Category: Photo Gallery

Watch Trey Anastasio and the Boston Pops Unite at Tanglewood

On a long anticipated day for musicians and fans alike, Trey Anastasio performed for the first time at Tanglewood Music Center, joined by the Boston Pops, conducted by Edwin Outwater.

photo by Hilary Scott

Initially scheduled to perform in June 2020, Anastasio beamed with joy as he took the stage following the orchestra for this long-awaited evening of music.

For the June 29 crowd, the day was full of gray skies and rain that was tolerable, but not terrible, as fans were well prepared for the misty weather of the Berkshires that accompanies any passing storm system. Newcomers to Tanglewood were amazed by the sprawling grounds, the ability to bring in everything from food and drink to portable chairs and tables, all making for a relaxing pre-show that led into an evening of unforgettable music.

photo by Hilary Scott

Opening up the night with “First Tube”, this more staid by comparison, yet intricate, version of the classic Phish arena rocker elicited early erupts of cheers from fans, especially the uninitiated to Anastasio’s body of orchestral work. Following Thank You’s to the crowd, Anastasio shifted into the appropriate “Water in Sky” donning his acoustic guitar for the relaxing string-led number that evoked the orchestration of Disney’s early Silly Symphony cartoon series.

Following was “Evolve,” which saw its orchestral debut a few nights earlier in Vienna, VA. The pandemic-era song, turned Phish single, now sits prominently in Anastasio’s arsenal of compositions for orchestras.

photo by Hilary Scott

A 17-minute “Divided Sky” was the closest to a Phish performance this evening, as the composition itself has been ideally suited for orchestra performance since it was written, and allows Anastasio to shine on guitar more than any other song this evening. The ‘open space’ was divinely orchestrated in the lead up to the ‘moment’, with cheers welcomed by the Bad Lieutenant, and the second half textbook early Phish orchestration, with a tremendous ending lead to roars of cheers from the crowd spread across the lawn and inside the Koussevitzky Music Shed.

After introductions of conductor Edwin Outwater and the Boston Pops, “Mercy,” also a Vienna debut, followed for a soft breather that paired well with “Divided Sky.”

photo by Hilary Scott

Closing the set was “Stash,” a more complicated song for the orchestra, but offered a samba beat thanks to the horn section, the percussion and clave driving the mellow tempo forward with a ‘cha cha cha’ beat.

Following a short setbreak (and an appreciated heads up given to the audience five minutes prior to showtime), “Harry Hood” saw its second ever performance (following Vienna), with the orchestra joining in to say “Thank You, Mister Minor” and featuring a unique ending compared to the Phish standard.

“Petrichor” was a perfect fit following the excitement prompted by “Hood,” as well as with light sprinkles coming down as the song started.

A short acoustic version of “More” followed, with “What’s The Use?” surprising the audience as it is wont to do at many a Phish show.

Harpist Jessica Zhou was the MVP in the ‘quiet spot’ of “WTU?,” building the strings in gentle, rising to the occasion and giving this meditative song deeper resonance with the audience.

In September 2009, “You Enjoy Myself” saw its debut at Carnegie Hall, and the moment saw the audience sitting in silent awe, with occasional laughs during the ‘vocals.’ On this evening at Tanglewood, for the unenlightened, “You Enjoy Myself” would draw out more than laughs and silence, but also dancers in the aisles of the lawn (yes, there are aisles on the lawn, sort of) and back of the shed.

Trombonists Toby Oft and Stephen Lange, along with the percussion section combined for a memorable ‘vocal jam’ that led into the boisterous ending that Trey Anastasio and Phish have been performing since 1986.

After a performance like this, Anastasio kept the new orchestrations flowing with acoustic guitar in hand for “The Inlaw Josie Wales.” Now a Phish rarity (last played in 2000), “Inlaw” is welcome at any performance from Anastasio and an orchestra moving forward.

And to cap off an incredible day at Tanglewood and evening of music, fan favorite “The Lizards” closed the show, the tale of Rutherford the Brave as seen through the eyes of Colonel Forbin bringing fans to their feet once again.

Trey Anastasio and the Boston Pops – Koussevitzky Music Shed at Tanglewood – Saturday, June 29, 2024 – setlist via Phish.net

Set 1: First Tube, Water in the Sky*, Evolve, Divided Sky, Mercy, Stash
Set 2: Harry Hood, Petrichor, More*, What’s the Use, You Enjoy Myself
Encore: The Inlaw Josie Wales*, The Lizards
* Trey on acoustic guitar

Trey Anastasio at Tanglewood photos by Hilary Scott

photo by Hilary Scott

photo by Hilary Scott

photo by Hilary Scott

photo by Hilary Scott

photo by Hilary Scott

photo by Hilary Scott

photo by Hilary Scott

July 3, 2024
In Focus: Jason Isbell and the 400 Unit at Beak & Skiff

Day long winds and heavy rain, along with a gloomy evening forecast did not deter the strong contingent of Jason Isbell fans from turning out to Beak & Skiff in LaFayette on Saturday June 29, as Jason Isbell and the 400 Unit made their return to Central New York.

Isbell, the critically acclaimed singer, songwriter, and guitarist has been touring endlessly in support of 2023’s acclaimed release, Weathervanes. The album showcases Isbell at his finest, with a package of songs focused on heavy topics like love and loss, addiction, and nostalgia, backed by powerful guitars and haunting melodies. Isbell, an Alabama native, formed with the 400 Unit in 2009 after he departed the Drive By Truckers. The 400 Unit, which consists of Sadler Vaden (guitars), Chad Gamble (drums), Anna Butterss (bass guitar), Derry deBorja (keyboards), and Will Johnson (percussion), have become an integral piece to both Isbell’s studio albums and live tours.

Heavy winds and rains started early and often on Saturday and continued until one final rain shower blew through the outdoor concert field shortly before 6pm. The tumultuous weather forced the cancelling of opener Courtney Marie Andrews’ set and led to a restructured timeline for the music events on this evening. That did not deter music fans from turning out in near capacity, and shortly before 7pm they were rewarded with a sun which had finally broke free of the heavy cloud cover that had dressed the fields through out the day.

Just after 7pm Isbell stepped on stage with his bandmates, flashing a smile and delivering praise to those in attendance for riding out the weather. The band launched into the gritty rocker “When We Were Close” which immediately had fans out of their chairs and making way close to the stage. Isbell wasted no time showing off tracks from his 2023 release, opening the concert with four consecutive tracks off the album. The third song this evening, “King of Oklahoma” which features a powerful, stadium-anthem like chorus, saw the first of several epic guitar-solo duals between Isbell and Vaden.

Through out the evening it became abundantly clear why Isbell has received such high praises as a songwriter. Few artists have the ability to place the listener into the scene with their lyrics quite like Isbell can. Vivid imagery, like on “Strawberry Woman” place the listener next to the song’s narrator, while addressing heavy topics all too familiar to many.

Over the course of the 110 minute set, Jason Isbell and the 400 Unit treated those in attendance to a set spanning their entire catalog, performing favorites like “Alabama Pines”, “If We Were Vampires”, “24 Frames”, “Flying Over Water” and “Cover Me Up”. They even paid tribute to The Cure, by playing “Just Like Heaven” late in the set. It was a simple gesture to pay homage to the band’s classic rock roots, and one that was well received by all in attendance.

The Beak & Skiff Summer Concert Series continues on Sunday, July 7, with a performance by Lake Street Dive.

July 3, 2024
In Focus: Vanessa Carlton at Alive at 5

On Thursday, June 27, Vanessa Carlton performed at Albany’s Alive at 5, located at Jennings Landing, on the waterfront of Albany.

Vanessa Carlton, originally from Milford, Pennsylvania and quickly moved to fame after her first single “A Thousand Miles” moved into the Billboards Top Ten. She was recently on tour with Stevie Nicks and is now making a few stops for summer concerts.

Carlton brought a large crowd to Jennings Landing on Thursday night to share songs from her first to her most recent album. Along with her songs “White Houses” and “Ordinary Day” she sang a few covers such as “Dreams” by Stevie Nicks. Carlton’s music had the whole crowd old and young dancing and singing along. The Alive at 5 stage created a beautiful back drop of the Hudson River and the golden hour light lit up the stage.

Carlton’s performance left us all signing ” A Thousand Miles” on the way to our cars. Be sure to see the perfect summer concert series at Jennings Landing before the series ends.

Remaining Alive at 5 2024 Concert Schedule

July 11 KRS-ONE
July 18 Third World
July 25 The Record Company
August 1 Galactic (presented by WEQX and NYS Music)

July 2, 2024
In Focus: Ratboys and Water From Your Eyes in Woodstock

The Bearsville Theatre complex lit up with excitement and good vibes on Friday, June 28 for a double-headlined show from Ratboys and Water From Your Eyes. The event brought together fans of a multi-genre spectrum and vibrant performances to Woodstock.Â

Ratboys

Chicago indie-rock band Ratboys, are on a break from their tour opening for The Decemberists, which picks back up in July. After which the band, comprised of Julia Steiner, Dave Sagan, Marcus Nuccio, and Sean Neumann, will embark on a fall headline tour. For now, theyâre playing a few headline shows including Friday nightâs juncture with Water From Your Eyes, who then go to Europe and return to the States for a lineup of festivals.

The show served as a standalone experience with both bands, who are currently on their respective tour schedules, coming together for one special show. Fans got to witness the first time the two bands played a show together since 2016. Fans of both bands in the audience blended in with each other seamlessly in this union of rock music.

Water From Your Eyes

As the crowd shuffled into the venue, the first band of the night, alt-rock group Water From Your Eyes took the stage. Singer, Rachel Brown, began by declaring they had lost their voice, however, they along with bandmate, Nate Amos, proceeded to put on an electrifying performance. Each band member brought their own style to the set, making it an enjoyable watch.

Ratboyâs set presented music from old and new albums filling Bearsville Theater with their repertoire of musical approaches. Frontwoman, Steiner, rocked a flying V guitar throughout the show adding flare to their rhythmic indie music. Each tune sonically transitioned into another, with the occasional introduction, making the exhibition of their music look so natural.

Because the room fostered such intimacy between the audience and the bands, the connection was radiant. Attendees were able to interact easily with the band, whether it was while they were on stage or walking around when they weren’t performing. Overall, the casual and welcoming nature of the concert left everyone in high spirits.

Julia Steiner

Sean Neumann

Julia Steiner

Rachel Brown

Julia Steiner

Ratboys

Water From Your Eyes

Rachel Brown

Rachel Brown

Sean Neumann

Rachel Brown

Dave Sagan

Rachel Brown

Julia Steiner

Rachel Brown

July 1, 2024
Goose sell out Forest Hills; Biggest show yet

On Saturday, June 29, Forest Hills Stadium in Queens saw Goose fans flocking towards the venue well before doors opened. With strong but pleasant winds blowing in alongside them, the anticipation was undeniable as large lines formed to snag posters and merch. Long time friends reuniting, new friends being made, the vibes were high as everyone in the audience eagerly awaited what was to come.

Forest Hills was their second stop in New York on what has been a lengthy nationwide spring and early summer tour. If it wasn’t already hard enough to deny how unstoppable this band is, the announcement that this show was their biggest headlining show to date all but solidifies it, selling out the venue of 13,000 people. This isn’t the first time their draw power in New York was in full view, the band previously sold out two nights at Radio City Music Hall, boasting crowds of more than 6,000.

Excitement was at its peak when Goose hit the stage, greeted by the audience chanting “Gooooose” loudly, but low pitched. As is also usual custom, Peter Anspach saluted the crowd with “What’s up, New York City?!” before embarking on what was to be an evening of pure music-magic. The super catchy and funky notes of “Hot Tea” rang out to open the first set. Hips and arms swayed side to side, smiles were everywhere as fans matched lead singer and guitarist Rick Mitarotunda’s scatting.

The first set featured covers, foreshadowing what would come much later. The band tapped into their deep catalog by busting out “Hot Love & the Lazy Poet” from their own side project, Vasudo, and following that, “I Would Die 4 U,” a tribute to the illustrious Prince. The evening’s exceptional vibes were expounded during set-break, as the audience bore witness and cheered on a marriage proposal which saw the bride to be saying yes enthusiastically.

Goose showcased just how deep and expansive their catalogue of music is during the second set, with electrifying renditions of “Travelers” and “Elmeg The Wise.” A beautiful version of “Thatch” came after, bringing the evening to uncharted heights. Closing out set 2 was the title track off their 2023 album, Dripfield, a song that truly exemplifies the essence of what Goose represents as a band.

A brave and bold new frontier, honoring the footsteps of their predecessors, but carving out their own path. An exciting contemporary take on the classic jam band model, incorporating new sounds and tech with traditional instruments and improvisation. Jams that serve very well written songs, not songs that serve the epic jams. All of this enhanced by an impressive lighting design by Andrew Goedde, seeing Goose live is a must for any fan of live music.

The encore saw the band once again tapping into their deep arsenal, busting out one more cover from Vasudo, “Give It Time”, which was the perfect note to end to the evening on. As light wind and rain began to trickle in, the audience flocked out the venue paying the elements no mind as the anticipation began once again for their next show. Goose will embark on another lengthy fall tour, which tickets are on sale for now.

Goose – Forest Hills Stadium, Queens – Saturday, June 29, 2024

Set 1: Hot Tea, Lead Up, Turned Clouds, Yeti , Hot Love & the Lazy Poet, I Would Die 4 U, So Ready

Set 2: Travelers, Elmeg the Wise, Thatch, 726, Dripfield

Encore: Give It Time

July 1, 2024
Hootie & The Blowfish “Summer Camp With Trucks” Tour Pitstops At Bethel Woods

Hugely popular country-rock band, Hootie & The Blowfish touched down in Bethel on Thursday, June 27 during their “Summer Camp With Trucks” tour.

Bethel Woods Center For The Arts is a stone’s throw from the original site of the Woodstock music festival, and joining Hootie & The Blowfish is Collective Soul and Edwin McCain. Collective Soul is celebrating their 30th anniversary and did so by releasing their newest record, Here To Eternity.

As fans were still finding their seats, buying merchandise and beverages, McCain graced the stage. Joining McCain was Larry Chaney on lead guitar with Craig Shields on saxophone and keyboards. The trio had a short set yet prepped the crowd for the rock and roll later in the show. Throughout McCain’s set, he shared stories about his family and laughed with the audience in between songs. Some of his most popular songs like “I’ll Be” and “I Could Not Ask For More,” were received well by the fans. The trio’s chemistry on stage was extremely noticeable while they were on stage.

All the bands were on a tight schedule so Collective Soul hopped quickly on stage. The band blasted into their first song, “Mother’s Love” off their brand new record. The crowd rose to their feet at the start of the set and did not sit until the end of the last song, “Run.” Collective Soul’s style of rock is different than Hootie & The Blowfish’s yet at the same time, complimented each other. It was great to see so many people have equal interest in Collective Soul and Hootie & The Blowfish. The band’s nine-song set was packed with some of their biggest hits. The crowd sang along to every one of the group’s songs.

Collective Soul is fronted by Ed Roland on lead vocals and acoustic guitar. Joining Ed is his brother Dean Roland and Jesse Triplett on guitars. Will Turpin was on bass and Johnny Rabb on drums.

Collective Soul has always been a great band and their stage presence is unmatched. All of their songs are catchy and their legion of fans brought their singing voice with them. As the band started a cover of AC/DC’s Dirty Deeds Done Dirt Cheap, McCain ran on stage to help sing. This brought a loud cheer from the audience. “December,” off the band’s self-titled record was the second to last song played but was the fan favorite. The fans that sat down immediately stood up and took out their phones to record the tune.

With the sun now dipping behind the general admission lawn, the stage quickly was turned over. Hootie & The Blowfish’s road crew did a swift and efficient job at getting the gear all set and ready to go. Before anyone could get a new beer, 001: A Space Odyssey’s theme song was blasted into the set and the house lights dimmed.

Hootie & The Blowfish jumped into a cover of 54-40’s “I Go Blind” as the first song. Like Collective Soul, fans in the lower section remained on their feet for the entire 23-song set. The energy from the crowd was soaked up by the band as they had smiles on their face from the first note till the last.

The band is led by singer and guitarist Darius Rucker. Joining Rucker is Mark Bryan on lead guitar, Dean Felber on bass and Jim Sonefeld on drums. In addition to the quartet are touring musicians Gary Greene, Garry Murray and Lee Turner.

With the temperature dropping below the 60s, the cooler weather didn’t deter the band or fans. The rock-infused country style made fans feel right at home at the site of “peace and love.” Throughout the band’s set, they sprinkled in a ton of covers including “For What It’s Worth” by Buffalo Springfield, “Hey, Hey What Can I Do” by Led Zeppelin and “Solitude” by McCain. The latter even saw McCain, yet again, grace the stage to perform the song. The cheers for McCain were louder than the other two times. The band did a great job at adding their own twists to some of those classic covers and made some of the songs the memorable tunes of the evening.

The team that was mixing the band’s sound was at the top of their game. The band overall sounded great. No member was louder than the other, they were just perfect. Behind the band was a spectacular video screen with top-notch graphics of live video and different animations. It was amazing to see different animations of campfires and big trees displaying different color lights to the audience.

It’s difficult to not play the famous tune “Wagon Wheel” for Rucker and fans got their money’s worth when that song was played towards the back half of the set. Fans screamed at the top of their lungs and embraced their friends and partners. This tune has become a favorite among music lovers and it was a great song to hear live, it sent chills down the spines of fans across the amphitheater.

With the band in full command of the stage – and one shoeless Bryan – the band weaved in and out of covers and original material before the end of the set. The final song before the set was over was “Hold My Hand,” off of 1994’s Cracked Rear View and, like “Wagon Wheel,” people embraced each other as the band waved goodbye.

It wasn’t until the three-song encore started that more thunderous cheers were heard. “Go and Tell Him (Soup Song)” was the first song up to bat before a cover of Stone Temple Pilots’ “Interstate Love Song” was played. The STP song was one of the best songs and covers played that evening. Rucker’s vocals were on course with original singer, Scott Weiland and the rest of the band followed his lead.

Of course, “Only Wanna Be With You” was the very last song of the evening and while fans were slowly filing out of the crowd and into the cold night, there was not one negative word said. The crowd loved the entire show and it was all they could talk about as they left the amphitheater.

Hootie & The Blowfish’s “Summer Camp With Trucks” tour has two more dates left. On September 5, they will be in Long Island and on September 6 they will be in Syracuse. This is truly a show you do not want to miss, it’s spectacular in every sense of the word.

Edwin McCain setlist: Darwin’s Children, I Could Not Ask For More, Promise of You, I’ll Be

Collective Soul setlist: Mother’s Love, Bluer Than So Blue, Heavy, Shine, The World I Know, Dirty Deeds Done Dirt Cheap (AC/DC cover), Where the River Flows, December, Run

Hootie & The Blowfish setlist: I Go Blind (54-40 cover), Wishing, I Will Wait, Time, Running From an Angel, For What It’s Worth (Buffalo Springfield cover), Hannah Jane, Not Even the Trees, Will the Circle Be Unbroken? (William MacEwan cover), Desert Mountian Showdown, I Hope I Don’t Fall in Love With You (Tom Waits cover), Wagon Wheel (Old Crow Medicine Shop cover), Miss California, Hey, Hey What Can I Do (Led Zeppelin cover,) Solitude (Edwin McCain cover), Old Man & Me / Mo Money Mo Problems / Big Poppa, Let Her Cry, Losing My Religion (R.E.M cover), Alright, Hold My Hand, Go and Tell Him (Soup Song), Interstate Love Song (Stone Temple Pilots cover), Only Wanna Be With You

July 1, 2024
Papadosio Brings Summer Sequence to Wonderland Forest

Papadosio brought their Summer Sequence Festival to Wonderland Forest on June 21 and 22 in Lafayette, New York. Summer Sequence has been around in different variations since 2017. This summer they decided to give the new venue in the Finger Lakes a try, moving the festival from their home in the Blue Ridge Mountains of Asheville, North Carolina.

Wonderland Forest, still in it’s nascent phase, was a great low-key location for a music festival, as it was intimate and hassle free. Everything was centrally located with two campgrounds on either side of the venue, and besides a trek up the hill for the late-night stage, you were never a far walk from anything. The main stage, nestled in the forest was intimate, and the trees offered a great spot for people to set up their hammocks and set up their own home bases away from their camp site. I did not venture into the other campground area, so I’m not sure if they had any other food options out that way, but the main stage did have a small menu for food. They cooked it made-to-order and they had a pretty damn good wood-fired pizza as an option. If you are camping there for a festival in the future it would probably be smart to not depend on those options for the whole weekend though. The Finger Lakes offers a ton of opportunities to take in some nature in the afternoon, both onsite and offsite, exiting and entering the venue was a breeze.

Papadosio are a mix of Prog Rock, Livetronica, Jazz and Jamband, and their eclectic style reflected on the wide-ranging line-up. Along with Psy-Dub producer Ott, both acts were scheduled to play longer sets each night. After some afternoon Yoga, the music started both days around noon. The afternoons started off laid back, with sparse crowds but as the days went on, the crowd thickened out and were really ready to go by 7 or so.

As it was a new venue, there were still a few kinks to the weekend. As reported, a neighbor in the area is not exactly excited about the venue, and the late-night stage on Friday was shut down early at 2 AM (it was supposed to go until 5). Because of the legal issues with the sound, the late-night for Saturday was entirely canceled. The late-night stage itself was a hike up the mountain, but the venue had shuttles to remedy this and escorted people back down into the late of the night. To no fault of anyone, Ott’s Saturday’s set was cut short after only 45 minutes, as a lighting storm appeared in the area. Everyone went back to take shelter at their camp sites, some left but most stayed in the hopes that Papadosio would still be able to properly close out their festival. During the break the storm turned into a torrential downpour, but as quickly as it started, it stopped. Right before their scheduled set at 10, you could hear some sounds from the stage, and the lights turned back on. Someone from venue drove around in an ATV and let people know that Papadosio would be coming on soon.

Papadosio was able to play their final set, you could tell that everyone was enjoying getting a win at the end. Wonderland Forest was a great spot for their Summer Sequence Festival, the weekend was a success with only a few hiccups. Hopefully the venue is able to work out some of the issues and they will be able to come back next summer. Papadosio still has several dates planned throughout the summer, including the Secret Dreams Music & Arts Festival in Ohio and AVL Fest in North Carolina. Wonderland Forest will be bringing back the Disco Biscuits over the 4th of July weekend for their second Biscoland music festival.

June 29, 2024
Paris Paloma Explores Mystical Femininity at Bowery Ballroom

If there was a music style I had to describe as ethereally tender and mystical, yet perfectly encapsulates the feeling of standing in the middle of a swarm of men while eternally wanting to scream your guts out – I would instantly push you towards Paris Paloma’s music.

Infused with Greek and biblical references, the 24-year-old UK artist somehow manages to incorporate serene vivid storytelling in her music while simultaneously arousing the most primal and aggressive feminine urges in her audience. Folk-music with a bit of a dark gothic twist, Paris Paloma dominated the stage on Jun. 26 at Bowery Ballroom and left the crowd screaming in utter awe at her evocative stage presence.

Photo by Alisha Goel

The concert started with a uniquely soothing and harmonic performance by The Army, The Navy. The American duo, consisting of Maia Ciambriello and Sasha Goldberg, serenaded the crowd with some fan favorites like “Alexandra,” and prepared the audience for a hypnotic evening at Bowery. Much like Paris’ music, the duo’s lyrics are jam-packed with intimate and poignant stories, and their music comes across as earnestly confessional. Their calming and intricate harmonies were done on their acoustic guitar, and their chord progressions felt fresh and extremely delicate.

Photo by Alisha Goel

When 24-year-old Giorgia Merolli was asked to describe her connection to Paloma’s music, she said: “I discovered Paris when Labor went viral, and I think one reason why that song went viral is because it’s the most descriptive universal way that we women can relate to us being women. I’ve never heard an artist depict so simply, yet impactfully, the female experience of oppression and shielding our real emotions just to conform to some sort of societal norm.”

Opening her set with the first song in her upcoming debut album “Cacophony,” Paloma desperately repeated the line “What did I do wrong /Will you tell me what I did wrong, what did I,” heartbreakingly resonating with her audience on the pains of feverously scrambling to figure out and reason the abhorrent behavior of past loves in aching toxic relationships.

Photo by Alisha Goel

With her vulnerability and absolute openness in songwriting, Paloma transported everyone from the vast hall at Bowery to what felt like an intimate private gathering. Candidly expressing her grief and struggles surviving in a patriarchal society, Paloma gathered something so uniquely personal to her and used it to forge an iron-clad bond of fury and understanding between every woman present in the room attentively listening to her potent voice.

Paloma also sang “as good a reason,” a lyrical concoction providing a refreshing perspective on ageism and self-love in a society that thrives on manufacturing insecurities. One of the most personally impactful songs for me from the night was titled “the fruits,” a discomforting but visceral exploration of uneven power dynamics and submissiveness.

Photo by Alisha Goel

Paloma surprised the crowd with some of her unreleased songs from her new upcoming debut album. My personal favorite was “the warmth,” which started with what felt like the most beautifully disassociating siren call, and continued with incredulously haunting symphonies and drum beats, making it remarkably distinctive from anything I’ve heard from her before.

Photo by Alisha Goel

Paloma ended the night with her viral TikTok song “labour,” the song which rapidly made her way to the Top 30 on the UK singles chart, and became an anthem for womanhood and the queer community. Screaming “labour” breathlessly on the top of my lungs was an utterly transcending religious experience. It was like we were all bound by one beautiful string – a string harboring chaos and feminine rage and fostering a phenomenon I can only describe as pure and raw human connection. All our collective tears and frustrations binded together, and I found solace and comfort in our universal aches. It was cathartic. I felt liberated.

Photo by Alisha Goel

Paris Paloma – Bowery Ballroom – June 26, 2024

Setlist: my mind (now), drywall, boys, bugs & men, notre dame, as good a reason, knitting song (unreleased), the warmth (unreleased), the last woman on earth (unreleased), bones on the beach (unreleased), the fruits, yeti

Encore: labour

Paris Paloma’s debut album “Cacophony” will be released on August 30.

Photo by Alisha Goel

Photo by Alisha Goel

Photo by Alisha Goel

Photo by Alisha Goel

Photo by Alisha Goel

June 29, 2024
In Focus: Mikaela Davis at Colony Woodstock
It was an exhilarating homecoming jam for Mikaela Davis at Thursday nightâs show at the Colony in Woodstock. The June 27 show was full of high energy, dancing, and an extraordinary show from a group of versatile musicians.

Davis, originally from Rochester and now based out of Catskill, is currently on a tour of headline shows and festivals opening for Amos Lee. This show was even more significant, marking her return to the Hudson Valley before embarking on a West Coast tour in July.Â

Sharing the spotlight with Davis was her band and longtime collaborators, Southern Star. Made up of musicians Shane McCarthy, Cian McCarthy, Alex CotÃ©, and Kurt Johnson, Southern Star collaborated with Davis on their first joint full-length project in 2023 titled And Southern Star.Â Throughout the show, the band’s psychedelic, bluegrass, and rock sounds consistently complimented Davis’ harp. With such a curious blend of instruments and styles, audiences undoubtedly witnessed a unique show.

Davis with Rich Ruth and band

The audience got a taste of what they were about to witness when she joined opener Rich Ruth on stage for a harp contribution.Â Davis’ harp playing was recently featured on Ruth’s latest release Water Still Flows. Ruth along with his band and Davis, treated the audience to a special collaborative performance.

Another highlight of the night with Mikaela Davis at Colony in Woodstock was the remarkable musicianship exhibited by the band. By crossing genres, they exemplified how a variety of musical backgrounds can come together to create new distinctive pieces of art. It’s not every day there’s a harp and a double-neck bass in the same band. The experimentation allowed for making the environment feel like a jam session where everyone in the room was equal to the performers, witnessing genuine virtuosity.

After spending the last few years playing with legends like Bob Weir and Phil Lesh, it’s no surprise that Davis chooses to cover a Grateful Dead song at most of her shows. Characteristically, she ended the show with the Jerry Garcia tune “Bird Song.” This was an extremely successful way of uniting the room even more, by playing a song loved by everyone with such positive energy.
Cian McCarthy

Shane McCarthy

Kurt Johnson
June 28, 2024
Ribbon-Cutting Ceremony at Northwell Jones Beach Theater Unveils Major Renovations

On Thursday, June 27, the Northwell at Jones Beach Theater celebrated its 72nd anniversary with a ribbon-cutting ceremony to unveil the latest renovations in a multimillion-dollar project. The event marked a significant milestone for the historic venue, originally constructed in the 1950s, and highlighted its ongoing evolution to enhance the concert-going experience.

George Gorman, Regional Director of New York State Parks, welcomed the gathered crowd, acknowledging the hard work of the staff, Live Nation, and New York State Parks in bringing the project to fruition. He emphasized the theater’s rich history and the importance of these renovations in preserving its legacy. Gorman extended special thanks to New York State Senator Kevin Thomas, Governor Kathy Hochul, and other key supporters for their contributions, which were crucial in making the renovations possible.

During the ceremony, Tom See, Live Nation’s President of Venue Nation, spoke enthusiastically about the enhancements made to the theater. “The reopening of Jones Beach Theater is the start of the next chapter in the venue’s history,” he said. “As part of the venue’s renovation, you’ll just see it when you step on up. Check out this amazing brand new entry. A state-of-the-art entry of Instagrammable moments and you’ll walk right into a community plaza.”

The new community plaza, approximately the size of a football field, represents a significant improvement. “We never had that location at Jones Beach where the community could be able to hang out,” See explained. “We put them right into a concourse and it had lines and a difficult way to maneuver. But now this open concourse provides the community a place to come in, enjoy food and beverages before they go in and see the show.”

The renovations also include a reimagined premium experience, offering 280-degree views of Zachs Bay. To ensure fans enjoy as much of the show as possible and spend less time in lines, the venue has added more than 30% more food and beverage outlets. “So you can hang out, enjoy the show, and spend time with family,” See noted. “But most importantly, we added 20% more fresh food options.”

The ceremony concluded with the official ribbon-cutting, symbolizing the start of the next chapter for Northwell Jones Beach Theater. Attendees were invited to explore the new features and enjoy the event, setting the stage for many more memorable performances at this iconic venue.

June 28, 2024