NYS Music 2024

Category: Media

  • Dirty Honey’s “Can’t Find The Breaks” tour rolls up to Foxwoods Casino

    After playing a successful show at the Huntington Paramount days ago, Dirty Honey brought their “Can’t Find The Breaks” tour to Foxwoods Casino.

    Supporting Dirty Honey was St. Louis natives The Band Feel. The night was the perfect revival of rock and roll by two young and hungry bands.

    Between the hustle and bustle of the casino floor, the Great Cedar Showroom sits in the back. But, an hour away from showtime, fans were lining up at the merchandise booth to pick up memorabilia. This is Dirty Honey’s first time in Connecticut since their March 27, 2022 show at Toads Place. But, before the Los Angeles natives took the stage, at 8:00 sharp, The Band Feel jumped on stage. Due to the casino curfew, they had a shortened setlist.

    Even though The Band Feel’s setlist was short, they didn’t let it deter them from introducing fans to their music. The quartet dressed as if the band was born in the 1970’s and their music matched. They played six songs that – by the end of the set – won the crowd over.

    The quartet features T.J. Steinwart on drums, Tyler Armstrong on guitar, Garret Barcus on lead vocals and Kadin Rea on bass. The four-man group channeled in callings of the Golden Age of rock and roll. It’s easy to see why Dirty Honey would bring them on tour. A young band in Dirty Honey is giving another younger band (The Band Feel) a chance at a national tour and getting the word out there that rock and roll is here to stay.

    After a stage change, quickly, AC/DC’s “Rock ‘n’ Roll Damnation” blasted on the speakers and Dirty Honey made their triumphant return to Connecticut. This was the first time that fans in the area could get a look at new drummer Jaydon Bean. Bean took over for original drummer Corey Coverstone after their debut record. With new songs in their arsenal, the band fully attacked the fans in the Great Cedar Showroom with material from their new record. It was refreshing to hear the band play music from their entire category and not strictly off one album or EP.

    Joining Bean was singer Marc LaBelle, guitarist John Notto and bassist Justin Smolian. The latter three were the three original members of the band and have been the longest-tenured.

    Their new material sounded great. As they plowed through their set, they alternated between older material and new songs. LaBelle’s vocals sounded just like the actual record. If you closed your eyes during the show, you could have been tricked that someone flipped on the record. They sounded great live.

    Something new that has been incorporated in this show – which did not happen at the Toads Place show – was the band extending songs and jamming. During one of their classic songs, “Scars” they added an awesome extended jam. To see Dirty Honey get more comfortable exploring their music and adding diversity and freshness to their music is amazing.

    Like The Band Feel, Dirty Honey dressed straight out of the 1970’s. It was almost like a crossover between The Black Crowes and Aerosmith. Also, their influences of classic rock and roll could be heard seeping through in their music.

    One of the songs off the new record, Can’t Find The Breaks that was one of the standouts of the evening was “Coming Home (Ballad of the Shire).” Before the song started LaBelle announced to the audience that his father and some of his hometown friends were in the audience. During the song, it was extremely quiet, you could hear a pin drop. The audience was transfixed by the acoustic song that captivated the entire theater.

    Immediately after  “Coming Home (Ballad of the Shire),” they plunged into a cover of The Rolling Stones’ “Honky Tonk Woman.” This received a massive roar from the audience. Throughout the night, their logo blinked to the beat of the song creating a visual spectacle.

    From the moment that the band got on stage to the moment that they sang their last song, they did not rest or slow down. Notto was running, duck-walking and arm-swinging the entire night. The smile on his face never waned as fans in front of him cheered and put up the rock and roll horns all night long.

    Even though the lower bowl of the theater had seats, fans treated it like a general admission. For Dirty Honey’s entire set, they were standing, clapping and cheering. Fans and high rollers who sat in the front merged up against the stage to take a closer look at the band.

    Dirty Honey is one of those generational bands that help revive a genre of music. The way they channel classic rock sounds and put elegant, modern twists on them is unforgettable. Even though this is their final leg of the tour supporting their new album, when the chance comes, you have to see them. Every year, their loyal following grows. It will be only a matter of time before they upgrade to the biggest venues in your area.

    The Band Feel setlist: Find a Love, Call It What You Want, G Rock, What of Now, Goodbye Virginia, In The Garden

    Dirty Honey setlist: Can’t Find the Breaks, California Dreamin’, Heartbreaker, Down the Road, Scars, Dirty Mind, Tied Up, Coming Home (Ballad of the Shire), Honey Tonk Woman (Rolling Stones cover), Don’t Put Out the Fire, The Wire, Another Last Time, When I’m Gone, You Make It All Right, Won’t Take Me Alive, Rolling 7s

  • Barenaked Ladies Flight stops in Rochester

    Synonymous with quirky lyrics and dreams of being rich, The Barenaked Ladies brought their “In Flight” tour to Rochester on Wednesday, October 2. Passengers on this tour are fellow 90’s alt-rock band, Toad the Wet Sprocket.

    Toad the Wet Sprocket

    Quietly gaining a strong following since 1986, Toad the Wet Sprocket has released seven studio albums and has had solid success on the pop charts with hits like “All I Want,” “Good Intentions,” and “Walk on The Ocean”. Playing for about 45 minutes, Glen Phillips and crew serenaded the sellout crowd as they filed to their seats to see the Canadian headliners.

    Jamming through a 12-song set, lead singer Phillips is joined on stage by Dean Dinning on bass and rhythm guitar, Todd Nichols on guitar and mandolin, Josh Daubin on percussion, and Jonathan Kingham on keys.

    After a brief delay in set up, Barenaked Ladies took the stage for nearly 2,000 fans shortly before 9pm. Starting out with “One Night” and 2003’s “Testing 1,2,3,” Ed Roberston and team were quickly thrown off script as there were more issues with sound, mostly with Jim Creegan’s bass. Luckily for them and the enthusiastic audience, BNL kept the show going as if nothing was wrong. Some ad-libs, a little magic trick and banter with bandmates paired with a less scary rendition of Michael Jackson’s “Thriller” kept the fans entertained.

    With the sound issues taken care of, Robertson along with Tyler Stewart on drums, Jim Creegan on bass, and Kevin Hearn on keys rocked through their 19-song set, with tracks from nearly every album, dating back to 1992’s Gordon.

    With nobody exempt from the wit of Robertson, including Robin the sound guy, “History Of Everything” theme from the Big Bang theory began with a jab at the opening band. While thanking Toad The Wet Sprocket for being on tour, he brags that although they are amazing in their own right, they don’t have a TV theme song.

    Having been around for over 30 years, many like myself, will recall a time when fans would bring in boxes of Kraft Macaroni and Cheese to heave during the set, as they belted out “If I Had a $1,000,000.” Those days are long gone, but the days of fan screaming out lyrics remain. With some guidance from Robertson, tonight was no different. Right on cue, the crowd gave BNL exactly what he wanted, minus the dijon ketchup.

    If I had a million dollars
    We wouldn’t have to eat Kraft Dinner
    But we would eat Kraft Dinner
    Of course we would, we’d just eat more

    Rounding out the classic, quirky set, the guys came out for a two song encore of “Tonight is The Night I Fell Asleep at The Wheel” and “Lovin Life.” The latter couldn’t have been better song to end the night, speaking about lovin’ the life you have and making the most of it, no matter what happens.

    Nearly 40 years, 17 studio albums, and millions of downloads later, Barenaked Ladies are still the goofy band from Canada that loves to have fun on stage and can make even a rough start (thanks, Robin) turn into a night of improv and laugher from start to finish. Make sure you go check them out if you haven’t already seen Barenaked Ladies.

    Toad the Wet Sprocket setlist: Come Down, California Wasted, Inside, Transient Whales, Nanci, Good Intentions, The Moment, Walk on The Ocean, Nightingale Song, Something’s Always Wrong, Fall Down, All I Want

    Barenaked Ladies setlist: One Night, Testing 1-2-3, Thriller (M. Jackson cover), For You, The Old Apartment, Big Back Yard, Boomerang, Just Wait, Toe to Toe, Brian Wilson, Fifty for a While, Aluminum, Pinch Me, Odds Are, History of Everything (Big Bang Theory theme), One Week, If I Had $1000000, Tonight Is The Night I Fell Asleep at The Wheel, Lovin’ Life

    Ed Robertson – Barenaked Ladies
    Barenaked Ladies
    Kevin Hearn – Barenaked Ladies
    Hearn and Robertson
    Tyler Stewart – Barenaked Ladies
    Jim Creegan Barenaked Ladies
    Tyler Stewart – Barenaked Ladies
    Ed Robertson – Barenaked Ladies
    Kevin Hearn – Barenaked Ladies
    Tyler Stewart – Barenaked Ladies
    Kevin Hearn – Barenaked Ladies
    Jim Creegan Barenaked Ladies

  • In Focus: The Red Clay Strays at Brooklyn Paramount

    Tuesday, October 1st saw The Red Clay Strays and The Glorious Sons make a stop at Brooklyn Paramount on their “These Moments Tour,” playing a sold-out show to almost 3,000 fans.

    Red Clay Strays

    The Glorious sons are a rock band based in Ontario with Brooklyn Paramount their first show on the “These Moments Tour,” singing their most popular songs and sharing the story’s behind creating each song with each other.

      Red Clay Strays

      The Glorious Sons were the perfect opening act as few fans knew them prior, but after hearing them live, the audience was drawn in by songs like “My Poor Heart” and “Pink Motel” and became new Glorious Sons fans.

      Red Clay Strays

      The Red Clay Strays are a country rock from Mobile, Alabama who gained popularity with their hit single “Wondering Why,” a song about the bands commitment to their music and success and the toll it has taken on their romantic relationships. The song opens with the stark contrast between the protagonists and two lovers upbringings. The chorus shows the amount of love this person has for the protagonist as they just sit back and allow the band members to follow their dreams, all left “Wondering Why.” Red Clay Strays have since put out another album and have been touring around the world sharing their unique music.

      Red Clay Strays

      Brandon Coleman (lead singer) shared a story of them previously performing at Brooklyn Paramount to a very small crowd, yet this time performing to a sold-out crowd. Throughout the show you could see the band’s passion for the music they are creating together, each song having a meaning and backstory related to the band’s history.

      Red Clay Strays

      The Glorious Sons Setlist: My Poor Heart, White Noise, Josie, Mama, Mercy, Mercy, Kill the Lights, S.O.S (Sawed Off Shotgun), Ruby, Pink Motel

      Red Clay Strays

      The Red Clay Strays Setlist: Ramblin’, Moment of Truth, Stone’s Throw, Disaster, Good Godly Woman, Heavy Heart, Between the Lines, Drowning, Devil in my Ear, Sunshine, Ghosts, I’ll Drown in My Tears (Sonny Thompson Cover), No one Else Like Me, I’m Still Fine, Doin’ Time, Will the Lord Remember Me, God Does, Moments, Wondering Why, Don’t Care

        Red Clay Strays
        Red Clay Strays
        Red Clay Strays

      1. Uncle Ben’s Remedy Releases Sixth Album

        Western New York alternative rock band Uncle Ben’s Remedy have released their sixth album, Saturday Night Swindle.

        Saturday Night Swindle uncle Ben's remedy

        Rooted in the small towns of Western New York, Uncle Ben’s Remedy provides lively performances and unparalleled storytelling to their enthusiastic fanbase throughout the area. With a fascinating blend of punk rock energy and the twang of swampy-backcountry alternative rock, members Ben Westlund, Harmony Griffin, Shawn Huestis, Brendan O’Connor, and Josh Mullin deliver riveting performances of catchy songs and rowdy theatrics time and time again.

        Uncle Ben’s Remedy has returned once more with their newest release, Saturday Night Swindle. Their sixth release since their debut in 2014, the path to this album was not an easy one. With a drummer swap due to their previous decades-long partner having to pass the baton from tinnitus and the recovery of their soundman/busdriver after a bout of cancer, Saturday Night Swindle has certainly been an emotional one to produce- a testament to the band’s dedication to one another and the music they share.

        A masterful entwining of rock, blues, and country sounds, Saturday Night Swindle captures the listener in an indescribable experience of understanding. Perhaps through the emotionally charged lyrics, or the effortlessly moving instrumentals; whatever the reason, Uncle Ben’s Remedy brings you into a conversation that can only be truly communicated through sound. Strings, keys, drums, guitar, horns, vocals that perfectly toe the line between southern twang and alternative rock, and more culminate in Saturday Night Swindle.

        Opening with the narrative-focused “Never Get Caught,” Uncle Ben’s Remedy perfectly balances the story unfolding in the lyrics with kicking instrumentals that perfectly set the tone for the rest of the album, one that promises to take you along for an exciting six track adventure.

        On “From The Outside” and “While Back”, the band leans into the more rock-influenced-country aspect of their sound. “From The Outside” takes on a cowboy on the frontier attitude paired with a concluding echoing duet that reinforces this feeling, the narrator refusing to listen to the words of those meant to tear them down as they trek towards their future unflinchingly.

        “Heartbreaker’s Heart,” leans full-in to the country twang energy with a bright tone and layers upon layers of guitar and strings that practically beg to be stomped along to, and Uncle Ben’s Remedy follows this immediately with “Liquor Wrote These Records”, the kind of song that starts off hard-hitting and concludes by pulling you to the dance floor with an infectious liveliness you can’t refuse.

        The album closes out with “Coming To The Show,” a deeply vulnerable track that perfectly explains why it’s never just music to artists like themselves, wrapping the project in a bow of self-assurance and careful optimism that leaves listeners with a sense of satisfying completion.

        Saturday Night Swindle is out now. To learn more about Uncle Ben’s Remedy their newest release, and future endeavors, visit their website here.

      2. Big Something and Consider the Source Blast Off in Albany

        Albany buzzed with excitement from beyond the solar system as Big Something and Consider the Source brought their signature high-octane and other-worldly grooves to Albany on a brisk Wednesday night, October 2, as part of the Headspace 2024 Tour.

        Lark Hall, recently revitalized by the set designers of HBO’s The Gilded Age, provided an intimate yet stunning backdrop for the night of sonic exploration and some seriously heady jams.

        Ready for Blast-Off: Big Something and Consider the Source bought the Headspace tour to Lark Hall on 10/2/24.

        NYC’s Consider the Source kicked off the evening, captivating the audience with their intricate fusion of sci-fi inspired progressive rock, jazz, and world music. The dynamic power trio, comprised of virtuoso guitarist Gabriel Marin, bassist John Ferrara, and drummer Jeff Mann, delivered an exhilarating performance that showcased both their next-level musicianship as well as their entire new album, The Stare, which was released in mid-September. The band had previous played Lark in April of 2022 as part of their intimate acoustic hybrid run, but on this night, it was straight balls-to-the-wall electric.

        Bassist John Ferrara, and drummer Jeff Mann performing with Consider the Source in Albany on 10/2/24.

        Continuing to push the boundaries of instrumental music with complex time signatures and intricate melodies, songs like “Trial By Stone” and “Mouthbreather” shook the venue to its core with their heaviness, while simultaneously creating a sonic tapestry that was both captivating and challenging to the listener.

        From Marin’s expressive and distinctive double-neck guitar playing, to Ferrara’s melodic and thunderous finger-tapping bass solos, to Mann’s exceptionally creative drum fills, Consider the Source was firing on all cylinders at Lark Hall and it showed.

        Treating the audience to spellbinding renditions of “Preemptive Vengeance” and “Unfulfilled and Alienated,” the intricate interplay between each member created a cosmic journey that resonated with both the soul and the mind. If you haven’t seen this band play before, you really need to. Helping the audience slip into the perfect headspace for what was still to come, Consider the Source was an excellent choice to kick the party off proper.

        Watch fan shot footage of Consider the Source perfomring “Unfulfilled and Alienated” at Lark Hall on 10/2/24.

        Transitioning to Big Something’s headlining set with a glorious circus-like introduction by crew member William, the colorful Burlington, North Carolina six-piece band delivered a masterclass in genre-blending with their unique brand of space-infused funk rock. Supporting the release of their ambitious new album, Headspace, the band is currently riding a wave of creativity and evolution.

        Consisting of founding members Nick MacDaniels (guitar, vocals) and Jesse Hensley (guitar, vocals), the mesmerizing multi-instrumentalist Casey Cranford on saxophone and electric wind instrument (EWI), alongside the dynamic rhythm section of Ben Vinograd (drums), Matt Laird (bass), and Josh Kagel on keys and trumpet, Big Something have firmly established themselves as tried and true veterans of the jam band scene and a popular staple at music festivals around the country, including their own, The Big What, hosted annually in Mebane, NC. 

        Big Something made their Lark Hall debut on Wednesday, 10/2/24.

        Back in the Capital Region for the first time since playing the Putnum Place in May of 2019, the band wasted no time reminding us they still can throw down with the best of them. Showcasing layers of sonic intricacy, catchy hooks and danceable grooves on the opening combo of “Algorithm” and “Love Generator” form 2014’s Truth Serum, Big Something then surprised everyone by slipping into a cover of “Blast Off” by another fan-favorite funk band, Lettuce. 

        Nick MacDaniels performing with Big Something at Lark Hall on 10/2/24.

        Taking a moment to introduce the band and thank everyone for coming out on a Wednesday, the left-handed MacDaniels, who could be the long-lost brother of actor Michael Cera, hyped up the latest Big Something album, Headspace, before going into its opening track.

        Until this point in the show, lead guitarist Jesse Hensley had been relatively reserved, but as “The Mountain” climbed to its peak, so did Jesse, uncorking an absolutely monstrous solo as the band reached its first true stretch of sustained improvisation.

        The Curse of Julia Brown: Gabriel Marin of Consider the Source sat in with Big Something on 10/2/24.

        Name dropping longtime friends and tour buddies Andy Frasco and The U.N. prior to “Clouds,” a song the two bands collaborated on, Big Something would get some more help from their friends in Consider the Source, inviting out guitarist Gabriel Marin to sit in on 2013’s “The Curse of Julia Brown.” resulting in one of most unique and memorable highlights of the show.

        With the buzz in the hall now reaching a fever pitch, Big Something took the vibe even higher, reaching into their back catalog and pulling out their biggest hit to date next, “A Song For Us,” which all but blew the roof off the place. You can watch fan shot footage of that in the clip below.

        Watch Big Something perform “A Song For Us” live at Lark Hall on 10/2/24.

        Big Something’s performance was a celebration of their growth, with tracks from Headspace seamlessly woven into the fabric of their established hits with songs like “Megalodon” blending beautifully into their cover of David Bowie’s “Moonage Daydream.” With the always smiling MacDaniels’ charismatic stage presence igniting the crowd, the synergy between the band members was palpable, as they effortlessly navigated through their setlist, blending styles from jam rock to funk and even hints of reggae and electronic influences.

        Big Something’s Casey Cranford plays the EWI 4000 at Lark Hall on 10/2/24.

        Stealing the show all night long though was multi-instrumentalist Casey Cranford on saxophone and the electric wind instrument. Running his EWI 4000 through an array of effects pedals, Cranford effortlessly created sounds and textures straight from another dimension.

        That should come as no surprise, as the band has long had a fascination with all things extraterrestrial. From their alien-spired logo, to samples referencing U.F.O.’s and crash landings to the stuffed little green man sitting on top of the amps throughout the show, Big Something has crafted a stellar, interstellar sound fit for the future and a galaxy far, far away.

        Big Something made their Lark Hall debut on Wednesday, 10/2/24.

        Adding depth to the evening was the poignant backdrop of recent flooding in North Carolina, which has forever changed the landscape of the bands home turf and brought an air of solidarity among the musicians and fans. Seemingly using the music as a means to escape, the band never directly referenced Hurricane Helene, but noticeably shied away from playing water-based favorites like “The Undertow,” “Waves,” “Starts to Rain,” and “The Flood.” Instead Big Something would close out the main portion of their set with a big version of the infectious hand-clapper, “Timebomb.”

        After a bit of deliberation backstage, the band would return for a final curtain call encore of “Tumbleweed,” the title track from their 2017 album of the same name. Afterwards, the band made sure to let everyone in Albany know how appreciative they are for the support and could be seen hanging out late into the night taking selfies and signing limited edition posters and tour merch.

        As the night drew to a close, the concert proved to be more than just a display of talent, but a celebration of the power of music to unite and uplift. Both Big Something and Consider the Source left the stage with the audience buzzing, showcasing that in a world often overshadowed by challenges, the joy of live music continues to shine brightly.

        The Headspace Tour continues on through October, and fans in Albany can only hope for a swift return of both bands, where their cosmic sounds will continue to resonate long after the lights go down.

        Big Something | October 2, 2024 | Lark Hall | Albany, NY

        Setlist: Intro by William, Algorithm, Love Generator>Blast Off [1] , The Mountain, Clouds, The Curse of Julia Brown [2] , Song For Us, Megalodon>Moonage Daydream [3] , Timebomb.

        Encore: Tumbleweed

        Notes:

        [1] Lettuce

        [2] w/ Gabriel Marin (Consider The Source) on guitar

        [3] David Bowie

        Consider the Source | October 2, 2024 | Lark Hall | Albany, NY

        Setlist: Trial By Stone, I Can See My Eyes, Mouthbreather, New World Čoček, Preemptive Vengeance. Unfulfilled and Alienated.

      3. Duster Drones (In A Good Way) at Webster Hall

        The turnout was overwhelmingly young at Webster Hall on Wednesday, October 2, for Duster, a heavy, depressing-sounding (in a good way) band that initially released music at a time when most of the audience was in grade school. 

        Their debut album, Stratosphere, was released in 1998, at least five years before most of the hands gripping the stage barrier, marked by black X’s for audience members under 21, were born.

        As Duster’s set time approached, OG Duster fans and veteran concertgoers who skipped the opener began to fill in GA behind a wave of younglings. Shoegaze is the new dad rock, with bands like Duster, Slowdive, and My Bloody Valentine ballooning in popularity with the under-25 crowd, arguably eclipsing their initial popularity. 

        Duster has a perfect grip on the audience’s attention, purposefully subdued, choosing when to cater to the audience. After the first two songs, young voices called out from the crowd, “Turn up your mics. We can’t hear you!” From the stage, Canaan Amber replied softly and succinctly, “No.” As the show continued, the overhead lights faded, and only the LED screen behind them remained, silhouetting them against pulsing and swimming colors.

        The term “shoegaze” can only describe the textural aspect of Duster’s music and leaves out the most gripping part of their sound: tempo. Often called slowcore, a subgenre interested in intensely slow tempos, head banging here is more like nodding with the slow heartbeat of drums and droning guitars.

        Duster seems to pull the tempo even harder live than on the studio recordings, often leaving the audience leaning in before finally reaching the climax of the songs. Injecting a burst of energy for but a moment, and yet, when each song concludes, the audience erupts, held in stasis until one intensely gratifying moment. It’s an exciting feeling that is very different live versus listening at home. Now, Duster makes their way through the midwest until they reach California for two shows at the beginning of November to conclude their tour.

      4. Nilüfer Yanya Conquers at Brooklyn Steel

        Wordlessly, London-based Nilüfer Yanya and her four-man band shuffle onto the Brooklyn Steel stage Tuesday night, launching right into the title single of her third album, My Method Actor.

        No second wasted, the indie-rock singer doesn’t come up for air until the end of the third song, “Chase Me,” acknowledging the audience for the first time with four words: “Wow, so many people,” she smiles.

        Photos by Zachary Giller

        The concession feels tongue-in-cheek, as Nilüfer picks up speed with “Like I Say (I runway)” and any sense there are witnesses present fades away. Though every inch of Brooklyn Steel is filled to capacity and the praise is thunderous, Nilüfer spends each verse singing nearly to herself, eyes lidded, looking but not really, it feels, registering anything or anyone in particular, as she gazes out into the crowd.

        Photos by Zachary Giller

        As she sings about running on borrowed time, you’re quick to understand that her sense of urgency is innate and learned. The settled mutual understanding permeates listeners, who are but happy to sway and hold any and all unadulterated applause for each track’s end.

        Photos by Zachary Giller

        It’s hard to say what she’s seeing, if not the hundreds of people in attendance, but you spend the hour-long set feeling as if you’re an intruder who stumbled across a girl singing alone in the woods, just happy to partake in the intimate scene. Make no mistake about the intended audience, however, as it becomes clear that each detail has been meticulously accounted for, including the aural tapestry of live sax for an upbeat jazz take.

        Photos by Zachary Giller

        At the show’s mid-way point, the momentum of Nilüfer’s well-orchestrated production swings in tandem with her solo acoustic rendition of “Heavyweight Champion of the Year,” the finale on her 2019 debut, “Miss Universe,” which earned the singer-songwriter Pitchfork’s Best New Music (a feat she’s achieved three times over). It’s an apt choice, with her angry staccato guitar strums only elevating her earnest frustrations, pained voice malleable and ever-flowing.

        Photos by Zachary Giller

        It’s also the show’s pinnacle, beholding entranced listeners to her writhing torments over the loss of self-jurisdiction and damning physical fatigue from “a lack of sleep” over nights spent tossing and turning. At no point is the plot lost as Nilüfer tears through “Binding,” feeling more resolute in her convictions, and the crowd is likewise, renewed with energy, as she croons: “I don’t want what’s left, got to give me something strong, got to make sure it’s your best.”

        Photos by Zachary Giller

        Waves of interludes weave the audience purposefully from one sequence to the next of Nilüfer’s purgatory tale. Even a rare cheer or whoop of appreciation feels out of place and almost sanctimonious, detracting from the world Nilüfer has built within and around herself. There’s just one brief moment where her absolute reign slips — a momentary technical difficulty that lasts but five seconds — and she chuckles, unsure. You’re instantly attuned that this is someone who regularly seizes utmost control of the moment. 

        Photos by Zachary Giller

        Nilüfer’s pain quickly turns into exuberance — a pity party is still, after all, a party — and there’s a resounding resurgence in the final act as she launches into “the dealer” and ‘stabilise,” off the 2022 “PAINLESS.” There’s even a reclamation of narrative as she sheds her victimhood, in a rendition of PJ Harvey’s “Rid of Me.” 

        Photos by Zachary Giller

        “I’ll tie your legs, keep you against my chest, oh, you’re not rid of me,” she sings in defiance against her former lovers and whoever else has wronged her, waking many in the pit from their deferential slumber. The Greek god of sleep, the gentle-dispositioned Hypnos, is said to own nearly half the lives of humans as he steers them through rest. As Nilüfer closes the show with the last exuberant dregs of “midnight sun,” it feels like she’s saying, to followers emerging from their trance, to look into the light of a new day, inherently triumphant in all its rich possibilities.

      5. Phish To Return To Madison Square Garden For Annual New Year’s Celebration

        Phish is, once again, going back to the Garden for their annual New Year’s Eve run. The band will play at MSG from Saturday, December 28th to Tuesday, December 31st. This will bring the running total of Phish shows at the Garden to 87 in all. Tickets go on sale to the general public beginning Friday, October 11th at Noon ET.

        A ticket request period is currently underway at https://tickets.phish.com (ending Monday, October 7th at Noon ET). A limited number of travel packages (hotel + tickets) will go on sale tomorrow, Wednesday, October 2nd, at Noon ET at https://phishnye.100xhospitality.com. For complete ticketing information, visit https://phish.com/tours.

        Phish also has four more upcoming New York State gigs as well, with a three-day benefit run that will take place at Albany’s MVP Arena in late October.

      6. The Marley Brothers Legacy Tour at Forest Hills Stadium: A Tribute to Reggae’s King

        On Sunday, September 22, Forest Hills Stadium in Queens was transformed into a musical time capsule, as the Marley Brothers united for the first time in two decades to celebrate the enduring legacy of their father, Bob Marley.

        The Marley Brothers Legacy Tour, which kicked off in Vancouver, brought together Damian, Stephen, Julian, Ziggy, and Ky-Mani Marley for an epic 22-date journey across North America, paying tribute to their father’s timeless work. The tour, which ends in early October in Miami, features a nostalgic setlist of nearly 30 of Bob Marley’s most cherished songs, bringing generations of fans together to rejoice in the spirit of reggae music.

        A Family United by Music

        The significance of this tour cannot be overstated. Though each of the Marley brothers has had successful solo careers, it has been 20 years since the five have shared a stage. Bob Marley’s influence, both on reggae and on global consciousness, is unparalleled, and the brothers’ reunion not only honors their father but also the rich musical heritage he helped to create. Performing together, their synergy is unmistakable, and their collective energy invokes memories of Marley’s original performances while breathing new life into the music.

        The Show: A Journey Through Bob Marley’s Greatest Hits

        The Forest Hills Stadium show, one of the highlights of the tour, featured an electric atmosphere, with the Marleys delivering a setlist packed with classics. From revolutionary anthems like “Get Up, Stand Up” and “Buffalo Soldier” to love ballads like “Is This Love,” the brothers brought Bob’s music to life, reviving both the message and the passion that defined his career.

        The crowd erupted during timeless hits such as “Three Little Birds,” “Iron Lion Zion” and “Positive Vibration” singing along in unison, while more politically charged songs like “War” and “Exodus” reminded the audience of the power of music as a vehicle for social change. Damian, known for his harder-edged, dancehall-inspired sound, added a modern twist to the night with fiery performances while Ziggy’s soulful voice channeled the spirit of his father throughout. The setlist for the tour has been consistent with nearly 30 songs, a true testament to the power and breadth of Bob Marley’s work.

        Honoring a Legend: The Life of Bob Marley

        Bob Marley was born on February 6, 1945, in Nine Mile, Jamaica. Rising from humble beginnings, Marley became the voice of reggae and a symbol of resistance and hope for millions around the world. He started his musical career in the early 1960s with The Wailers, along with Peter Tosh and Bunny Wailer. The group became known for their unique fusion of ska, rocksteady, and reggae.

        Marley’s music was more than entertainment; it was a message. Songs like “Get Up, Stand Up,” “One Love,” and “Redemption Song” became anthems for unity, resistance, and peace. His blend of spirituality, activism, and culture resonated far beyond the Caribbean, elevating reggae to international acclaim. Tragically, Marley passed away from cancer in 1981 at the age of 36, but his legacy has continued through his children, who have carried on his mission and music.

        A Night of Unity and Celebration

        The Marley Brothers Legacy Tour is more than just a reunion; it’s a celebration of Bob Marley’s profound influence and a reminder of the unifying power of music. At Forest Hills Stadium, the brothers’ performance felt like a historic moment, one that bridged the past and the present. With each song, they brought their father’s message to new ears while giving long-time fans the opportunity to experience Marley’s magic once again.

        As the tour continues across the country, fans from all walks of life will have the chance to partake in this once-in-a-generation experience. Bob Marley’s legacy lives on through his music, and through his sons, who have proven that the message of love, peace, and unity is more relevant now than ever.

        Whether in Vancouver, New York, or Miami, the Marley Brothers Legacy Tour is a testament to the enduring power of Bob Marley’s music—and to the familial bond that keeps that legacy alive for generations to come.

        Setlist: Natural Mystic, Get Up, Stand Up, So Much Trouble in the World, Coming in From the Cold, Positive Vibration, The Heathen, Concrete Jungle, Wake Up and Live, Shalom Salaam, War/No More Trouble, Running Away/Crazy Baldhead, Three Little Birds, Is This Love, Don’t Rock My Boat, Buffalo Soldier, Jammin, Easy Skanking, Boom Draw, New Heights, Medication, Kaya, Iron Lion Zion, Exodus, Could You Be Loved, One Love

      7. In Focus: Elephant Gym and Brooklyn’s Own Mei Semones at Music Hall of Williamsburg

        Elephant Gym and Mei Semones have teamed up for a jazzy, math-rocky tour across the Northeast, and it’s outrageously good. Mei Semones and her four-piece band came out casually onto the stage at Music Hall of Williamsburg on Thursday, September 26th. Mei wearing her signature hair charm, a hoodie with the strings tied into a bow, her green artist’s badge stuck to the leg of her cargo pants, and some Nike AF1s.

        Mei’s soft vocals poured through the venue’s many halls and staircases as the crowd filed in, excitement building as she and her ensemble flitted through indie-infused math rock tracks. Semones’ music combines the youthful vocals, twangy guitar, and intricate, punchy drumming of Japanese math rock with her bandmates’ masterful violin, viola, and standup bass backing.

        Noam Tanzer, in particular, was impressive, switching between standup bass, bass guitar, and electric guitar throughout the show. Semones is a masterful guitarist, both electric and acoustic, and her unique playing style is easily the most recognizable aspect of her sound. But the full effect of the lyricism and her live ensemble is indescribable. It truly represents every side of Semones in 3-5 minute chunks, something wholly hers that can’t be replicated or compared.

        Tell, Elephant Gym’s guitarist came out early to put down his setlist, and when people at the front tried to sneak a peak, he hid it behind his bag, telling them it was a surprise. It’s always humorous when artists saunter onto stage well before their set time, and the audience suspends their disbelief long enough to cheer for them to set up and then cheer when they come out a second time. Soon after, KT, the band’s lead singer and bassist, and Chia-Chin, their drummer, came on stage and Elephant Gym was complete.

        After the first song, KT jokingly pointed out that the band’s 10th-anniversary tour also meant that most of their early fans were likely entering their 30s alongside the band. She also lamented about being single and suggested that young single concertgoers look around the room for someone with good music taste to date.

        Elephant Gym talked a bit about their Taiwanese identity and the unique circumstances of Taiwan’s place in the world. They pointed out Taiwan’s position between China and Japan, their belief in democracy, and the mandatory military service that both Tell and Chia-Chin served.

        Japanese Math Rock has clearly influenced Elephant Gym, but making too many comparisons would take away from their music’s intense talent and individuality. In a genre so influenced by jazz, every little electric impulse becomes both melody and a representation of who you are. Typical math rock is very guitar-forward, but KT drives the band, literally and figuratively, letting the base take center stage. This is who Elephant Gym is, and they are wonderful.

        Elephant Gym also poked fun at the cliche of constant merch callouts by bands. They brought up merch every few songs, with some subtle segues and some hilarious nonsequiturs poking fun at the mutual understanding of how vital merch sales are to bands and how there’s no shameless way of asking people to buy stuff from you. KT announced they were going to play a new song, but were nervous, saying, “So if I fuckup some notes … buy some merchandise!” Part of what made this bit so endearing was their candidness about being their own financial advisors, social media managers, and merch designers. The band members divide responsibility like assigning instruments. Like most artists in the modern era, they have to be masters of all to survive.

        Elephant Gym boasted an unreal repertoire, playing an hour and a half of intricate math rock. The memorization required for such a feat is incredible. For their song “Moonset,” which is written in Japanese despite the band not being fluent, Elephant Gym brought Mei Semones back out to sing. The song combined Mei’s sweet, bouncy vocals with more bass-driven funk, forming a perfect jam for the concert’s end.