, and eventually Keenan, for the night’s first big surprise – a live performance of “Flood” (Undertow, 1993), unearthed after 13 years! And if that were not enough for the diehard fan, following the evening’s fifth and final offering from Fear Inoculum, “Invincible,” Tool played an extended version of “Schism” (Lateralus, 2001) for the first time as a show closer.
Adam Jones of Tool | Photo Credit: Michael Dinger
Following their two gigs in Gotham, Tool will spend the better part of the next two months bringing their Winter Tour to the masses, culminating in Las Vegas on February 18. Tool, who at present are unsigned to a record label, are reportedly flirting with the idea of releasing an EP rather than a sixth studio album, which would mark their first new material since 2019. Nonetheless, it looks promising that The Tool Army will finally get to hear new music from their art rock heroes later in 2024.
Elder Setlist: Sanctuary, Merged in Dreams – Ne Plus Ultra, Halcyon
Tool Setlist: Fear Inoculum, The Pot, Rosetta Stoned (with “Lost Keys” intro), Pneuma, Intolerance, Descending, The Grudge (intermission), Chocolate Chip Trip, Flood, Invincible, Schism
UPCOMING TOUR DATES
January 18 – Hollywood, FL @ Hard Rock Live January 19 – Hollywood, FL @ Hard Rock Live January 21 – Charlotte, NC @ Spectrum Center January 23 – Nashville, TN @ Bridgestone Arena January 24 – Atlanta, GA @ State Farm Arena January 26 – Birmingham, AL @ Legacy Arena January 27 – Biloxi, MS @ Mississippi Coast Coliseum January 31 – Austin, TX @ Moody Center February 2 – Dallas, TX @ American Airlines Center February 3 – Oklahoma City, OK @ Paycom Center February 5 – Denver, CO @ Ball Arena February 9 – Phoenix, AZ @ Footprint Center February 12 – Fresno, CA @ Save Mart Center February 14 – Los Angeles, CA @ Crypto.com Arena February 15 – Los Angeles, CA @ Crypto.com Arena February 17 – Ontario, CA @ Toyota Arena February 18 – Las Vegas, NV @ T-Mobile Arena
