Category: Photo Gallery

  • AURORA Dazzles In Sold-Out Two Show Beacon Theatre Run

    The whimsical singer-songwriter AURORA graced the stage of the Beacon Theatre for two nights amid her sold out What Happened to the Heart? world tour.

    Aurora

    If you’re in search of an act straight from a storybook, look no further than AURORA. With a signature sound akin to a woodland fairytale, a voice that positively twinkles, and whimsical yet cutting lyricism, AURORA revels in the magical and channels the mystical in every sense of the words.

    Born and raised in Norway, Aurora Aksnes exists within an ethereal sonic sphere entirely of her own. Beginning her songwriting and dance journeys at the age of six, creation is in her blood. 

    Aurora

    A self described “forest person,” AURORA has compared her home place of Drange to Narnia, spending her time in her home when not spent adventuring through the woods. 

    Releasing her fifth album What Happened to the Heart? in June of this year, AURORA’s most recent release and its subsequent headlining tour stems from a letter co-written by indigenous activists titled “We Are The Earth” which described the earth as “the heart that pulsates within us,” creating the inspiration for the album’s core concept.

    Announced alongside the album was the What Happened to the Heart? world tour, which has and will continue to take AURORA throughout Europe, the United States, and South America- including a date at Manhattan’s own Beacon Theatre, which was soon expanded into a two-show run for its impressive demand.

    Before the show even began, the Beacon Theatre was positively teeming with excitement. Folks were dressed in everything from band tees to ball gowns, couples were wandering the packed foyer excitedly pointing towards the merchandise table, and children were gasping in awe of the theater’s grandeur atop parents’ shoulders.

    Aurora

    With opening support by neo-soul and hip hop artist Biig Piig, the evening’s festivities were off to a wonderfully mesmerizing start as she encouraged audience members to stand up and dance if they so wished in between tracks like the wonderfully smooth “Roses and Gold” and the hard hitting “Decimal” that had light production for days.

    Prior to AURORA’s exciting step on stage, the lights dimmed to allow a nostalgically hazy projection begin to play. The excitement was palpable, but fans kept sound to an absolute hush to experience the visual to its fullest extent before she twirled her way on stage to an explosion of cheers.

    Delivering a hauntingly magical performance of “Church Yard” and “Soulless Creatures,” AURORA’s main support was a small set of other vocalists that turned the theatre into an echo chamber.

    With a full set list of 21 tracks, AURORA’s musicality and vibrancy both vocally and in her stage presence was on full display paired with the Theatre’s groundbreaking new Sphere Immersive Sound system.

    Dazzling fans for the second night in a row with her shimmering voice, dazzling spins and leaps, and effortless sense of musical presence, AURORA made the New York dates of her What Happened to the Heart? tour ones to remember.

    AURORA – Beacon Theatre – Friday, December 6, 2024

  • The Worst Night Of Your Life With hannah bahng

    hannah bahng brought her sold-out debut Abysmal Tour to Mercury Lounge on December 5, promising to deliver “The Worst Night Of Your Life”.

    Self-written, self-composed, and co-produced, hannah bahng is a multitalented artist with the skill and vision to realize every facet of her creative endeavors with evident care and precision. Hailing from Sydney, Australia, 20 year old bahng entered the music sphere with the perfectly nostalgic, sea-salt tinged “perfect blues” and its slightly hazier, dreamy counterpart “OLeander” on July 14, 2023. 

    Since the dual-single release, bahng has seen a meteoric rise in popularity, and certainly for good reason. Releasing her debut The Abysmal EP on May 31 produced in partnership with Andrew Luce, bahng delivered a total of seven tracks that cut deep sonically and lyrically, pulling listeners through each and every emotion with vibrant intensity.

    This same intensity was on full display at the Mercury Lounge on December 5, one of several shows of bahng’s first ever tour which very quickly sold out and saw various venue upgrades due to a widespread hope to experience what was marketed as “the worst night of your life.”

    This sentiment was equally felt in line outside the venue and within its doors, the warm lights of the Mercury Lounge twinkling invitingly as fans meandered their way inside.

    Concert-goers could be found excitedly waiting in line for bahng’s adorably curated merchandise or exchanging homemade goods like bracelets and photocards just outside the entrance (the latter a tradition emerging from the K-Pop scene, which has since evidently bled into tangential spaces and beyond)- all various shades of blue in a lovely nod to her debut single.

    Chatting with other fans proved effortless as everyone shared an intangible undercurrent of knowledge that something special was about to happen- after all, the Mercury Lounge marked the historic third show bahng has ever performed in the professional sphere following two dates in Texas.

    And, as hannah herself would mention later in the evening, it marked her first ever performance in New York after visiting the city as a songwriter and audience member prior.

    As bahng took the stage, the energy was electric. Opening the similar form to her Abysmal EP, she delivered a captivating performance of “OLeander” followed by a gut wrenching rendition of the deeply personal “hannah interlude” which was written while bahng was visiting New York out of a rented studio.

    Similarly, the unreleased “Ribs” features bahng and a piano in a moment so deeply vulnerable it was as if the entire space around her took a moment to pause and listen in.

    hannah bahng

    Between tracks, the intimacy of the venue resulted in an almost conversational rapport between hannah and the audience in which fans showered her in compliments, asked about her Pokémon jacket- custom made by a friend in the audience- and learned that her favorite Pokémon of the franchise is the definitively underrated cubone.

    I’d also be remiss to not mention the vicious Rubiks Cube battle that occurred on stage. A lovely audience member went head to head with bahng in a tense battle of wits, and hannah reigned victorious- but not before passing off her newly signed cube to the audience participant with a hug and cheers from the crowd.

    hannah bahng

    More hard hitting tracks followed, including the bass-heavy “POMEGRANATE” and the unreleased “What Never Lived” that mourns the death of a relationship that never quite happened, which quickly grew to be a personal favorite.

    Tracks of her own weren’t all that hannah had to offer, either. Covers of Chase Atlantic’s “Church” and Bon Jovi’s “Livin’ On A Prayer” came next, the former a favorite of bahng’s that she explained was performed to balm the lack of the track at a Chase Atlantic concert she had attended, and the latter for the parents in the audience- though, as a nearly twenty-something myself, I found myself thanking my father’s influence on my music taste as I belted along.

    hannah bahng

    As bahng bowed out for the evening, the cool blues of the lights faded to a dim gray- but this did nothing to deter the audience, who promptly jumped into cheers asking for just “one more song,” to which hannah delivered. Returning for a vibrant performance of “perfect blues,” the carefree joy felt in the room was tangible. 

    A room full of folks young and old gathered to celebrate the promising start of something beautiful, singing in tandem to the first song of her professional career- the promising creative sway of hannah bahng was in full effect as her first official concert in New York came to an end.

    hannah bahng – Mercury Lounge – The Worst Night Of Your Life Thursday, December 5, 2024

    hannah bahng
  • Usher’s Past Present Future Tour Returns to New York City

    Fresh off a year that included the 2024 Super Bowl Halftime show and a critically acclaimed Las Vegas Residency, Usher brought Round Two of his Past Present Future tour for a two-night special in Brooklyn.

    The crowd embraced Usher, one of the most influential artists of the early 2000s — eight-time Grammy-winning, multi-platinum influential and is one of the best-selling musicians of all time. The R&B phenom dazzled Brooklyn’s Barclays Center with an all-world, shining spectacle that added to his allure.

    Usher performs in Brooklyn, New York during a Past Present Future tour stop. (Karl Jean Baptiste, NYS Music)

    At around 9:30 p.m., the luminary touched the stage, commanding the landscape with a kind of mesmerizing aura and opened with “Coming Home,” the title track from his latest chart-topping outing. He followed that up with “Hey Daddy (Daddy’s Home),” which quickly summoned ecstatic gasps from the audience mid “I just wanna get your attention…” Like that, the sold-out audience went down memory lane singing right along.

    Usher performs in Brooklyn, New York during a Past Present Future tour stop. (Karl Jean Baptiste, NYS Music)

    Between the hits (“You Make Me Wanna…,” “U Got it Bad”), (“Yeah!,” “OMG”), and (“There Goes My Baby,” “Throwback”), Usher’s undeniable collection of classics was undeniable.

    With each performance, each song sounded just as fresh as they did in 1997, 2001 or 2004 and is a testament to the singer’s enduring catalog. The show carefully curated these times by traveling through these eras as a way to illustrate the singer’s transformation through the years.

    Usher performs in Brooklyn, New York during a Past Present Future tour stop. (Karl Jean Baptiste, NYS Music)

    Above all things, if anything was clear from the two-hour extravaganza other than that an Usher concert is top-tier experience, it’s that one of the world’s greatest entertainers of all time and is still at the top of his game.

  • LIMEHOF 20th Anniversary Holiday Celebration: DMC, Ernie and the Band, and More Shine at Two-Day Event

    The Long Island Music and Entertainment Hall of Fame (LIMEHOF) marked its 20th anniversary with a special Holiday Celebration over the weekend of November 30th and December 1st. This two-day event brought together an incredible mix of local and legendary talent, creating an unforgettable experience for attendees.

    Day 1: A Rich Tapestry of Sounds

    The festivities kicked off on November 30th, featuring an eclectic mix of performances. Casey Adams opened the night with his soulful energy, followed by Mark Newman’s smooth rock stylings. The Kerry Kearney Band brought their signature blend of blues and rock, while the Stanton Anderson Band closed out the evening with an electrifying set that kept the crowd on their feet.

    Day 2: A Star-Studded Celebration

    The second day, December 1st, was a true celebration of music, featuring a lineup that spanned genres and generations. One of the highlights of the day was the performance by Ernie and the Band, who took the stage with a setlist that included Tangled Up in Blue, No Rest, Summertime, and Dead Man Walking. The band’s dynamic sound was a testament to their organic, genre-blending approach to music, which has earned them a devoted following.

    I had the chance to talk with Ernie and the Band after their performance, where they shared insights into their musical journey. Founders John and Rob, best friends since childhood, were joined by Nick and Brady, who completed the band’s lineup. Their songwriting process is fluid, beginning with a simple melody, lyric, or progression that grows into a full song. The band cited standout performances at the Great South Bay Music Festival and their recent two-night run at Industry in Huntington as major highlights of their career.

    Next up was the legendary DMC (Daryl McDaniels), who took the stage with Johnny Juice and Richard Barone. Before his performance, I had the chance to speak with DMC, where he shared how his passion for storytelling has expanded beyond music. He began by talking about how his college lectures evolved into speaking engagements at high schools, middle schools, and elementary schools, where he adapted his message for younger audiences. His love for storytelling led him to write a children’s book about his childhood experience with bullying, offering kids a relatable narrative that connects with his career in hip-hop.

    DMC also reflected on his early influences, revealing how his love for comic books sparked his creativity before he found music through the diverse sounds of 1970s New York radio. When I asked about today’s hip-hop scene, DMC rejected the notion that hip-hop is only for the young, asserting that veteran artists like himself continue to carry the torch for future generations.

    In a conversation with DJ Johnny Juice, renowned turntablist and producer for Public Enemy, he emphasized the importance of authenticity for aspiring DJs and producers, advising them to “do it for yourself” and trust that the right audience will follow. Juice distinguished between DJ culture and turntablism, praising the technical advancements but cautioning against losing the human touch, urging DJs to “inject your personality into the cut.” Reflecting on his roots as a Latin percussionist, he explained how his rhythmic style of scratching was influenced by playing bongos and congas as a child. His move from the Bronx to Long Island allowed him to blend diverse influences, creating a unique, genre-defying sound that set Long Island hip-hop apart.

    A major highlight of DMC’s set was his tribute to Billy Joel, where he shared his excitement about a collaboration that blends Billy Joel’s You May Be Right with hip-hop. DMC jokingly revealed his dream of getting Billy Joel involved in writing original songs for his Broadway musical, which is based on DMC’s life story. “I think Billy Joel needs to be a part of this. We’re gonna make history, baby!” DMC laughed.

    Following the tribute, DMC performed several Run-D.M.C. classics, including It’s Tricky, Walk This Way, and Christmas in Hollis. The crowd was energized as he seamlessly blended his iconic hip-hop sound with rock influences, paying homage to the roots of both genres. DMC’s son, Dson McDaniels, also performed his new song Pray, showing the next generation of McDaniels talent.

    He also praised the LIMEHOF as a “holy place” where diverse genres come together to create a rich cultural tapestry—a “gumbo” that nourishes the heart, mind, body, and soul. Reflecting on his journey from a fan listening to rock legends on the radio to sharing stages with icons like David Lee Roth, Dave Navarro, and Aerosmith, DMC highlighted the surreal honor of standing among those he once admired. He emphasized the unity of genres—rock, hip-hop, blues, and jazz—and reminded the audience that while disco may have faded, the music and its spirit live on. With heartfelt gratitude, DMC concluded by urging everyone to keep dancing and supporting live music, leaving the audience energized and inspired.

    After DMC’s electrifying performance, comedian Paul Anthony took the stage for a killer stand-up routine that had the audience laughing from start to finish.

    The festivities continued with Firetog & Co, who performed tracks like How a Heart Breaks and Ball and Chain, followed by American Idol’s Christiaan Padavan, who captivated the crowd with his renditions of Vienna by Billy Joel, Just the Two of Us, I Left My Heart in San Francisco, and Please Come Home for Christmas.

    The celebration at the LIMEHOF concluded with a high-energy performance from The Original Gossip Band, who closed out the weekend with their songs Above Water, Front Liners, Megan, and Driving to the End.

  • Interpol sells out NYC for their 20th Anniversary of “Antics.”

    There’s something about anniversary shows that really gets a crowd going. Pressed against each other in the pit, hands swaying, chanting in time to favorite songs. What better way to celebrate 20 years of Interpol’s Antics than a 3-day sold out show at Brooklyn Steel? Longtime fans gathered for opening night on December 3. Ready to revel in the gritty, driving force of rich guitar playing and powerful lyricism.

    Lead guitarist Daniel Kessler, of Interpol

    Around since 1997, Interpol was formed under New York University doors, beginning with lead guitarist Daniel Kessler, frontman Paul Banks and drummer Greg Drudy. Their post-punk sound has become a staple amongst New Yorkers, emerging as a key rock revivalist of the early 2000s. In hopes to sound sleek and mysterious, they derived their name from The International Police Association, signing with Matador Records in 2002. Now, Interpol has played at a multitude of venues across the world, joined by Sam Fogarino on the drums.

    Interpol's frontman Paul Banks, preforming at Brooklyn Steel

    With white sheer curtains draped across the front, a hush fell over the crowd as Interpol took stage a few minutes past 9:15pm. Opening with “Next Exit”, the band remained obscured. The crowd focused on projections of their silhouettes, jumping back and forth across the curtains. Once their second song, “Evil” reached crescendo, the lighting crew scrambled into the photo pit. The crew pulled back the expansive white sheet to reveal the band, dressed to the nines in black tailored suits.

    After every song, fans whooped and hollered, dazed by the thick smoke and dramatic strobe lights. Lush storytelling balanced out catchy choruses, pairing with intricate guitar riffs to make a visually immersive performance. Their iconic color scheme of black, white and red alongside a sharp typeface held true. Non stop energy created through intriguing lighting choices and special effects.

    As Interpol performed fan favorites such as “C’mere” and “Rest my Chemistry” the crowd pushed forward to the edge of the barricade, unable to peel their eyes off of the stage. By the time the 21 song setlist came to a close, the venue was absolutely packed. Reveling in the rush, fans lingered in the pit, chatting excitedly while sharing videos and treasured moments. 

    Interpol – Brooklyn Steel – Tuesday, December 3, 2024

    Set 1 (Antics): Next Exit, Evil, Narc, Take You on a Cruise, Slow Hands, Not Even Jail, Public Pervert, C’mere, Length of Love, A Time to Be So Small
    Set 2: Pioneer to the Falls, No I in Threesome, The Rover, Rest My Chemistry, My Desire, Roland, Lights, All the Rage Back Home, Obstacle 1
    Encore: The New, PDA

  • In Focus: Dogs In A Pile and Eggy Co-Headline The Capitol Theatre

    On Friday, November 29, perhaps the two biggest rising stars in the jam-band scene – Dogs in a Pile and Eggy – took another giant leap, packing out The Capitol Theatre to near capacity.

    The first time both bands were set to headline the iconic venue, Dogs In A Pile and Eggy had their fans pour in early to check out a pre-show at Garcia’s featuring Residual Groove. The link between the two fanbases was as clear as day, as was the decision to make the two evenings a co-headlining spectacle.

    Photo by Taylor Weinberg

    As announced on social media by Peter Shapiro a few days prior via a coin-toss, Dogs In A Pile were set to open Day 1 with Eggy following, and the reverse happened the next day.

    Dogs In A Pile hit the stage at 8pm sharp on Friday night, busting of the gate strong with “Look Johnny ll”. Hailing from Asbury Park, New Jersey, Dogs In A Pile have become a nationally recognized act, touring all around the country with great frequency. Certainly no stranger to the New York music scene, playing huge shows like the Phish after show last year at Sony Hall, Great South Bay Music Festival, as well as going on tour with Andy Frasco at Pier 17 and The Capitol Theatre itself, though this time, under a very different circumstance.

    Childhood friends who met fellow students at Berklee, the band consists of Jimmy Law on Guitar and Vocals, Joey Babick on Drums, Jeremy Kaplan on Keys and Vocals, Sam Lucid on Bass, and Brian Murray on Guitar and Vocals. Ending on a real high note, a difficult task was set upon Eggy, following what had just occurred was no small feat.

    Photo by Taylor Weinberg

    Eggy gracefully took the stage to great anticipation. In quite fitting fashion, “Here and Now” was the designated opening number as dancing re-emerged throughout the audience. Fresh off the release of their new album, “Waiting Game“, the band consists of Jake Brownstein on Guitar and Vocals, Dani Battat on Keys and Vocals, Mike Goodman on Bass and Vocals, and Alex Bailey on Drums and Vocals.

    New York is a frequent stop for Eggy, and its easy to see why. Their impressive song writing abilities, along with deep experimentation of the material, a fantastic tour-de-force is always on full display. As the first set winded down, Dani Battat slowed things down, paying tribute to his bandmate and dear friend, Jake, to celebrate his birthday.

    A cake was brought out as this touching moment was rang in by Bailey switching to his cajon and Goodman to his standup bass. An acoustic set brought the evening home, but the festivities were not over just yet.

    Photo by Taylor Weinberg

    For an encore, Dogs In A Pile came back on stage to join Eggy in family band style fashion. Paying homage to the day, “Black Friday” by Steely Dan rang out, followed by the Hunter/Garcia classic, “Bird Song”.

    The evening concluded with strong enthusiasm as another epic night of music awaited everyone the following evening. Though the two bands have similar fanbases and style, their momentums are respectively separate and strong.

    Dogs In A Pile go on to play more dates throughout December, including a 4 night run through New Years in Saratoga Springs at Putnam Palace. Eggy will also be playing in New York at the end of this month, hitting Electric City in Buffalo on the 27th, and Levon Helm Studios in Woodstock on the 29th. Tickets for all shows are available now.

    Photo by Taylor Weinberg

    Dogs In A Pile Setlist: Look Johnny ll, Nicolette, Apeman, Today, Ugly Song, G Song, Linus and Lucy, Lazy Susan, Look Johnny, Bubble

    Eggy Setlist: Here and Now, A Moments Notice, Sweaters for Strawmen, Searchlight, 12 Pounds of Pain, Eggy Birthday Song, Thorns, Bad Side of The Moon

    Dogs/Eggy Encore: Black Friday, Bird Song

  • In Focus: Disco Biscuits Close Out Fall Tour in Rome and Buffalo

    Just prior to Thanksgiving, the Disco Biscuits wrapped up their final tour of 2024, with shows in Rome and Buffalo. Over the next few weeks, the band enters the studio and have four final shows to close 2024 out.

    Disco Biscuits rome
    photo by Pete Mason

    Held at the Capitol Theatre in Rome, situated just west of Utica, the venue has been open since 1928, originally part of a chain of movie houses and screening films through 1974. The venue reopened in 1985 as the Capitol Civic Center, when live music and theatrical performances were offered in addition to classic films.

    The show in Rome – a first for the band, and at the ‘other’ Capitol Theatre – was a high point from the start, with a 27-minute “Magellan” opening the show. Feeling rarer these days, “Magellan” hit home with the veteran fans in the audience, many of whom made the Upstate trio of shows a weekend adventure.

    With the energy shifting out of “Cyclone,” a peak jam of the first set arose in “Times Square,” before passing the torch to “Bombs,” a once-shelved fan favorite that was brought back in May 2021 thanks to a fan request. “Shelby Rose” rounded out the first frame of music, which was full of songs for the older heads in attendance this evening.

    Set 2 opened with the slow burn of “Fire Will Exchange,” setting forth a 95-minute torrent of music. This opening 25-minute version was patient as it built and ended up giving way to a full version of “Shem-Rah Boo” that clocked in at over a half-hour, “No Rain” tease and all.

    Less than a month old, the Disco Biscuits version of Richard Strauss’ “Also Sprach Zarathrusta” is a hybrid of “Orch Theme” and Phish’s own version, “2001,” but this industrial version of “Also Sprach Zarathrusta” is nothing like what Strauss or your average Phish fan would expect. Darker, heavier and exploring the darkness between ascendent peaks, this “ASZ” in the industrial/classical crossover we didn’t know we needed.

    Sandwiched in between “ASZ” were “No Recollection” and “Catalyst,” each keeping the fire burning in the set, and bringing it to an exultant finish. And with under 10 minutes left to wrap the show up, the band opted to stay old school with “Rock Candy” in the encore slot, and the show ended promptly before 11pm.

    Disco Biscuits rome

    Setlists via Biscuits Internet Project

    Disco Biscuits – Rome Capitol Theatre – Rome, NY – Friday, November 22, 2024

    Soundcheck: The Very Moon -> Sirens Sing

    Set 1: Magellan > Cyclone > Times Square > Bombs > Shelby Rose

    Set 2: Fire Will Exchange > Shem-Rah Boo1 > Also Sprach Zarathustra > No Recollection> Catalyst > Also Sprach Zarathustra

    Encore: Rock Candy
    1 with ‘No Rain’ (Blind Melon) teases

    While NYS Music was not on hand for the Buffalo shows the next two nights, the two shows are each an adventure in their own right. Saturday night’s show features a reworked “Sirens Sing” (formerly, “The Champions”) with an inverted “Munchkin Invasion” in the second set.

    Disco Biscuits – The Town Ballroom – Buffalo, NY – Saturday, November 23, 2024

    Soundcheck: Little Lai, Rainbow Song, Frog Legs

    Set 1: House Dog Party Favor > Grass Is Green 1 > Sirens Sing 2 > Falling 3 > House Dog Party Favor

    Set 2: M.E.M.P.H.I.S. 4 > Trap Door 5 > Pimp Blue Rikki > Munchkin Invasion 1 > Floes

    Encore: Morph Dusseldorf > Feeling Twisted > Morph Dusseldorf
    1 inverted
    2 Reworking/renaming of ‘The Champions’
    3 Tractorbeam Remix (Falling 303)
    4 with ‘Piano Concerto #21 Andante’ (Mozart) teases
    5 1st time inverted

    Sunday’s show was comprised of songs written by Joey Friedman over the last two years, in honor of his 500th show. The full show gives a faint picture of what to expect from the Biscuits time in the studio this month – get a full breakdown here via Relix.

    2024 is nearly in the books and the Disco Biscuits barnburner of a tour is for now, to be continued.

    Disco Biscuits – The Town Ballroom – Buffalo, NY – Sunday, November 24, 2024

    Soundcheck: Park Ave -> Running, Confrontation

    Set 1: To Be Continued > Ring the Doorbell Twice > Country Royale 1 > One Chance To Save The World > Risky Business 1 > Another Plan of Attack 2

    Set 2: The Wormhole > Twisted in the Road 3 > Dino Baby > Another Plan of Attack 2 > One Chance To Save The World > Photograph > To Be Continued

    Encore: Buy The Time > Ring the Doorbell Twice
    1 1st time inverted
    2 dyslexic (ending first, then beginning)
    3 inverted

    Rome Capitol Theatre photos by Dan Bocchino

  • In Focus:  Mikaela Davis Brings Solo+Acoustic Tour to Homer

    Melodic harp sounds reverberated through the Center for the Arts in Homer on Wednesday November 20, as Mikaela Davis brought her Solo+Acoustic tour to the refurbished church.  John Lee Shannon opened the show.  

    mikaela davis homer

    Davis has risen to stardom over the last several years, thanks to a nearly relentless touring schedule.  The Rochester native and classically trained harpist has performed muti-week residencies through out various music venues across New York State on several occasions the last two years.  Those shows saw Davis joined by her band, Southern Star, and took on a very upbeat, jam-oriented vibe.   For this run of dates, Davis stripped her music to its core, performing on either the harp or keyboard.

    mikaela davis homer

    The evening opened with a set by John Lee Shannon.  Shannon performed a 40 minute set of acoustic instrumental tracks, primarily off of Shannon’s 2020 release In & Of.

    mikaela davis homer

    After a brief intermission, Davis took to the stage and took seat at her harp.  She opened with the hauntingly beautiful “Cinderella” (off her latest release, And Southern Star), and followed up with “A Letter I’ll Never Send” and “In My Groove”.  Stripped down to their foundation, the songs took on a different life and allowed Davis’ songwriting to shine.   Davis would take turns performing on the harp and keyboard, while opener John Lee Shannon would add acoustic guitar for a new offering from Davis, “Rose Colored Glasses”.

    mikaela davis homer

    Early in the show, Davis stated that this was the first time she felt nervous performing in a very long time.  She talked about the fears that the audience would become bored and leave early.  Any of those fears were squashed early on in the evening, as the theater became engrossed in the music.  To say that the theater was so quiet you could hear a pin drop would be an understatement.  The theater was so quiet, you could hear the click on the effect pedals as Davis switched amongst them during her songs. To garner such attention from the audience is a true testament to Davis’ abilities as a songwriter and performer.

    Mikaela Davis – Homer Center for the Arts, Homer, NY – Wednesday, November 20, 2024

    Setlist: Cinderella, A Letter That I’ll Never Send, In My Groove, Home in the Country, The Pearl, Promise, One of these Days, Delivery, Natural Women (Carol King), Rose Colored Glasses, Far From You, Little Bird, Emily, Saturday Morning

    Encore: All I Do is Disappear

  • David Gilmour Enthralls New York City with 5 Nights of ‘Luck and Strange’

    It was a great week for Pink Floyd fans when David Gilmour enthralled the crowds at Madison Square Garden for five nights. The five city, 20+ performance tour in support of his latest album, Luck and Strange concluded with these five magnificent nights at MSG.

    Gilmour’s previous visit to the Big Apple in 2016 was a three-night spectacle unto itself, befallen upon Radio City Music Hall and Madison Square Garden. With the imprint those shows left on the city it’s no surprise that three nights sold out in a flash with two additional nights added to satiate the ticket demand.

    “5 A.M.” served as the perfect opening for the evening, lending an ambience for Gilmour’s signature guitar sound to break through like a beam of light. Those first few notes seemed enough to already leave people lost for words on what they were in for the rest of the evening. The true spectacle of the shows were his iconic guitar solos – a roaring jam in “Fat Old Sun,” the melodic monologue of “Marooned,” a wailing lamentation concluding “In Any Tongue,” the helpless reminiscence of “High Hopes,”  and of course, the unforgettable denouement of “Comfortably Numb.” It is easy to converse with fellow Pink Floyd fans which is the “best” or most “profound,” but in the context of Gilmour’s live shows at The Garden there can be no debate as his guitar work was so masterfully presented in each of his solos.

    Luck and Strange was released only a few weeks before he began his tour in Rome, Italy, which gave a limited period for fans to listen to the new material before seeing the shows. It made sense that a few of the new songs had a less boisterous response compared to mainstays from the Pink Floyd catalogue. However, the entirety of Luck and Strange made it into the setlist unlike 2016’s Rattle That Lock which featured just a few songs from the album in that tour. It was very respectable to see the inclusion of the full album when so many fan favorites from Pink Floyd’s history could be selected.

    Gilmour structured his two sets with a perfect blend of his new songs and later Pink Floyd era songs, along with a few quintessential songs from Dark Side of the Moon, Wish You Were Here, and The Wall. Weaving of the new songs with familiar territory created an exciting and refreshing concert experience for hearing the entirety of a brand new album.

    Gilmour’s touring band was nothing short of a compliment of talent to each other and to Gilmour himself. His long-time collaborator, Guy Pratt (on bass), has worked with Pink Floyd since the A Momentary Lapse of Reason tour and also toured with Nick Mason’s A Saucerful of Secrets band showcasing the early years of Pink Floyd. Gilmour’s daughter, Romany Gilmour, took lead vocals on “Between Two Points” (a Montgolfier Brothers song) and sang beautifully on an acoustic, stripped-down version of “The Great Gig in the Sky,” demonstrating the forging of a musical legacy on stage within the Gilmour family. Completing the lineup are Greg Phillinganes and Rob Gentry on keyboards, Adam Betts on drums, Ben Worsley on guitar, Louise Marshall on piano/vocals, and the Webb Sisters; Hattie Webb on harp/vocals, and Charley Webb on guitar/ukulele/vocals.

    Just as he did at the conclusion of his three 2016 shows in NYC, Gilmour bid the crowd goodnight after thunderous applause, remarking “…we hope to see you again soon.” That statement came true eight years later in 2024, so the door may be open for a few more shows down the road. Until then, let’s remember those nights as priceless musical treasures.

    Set 1: 5 A.M., Black Cat, Luck and Strange, Speak to Me, Breathe (In the Air), Time, Breathe (Reprise), Fat Old Sun, Marooned, A Single Spark, Wish You Were Here, Vita Brevis, Between Two Points, High Hopes

    Set 2: Sorrow, The Piper’s Call, A Great Day For Freedom, In Any Tongue, The Great Gig in the Sky, A Boat Lies Waiting, Coming Back to Life, Dark and Velvet Nights, Sings, Scattered

    Encore: Comfortably Numb

    Photos by Rob Tellerman

  • In Focus: Razor Braids return to Troy

    For the first stop of their Weekend Get Away tour, Razor Braids returned to No Fun in Troy on Thursday, November 21.

    Photo by Jarron Childs

    The queer femme rock trio has had quite the year since their last visit to the Capital Region. They’ve opened for Spoon Benders, released four music videos, and brought back cassettes? Razor Braids released six singles, five of which ended up on their sophomore album ‘Big Wave.’ They are a talented group of musicians who bring a unique vibe and visual to indie rock.

    Photo by Jarron Childs

    Though they were the headliner, in typical No Fun fashion, they did not close out the show. They were the second of 3 acts to take the stage. Razor Braids dawned their signature all red outfits for this show. They played a 45 minute set to a modest crowd of about 50 young adults. There was great chemistry displayed on stage between the band members.

    Notable moments was in an anecdote before playing “JR” lead vocalist and bassist, Hollye Bynum, said the song was about “a s***ty dude” she once dated. A person in the crowd then yelled out “we are all someone’s s***ty dude,” which brought about great laughter among the crowd. Before the end of their set, the members of Razor Braids celebrated the birthday of their drummer Brian.

    Screenager at No Fun

    Razor Braids was preceded by a 30 minute set from Screenager out of New Jersey. They were succeeded by local artist, Toriendofstory, with Canella.

    Razor Braids‘ next show will at the Meadows in Brooklyn on December 1st.

    Razor Braids Setlist: Not Dead, Not Yet, Nashville, B26, Sharpe Ave, Drugs, JR, Berate Me, 42

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