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.
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, MyMethodActor.
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.
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
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. Itâs 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, âSo if I fuckup some notes ⦠buy some merchandise!â 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.
Teddy Swims has become a name synonymous with raw emotion and versatility, and on Thursday night, September 26th at Albany’s Palace Theatre, he proved why he’s one of the most magnetic performers in music today.
The Atlanta-born singer sold out the venue, bringing his soul-stirring blend of R&B, pop, country, and rock to an adoring crowd as part of his “I’ve Tried Everything but Therapy” tour. Along with a joyous opening set from country-rap artist Breland, fans weren’t just showing up for the music, they came for the connection and they came to party.
Teddy Swims sold-out the Palace Theatre in Albany on 9/26/24.
Opening the night was Breland, a country-rap hybrid artist who’s quickly making a name for himself with his genre-defying sound. His energy was infectious as he performed hits like “My Truck,” “For What It’s Worth,” and “Thick.” He was the perfect warm-up for an audience ready to feel every lyric. Breland’s ability to mix country storytelling with urban beats mirrors Swims’ ability to blend styles, making him a natural opener for this tour. After a brief set-change, it was finally time to jump into the deep end.
Country-rap crossover artist Breland opening for Teddy Swims in Albany on 9/26/24.
The bond between Teddy Swims and his fans runs deeper than his music. At the Palace Theatre, it was clear that his audience connects with him on a personal level. This is a guy who wears his heart on his sleeve—quite literally, as his tattoos tell the story of his life and struggles. His heavily inked arms are a reflection of his journey, including a prominent “Create Forever” tattoo that serves as a mantra for the singer. Teddy’s tattoos are more than just ink—they are milestones in his personal journey.
Each piece is carefully curated to represent his struggles, growth, and commitment to his craft. His body art has become as iconic as his voice, with fans often asking about the stories behind the designs. From lyrics of songs to meaningful symbols that represent family, Swims’ tattoos have become part of his brand. Whether he’s singing about love, heartbreak, or resilience, fans see a part of themselves in his lyrics, and it’s this authenticity that sets him apart.
Teddy Swims performing at the Palace Theatre in Albany on 9/26/24.
Opening his performance at the Palace with “Goodbye’s Been Good to You” and “What More Can I Say,” from the moment Teddy and his band, Freak Freely, took the stage, the audience was completely enamored. With both girls and guys regularly blurting out “I love you, Teddy!” he was always quick to acknowledge he heard them and that he loves them right back. After all, as Swims is quick to point out, it’s because of them that he’s allowed to “have the best job in the world.” His one request for the evening was that everyone has fun, stays hydrated and to look after the people in their section to make sure everyone was all good.
During his set, you could feel the energy in the room shift when he introduced songs like “Broke,” which tackles financial struggles, and “911,” a deeply emotional track about mental health. Following them up with a pair of his most recent singles, “Bad Dreams” and “Funeral,” Teddy’s themes often range from self-empowerment to vulnerability, but at the core of every song is the idea of keeping it real, even when life gets hard. Referencing just how far he’s come since the last time he was in Albany, at the much smaller Empire Live venue down the street in November of 2022, his rocket ship to the top has been full throttle ever since, yet Teddy seems to be the same guy now that local fans fell in love with back then.
Teddy Swims performing at the Palace Theatre in Albany on 9/26/24.
Swims rise to fame started humbly, as he began uploading covers to YouTube in 2019. What set him apart was his ability to take on songs from a wide range of genres—everything from Marvin Gaye to Shania Twain—and infuse them with his unique grit and soul. That versatility earned him viral success and a massive following, catapulting him into mainstream success. His cover of “You’re Still the One” went viral, showcasing his vocal power, which, combined with his vulnerability, won over millions.
Now, with 11 million monthly listeners on Spotify and growing, he’s proving that his original material connects just as much as the covers that brought him into the spotlight. Of the many highlights of the night though, perhaps none was more touching than when Teddy invited his main squeeze out for a duet on the aforementioned Shania cover of “You’re Still the One.” At the end of the song, the two exchanged a heartfelt kiss in the middle of the stage which elicited a HUGE ovation, even bringing some to tears.
Teddy Swims performing at the Palace Theatre in Albany on 9/26/24.
While Teddy’s voice is his ultimate instrument, it was the band behind him that brought the music to life. Backing him up on stage was Freak Freely, a tight-knit band of musicians who are as dynamic and versatile as Teddy himself. They seamlessly blend genres, moving from soulful ballads to full-blown rock numbers. The core group includes Addy Maxwell (guitar), Christian Medice (drums), and Kyng Henson (bass), each bringing their own flavor to the sound.
Their synergy with Swims is palpable, creating an atmosphere where every note feels meaningful. Wowing the crowd with their chops on songs like “Hammer to the Heart,” “Devil in a Dress” and the party anthem “Apple Juice,” Teddy made sure to give each member of the group ample time to shine in the spotlight too.
Teddy Swims performing at the Palace Theatre in Albany on 9/26/24.
A true man of the people, during various guitar, keyboard and drum solo breaks throughout the night, Teddy could be seen signing autographs and T-shirts that people had brought up to the stage. He was even totally cool with people being on their phones during the show. In fact, at one point during his song “Simple Things,” he encouraged everyone to text a friend or a loved one that they hadn’t been in touch with for a while, just to let them know you still care.
His endearing sentimentality also came through prior to performing “Some Things I’ll Never Know,” in which he admits he still thinks about a particular ex-lover and wonders what could have been, before “hypothetically” wishing she was doing well. The ballads continued with “Last Communion” before 2021’s “Bed on Fire” from his album Unlearning brought the main portion of the show to a close and left the audience begging for more.
Watch fan shot footage of Teddy Swims performing “Lose Control” live in Albany on 9/26/24.
Returning to the stage with a huge smile on his face, Teddy would soulfully croon “Tell Me” before an absolutely gorgeous piano solo gave the audience ample time to contemplate life. Following an equally beautiful guitar solo intro by Addy Maxwell, fans finally got the song they had been waiting all night for. A veritable smash hit with well over 1 billion streams in just over a year, “Lose Control” had people from the very front to the very top of the balcony singing along with every word. It was one of those concert moments that simply gives you the chills and you knew it was something special. With time left for just one more song, Teddy Swims sent fans out of the Palace Theatre doors in a near euphoric state with one final hit, “The Door,” bringing the scintillating performance to a close.
Teddy Swims performing at the Palace Theatre in Albany on 9/26/24.
As giddy fans gathered outside, the buzz over what they had just experienced felt palpable. Everyone just knew they had to savor the moment, because everyone knew it would likely be the last time they saw Teddy Swims in a venue this size. Destined for bigger stages in bigger cities, years from now, people will still be talking about this show and saying “I remember the night Teddy sold-out the Palace and it’s still one of the best concerts I’ve ever seen.” As Teddy Swims continues his North American tour, he’s gearing up for stops in Boston, Washington D.C., and Philadelphia. His star is only rising, and if his show in Albany was any indication, this is just the beginning. Fans are flocking to see a singer who doesn’t just perform songs—he lives them. Every tear, every smile, every ounce of sweat is real, and that’s why Teddy Swims’ shows feel like much more than a night of music—they feel like a shared experience.
Teddy Swims | September 26, 2024 | Palace Theatre | Albany, NY
Setlist: Goodbye’s Been Good to You, What More Can I Say, Broke, 911, Bad Dreams, Hammer to the Heart, All That Really Matters, Devil in a Dress, Funeral, Apple Juice, Simple Things, You’re Still the One*, Some Things I’ll Never Know, Last Communion, Bed on Fire.
Encore: Tell Me, Lose Control, The Door.
Breland | September 26, 2024 | Palace Theatre | Albany, NY
On Saturday, September 21, Khruangbin wrapped up the second of two nights at Forest Hills Stadium to a sold out crowd.
Well on their way through a lengthy global tour promoting their new album, A La Sala, Men I Trust warmed up the crowd as they hit the stage at 7pm sharp. With the bar set high and excitement at its peak, the lights went dark as the trio from Houston, Texas hit the stage at 8:15.
Khruangbin, which translates to airplane in thai, takes their audience on a journey playing consecutively through A La Sala. Exploring many themes and motifs with great style and ambiguity, the music, accompanied by choreography, stunning lighting, and set design created a touching spectacle. If it wasn’t already clear that the band is telling a story with A La Sala, the last song of set 1 exemplified this when Mark Steele, Guitar and Vocals, along with Laura Lee, Bass and Vocals, walked down and sat at the very edge of the stage.
With DJ Johnson on Drums and Keys not far behind them, they gently played through “Le Petit Gris”, a soft piano driven melody. Sounds and visuals of thunder and rain trickling down in the windows behind them, a soft breeze that reminded everyone summer is over and fall is here, the band and audience became one.
The second set featured classic material that could make anyone dance. Notable highlights included “The Number 3”, “August 10”, and “Evan Finds The Third Room”. With genre bending sounds of global influence that all seamlessly weave together, their minimalist approach creates soundscapes of deep grooves, catchy hooks, and mesmerizing rhythms. The trios meteoric rise to the top is no coincidence. Playing iconic festivals and venues like Coachella and Bonnaroo, Radio City Music Hall and Red Rocks, they have solidified their position in the music industry.
With Emmanuelle Proulx of Men I Trust joining them for “Dearest Alfred”, they closed out the evening with the funky renditions of “Maria tambien” and “People Everywhere, (Still Alive)”. After the finale, Leezy reemerged from the back, throwing her extra head bands into the crowd, dancing along with the audience to “September” by Earth, Wind, & Fire. Their tour continues for a few select dates in the United States before departing again to resume tour around the world.
Khruangbin – Forest Hills Stadium – September 21st, 2024
Set 1: Fifteen Fifty-Three, May Ninth, Ada Jean, Farolim de Felguerias, Pon Pon, Todavia Viva, Juegos y Nubes, Hold Me Up (Thank You), Caja de la Sala, Three from Two, A Love International, Les Petits Gris Set 2: The Number 3, August 10, Lady and Man, The Infamous Bill, Pelota, Evan Finds the Third Room, Time (You and I) Encore: Dearest Alfred*, Maria tambien, People Everywhere (Still Alive) *with Emma from Men I Trust
On September 24th, the iconic Dropkick Murphys kicked off their highly anticipated fall tour with a powerful and energetic performance at the Rooftop at Pier 17 in New York City.
Supported by Pennywise and The Scratch, this show marked the first of many tour dates across North America, with stops in cities like Philadelphia, Detroit, Las Vegas, and even Canadian dates in Vancouver, Calgary, and Winnipeg. The tour is set to conclude in their home state of Massachusetts on October 27th before the band heads overseas for a 2025 leg that includes shows in Germany, the UK, and Austria.
The night started with Dublin-based The Scratch, whose unique blend of Irish traditional music and heavy metal got the crowd moving early. The three-piece band, who first made waves with their 2020 debut album Couldn’t Give a Rats, followed up with their 2023 release Mind Yourself, which has further solidified their growing fanbase. Their high-energy set was the perfect introduction to the night’s punk-centric lineup.
Next up was punk rock legends Pennywise, whose veteran presence brought the crowd’s energy to another level. Kicking off their set with “My Own Country” and “Every Single Day,” Pennywise proved why they’ve remained a staple in the punk rock scene for decades. With Fletcher Dragge on guitar, Byron McMackin on drums, Jim Lindberg on vocals, and Randy Bradbury on bass, they delivered a blistering set that included classics like “Date with Destiny,” a cover of The Ramones’ “Blitzkrieg Bop,” “Society,” and closed with their fan-favorite anthem “Bro Hymn.”
When Dropkick Murphys took the stage, it was clear the crowd was there to celebrate one of Boston’s most beloved bands. Since their formation in 1996, the Dropkick Murphys have carved out a unique space in the music world, blending traditional Irish instrumentation with punk rock energy. Over the years, they’ve become synonymous with anthemic singalongs and songs that reflect working-class pride, rebellion, and community spirit.
Ken Casey, the band’s frontman, may have been wearing a boot due to a torn Achilles, but that didn’t slow the band down one bit. The energy radiating from the stage was electric, and Casey, along with Tim Brennan (guitar, tin whistle, accordion), Jeff DaRosa (guitar, banjo, mandolin), Matt Kelly (drums), James Lynch (guitar), and Kevin Rheault (bass), gave a performance that had the entire rooftop shaking. Opening with “Barroom Hero” and “Boys on the Docks,” they ripped through a setlist packed with fan favorites, including “The State of Massachusetts,” “Surrender,” “Forever,” and the socially charged “Which Side Are You On?”
The band also played their new song, “Sirens,” a politically charged anthem addressing the growing divide in America. With lyrics that take aim at the billionaires profiting from societal division, Ken Casey delivered a fiery message:“For nearly a decade, the division between red and blue, right and left, has grown deeper, darker and uglier — dividing families and ending friendships. Nobody enjoys this more than the billionaires, who are making record profits off the blood, sweat, and tears of the working class. They love it when we fight amongst ourselves because their biggest fear is us joining together to come after them… THE REAL ENEMY.”
The night ended with a three-song encore that brought the house down. The crowd roared along to “Rose Tattoo,” “Worker’s Song,” and the band’s signature anthem, “I’m Shipping Up to Boston,” a fitting conclusion to a night of celebration, energy, and defiance.
With more than two decades under their belt, Dropkick Murphys have solidified themselves as legends of Celtic punk, known for their intense live performances and deep connection with their fanbase. Despite the absence of co-lead vocalist Al Barr, who took a leave of absence in 2022 to care for his ailing mother, Ken Casey has taken over full lead vocal duties, and the band hasn’t missed a beat. Barr’s return remains uncertain as he continues to focus on family, but fans hold hope for his eventual comeback.
As Dropkick Murphys power through their fall tour, their message remains as strong as ever: unity, pride, and standing up for what’s right. With the release of “Sirens” and plans for an expansive 2025 tour, the Murphys are showing no signs of slowing down. Whether you’re catching them stateside or overseas next year, one thing’s for sure—Dropkick Murphys will continue to bring their unmistakable energy and passion to stages worldwide.
Pennywise Setlist: My Own Country, Every Single Day, Staright Ahead, Same Old Story, Date With Destiny, Fuck Authority, Blitzkrieg Bop, Pennywise, Society, Broken, Stand By Me, Bro Hymn
Dropkick Murphys Setlist: Barroom Hero, Boys on the Docks, The State of Massachusetts, The Boys Are Back, The Spicy McHaggis Jig, Surrender, The Gauntlet, The Fields of Athenry, Johnny, I Hardly Knew Ya, Sirens, Smash Shit Up, Forever, Captain Kelly’s Kitchen, My Hero, Caps and Bottles, Which Side Are You On, The Hardest Mile, Good As Gold, Bastards on Parade, The Irish Rover, Until Next Time, Rose Tattoo, Workers Song, I’m Shipping Up to Boston
Farm Aid 2024 was a rousing success, as tens of thousands of fans packed Saratoga Performing Arts Center for a long day of music from more than a dozen artists. Adding in the musicians, backup singers and dancers on stage, nearly 100 different musicians were on hand for this special day of music at SPAC.
At 1:00 pm the Farm Aid entertainment was officially underway on the Broadview Stage at SPAC after a brief introduction from New York Governor Kathy Hochul who noted that more than $80 million has been raised by farmers.
Hochul introduced Kontiwennenha:Wi (goon-dee-one-naw-ha-wee), or “The Women Who Carry Words,” who belong to the Akwesasne community of the Kanienʼkehá:ka (gaw-nyun-geh-haw-gaw), “People of the Flint,” often known as Mohawk.
Together since 1996, the group is made up of Elizabeth Nanticoke, Theresa Bear Fox and Lawentas Nanticoke. Their short set of songs started with a brief monologue that honored the Creator. Songs featured vocal acapella harmonies in both their traditional language and in English, at times assisted by hand percussion.
The first set of the day also revealed the video-installation inspired stage design for the festival – the Farm Aid logo emblazoned above a projection of rolling fields of grain. Projections of straw, peppers, pumpkins and other agricultural images served as a backdrop slideshow of sorts, with accompanying LED scrims on each side, for the entire fest.
The Wisdom Dancers offered a blessing and traditional dance. They were unexpectedly joined by Margo Price who sang a solo rendition of “The Lord’s Prayer.” Price wasn’t originally announced as a Farm Aid performer, but announced her participation in the festival about a month ago during her opening set for Tedeschi-Trucks on August 31.
Protest singer Jesse Welles next took center stage with only a Gibson acoustic. He opened with the highly-entertaining anti-big box song, “Walmart”. The clever lyrics of the subsequently performed “Cancer” and “War Isn’t Murder” immediately called to mind John Prine in the way they mixed observation, humor, and social critique.
Portland-Oregon-based Cassandra Lewis made her first Farm Aid appearance next, and her set was the first of the day featuring a full band. The group dished out a competent set of bluesy Americana highlighted by the opener “Too Much” which put Lewis’ powerful, melismatic voice on full display. Lewis also featured “Some Kind of Love”, a song she called her favorite off of her 2024 Dave Cobb-produced album, Lost in a Dream.
Southern Avenue’s set brought the sounds of Soulsville to Saratoga Springs. The six-piece group from Memphis featured slinky blues guitar work of Ori Naftaly, swirling organ courtesy of Jeremy Powell, and the electric lead vocals of Tierinii Jackson (who in a better world would be a star on the level of Beyoncé). Standout track “Upside” wouldn’t have been out of place in a TTB setlist — and the group seemed to be the best mixed of the show so far, with crystalline, balanced audio on the lawn. The relentlessly swampy riff of “Don’t Give Up” encouraged some audience participation by the chorus and brought closure to one of the afternoon’s best sets.
The laid-back indie-folk-RnB of Joy Oladokun’s “If You Got a Problem” fit the benefit concert spirit with its lyrics of friendship and support. It belongs in the pantheon of put-your-arm-around-me classics like “Lean on Me” and “You’ve Got a Friend”. Oladokun’s smooth vocals, overdriven Fender guitar sound, and intelligent lyrics have established her as a must-see singer/songwriter who can navigate comfortably across a number of genres. Oladokun’s set full of self-described “deep cuts” was introspective and personal. She also played the first notable cover of the day, a stirring take on The Beatles’ “Blackbird”. Additionally, Oladokun mentioned she came from an Arizona dairy farming community, had a tomato farmer for a grandmother, and dreams of one day living peacefully on a farm.
Charley Crockett kicked off his set with “$10 Cowboy” yet looked like he was worth a good deal more in a smart blue denim suit and Stetson. He told the audience he learned how to play this music working on farms in Northern California. His Ernest Tubb-influenced baritone was born to pair with a sweetly singing pedal steel. The Mariachi meets Bakersfield sound of “Run Horse Run” was Western soundtrack-ready pickin’ music of the first order. Crockett is certainly carrying the honky tonk outlaw torch and proved he’s up to the challenge with a sensational cover of Waylon Jennings’ “Are You Sure Hank Done It This Way” to close things out.
Nathaniel Rateliff & The Night Sweats wasted no time energizing the crowd with a powerhouse version of “Suffer Me”. A veteran of Willie Nelson’s Outlaw Music Tours, Rateliff wore a classic “Stop Factory Farming” t-shirt with suspenders, looking like he just stepped off the John Deere. On “S.O.B.”, Rateliff’s blues shouting brought the audience to its feet. The refrains of the horn section turned the lawn into the party it always should be, egged on by Nathaniel’s soft shoe moves. He’s a rave up frontman preacher at heart and his energetic soul is even bigger than his voice and husky frame. Several of the concertgoers I spoke with mentioned it was Rateliff they were here to see, and his status has certainly increased since his last appearance on the Broadview Stage.
On “A Little Honey” Rateliff got behind the keys and the entire ensemble was featured. Together, The Night Sweats make top shelf groove-n-blues music that exudes a level of energy that is hard to maintain. The band is aptly named too: Rateliff sweats through his shirt every gig and puts it all out there, which makes his brand of American music the perfect pairing for a festival about people who sweat for a living everyday.
“Intro” offered a glimpse of ideal Stax soul with a huge B3 swell, booming bass drums, and a great horn solo, accentuated by the percussive voice of Rateliff. In a set that never got old, Rateliff and company brought the house down with “I Need Never Get Old” off his breakthrough 2015 album — a song that at nine years old, already feels like a classic old standard and is always a highlight of a night with the Night Sweats. The first of Farm Aid’s more robust sets closed with a spirited take on “Love Don’t”, another song with boundless rhythmic energy.
Lukas Nelson, often spotted with his rockin’ band The Promise of the Real, went acoustic this time with another famous family band, The Travelin’ McCourys, a traditional bluegrass act that features two of bluegrass legend Del McCoury’s sons, Robbie and Rob. “Ladder of Love”, penned by Lukas was an early highlight. Their set also featured some fine pickin’, courtesy of mandolinist Ronnie McCoury, especially during a surprising take on Adele’s “Someone Like You”.
Father of Ronnie and Rob, Del McCoury, still youthful sounding at 85, made a surprise guest appearance for a rendition of “Man With The Blues”. He stayed on stage to close things out with a gospel classic oft-associated with Lukas’s father Willie (as well as Flatt and Scruggs): “Rollin’ In My Sweet Baby’s Arms”. Lukas and Del sounded great trading verses and then new McCoury’s guitarist Cody Kilby and mandolinist Ronnie traded hot solos of their own, coming to a harmonious close from the high lonesome musicians.
Another 85 year old legend, Mavis Staples, took the stage next. Her gospel power showed no signs of slowing down on The Staple Singers’ classic call-and-response “If You’re Ready (Come Go With Me)”.
Staples’ guitarist and bandleader Rick Holstromm did an impeccable job turning his Fender sound into a clone of Pops Staples, notably on the tasty lick on “I’m Just Another Soldier” (in the Army of Love, of course). Staples is undoubtedly a soldier in love’s army – you can’t help being in her presence without feeling good about life. Perhaps that’s what attracts such amazing musicians to her, whether it is her frequent collaborator Jeff Tweedy of Wilco, or Will Lee, longtime bassist in the Late Show with David Letterman band, who held down the bottom end for Staples at Farm Aid. She told the crowd she was bringing some positive vibrations and that she came “to have a good time, so y’all have to get onboard”.
One of the most moving segments of the set was Mavis’ rendition of the uplifting Pops Staples tune “Friendship” followed by the classic civil rights anthem “Freedom Highway”. Staples and Tweedy recently performed the song on The Late Show with Stephen Colbert after the Democratic National Convention. Her appearance here in support of Farm Aid suggests Staples is just as relevant here in 2025 as she was back in the 60s and 70s.
Farm Aid Board Member Margo Price was on the SPAC stage only a few weeks ago supporting Little Feat and Tedeschi Trucks Band. Backed again by her tight band The Pricetags featuring her husband Jeremy Ivey (rhythm guitar, harmonica) and crack guitarist Jamie Davis. On “Loner”, Davis unleashed a great tele-solo to support Price’s skillful lyrics, delivered like Emmylou with a twist of Loretta.
Keeping track of the covers during a festival like this is always great fun, and Price was the second act to cover Waylon Jennings’ song, “Kissing You Goodbye” with the hilarious lyrics “get your tongue out of my mouth, I’m kissing you goodbye.”
“Never Say Die”, which Price played in Saratoga back in August, was another highlight and fit the night with its Neil Young-inspired “Hey Hey, My My” riff. Some of Price’s set suffered from an odd mix with the bass way loud and the drums a bit down in the mix. Still, Price’s strong voice cut through as the focal point and she looked every bit a ‘70s Opry star in a sequined, bejeweled, burgundy velour ensemble, complete with bell-bottoms. The most powerful segment of her performance came in “Change of Heart” > “God’s Gonna Cut You Down”. During a lengthy string-bending workout from Davis, Margo entered the audience with a bouquet of flowers, handing them out like a fresh harvest bounty as the guitar played.
Dave Matthews & Tim Reynolds opened with “Save Me” off Dave’s solo album Some Devil. “We’re all human beings” said Matthews, mentioning that a night like tonight is one of those that can give you hope. Then he broke into his classic “Don’t Drink the Water”. Dave and Tim continue to amaze in their ability to sound like a full band with percussive strumming and vocalese to fill out the tracks. During “Don’t Drink The Water” Matthews spontaneously broke into “The Land is Your Land” before returning to the Before These Crowded Streets anthem.
The crowd reaction to the opening chords of “Ants Marching” may well have been the biggest of the fest. Reynolds’ accompaniment was particularly playful and at times the longtime duo sounded like four hands playing the same guitar.
Matthews gave one of the most impassioned political pleas of the night asking the crowd to contact their Congresspeople to hold pesticide and fertilizer companies responsible for potential cancer-causing agents in their products.
To close their set, Lukas Nelson, Micah Nelson, and Nathaniel Rateliff joined Dave and Tim for a star-studded singalong of “The Weight”. The only thing it was missing was Mavis Staples who sang it on the legendary The Last Waltz.
Founding Farm Aid member John Mellancamp opened his set with “John Cockers”, sending his gravelly voice out into the Saratoga night and making it feel everybit like the heartland. His set included all the hits – “ Small Town,” the accordion laden “Check It Out,” the seminal sing-along “Jack & Diane,” the powerful rock ballad “Rain on the Scarecrow” and of course, “Pink Houses.”
Neil Young took the stage, wearing an EARTH shirt with a red flannel that emphasized the middle of the word – ‘ART’ – and opened with “From Hank to Hendrix,” backed for the first time by The Chrome Hearts. The band features organist Spooner Oldham, guitarist Micah Nelson, and a familiar rhythm section from the Promise of the Real, bassist Corey McCormick and drummer Anthony LoGerfo.
Hearing Young’s harmonica is such a familiar and comforting sound – it might as well be the old well-worn scotch plaid flannel of music. “Harvest Moon” was a logical second cut on the Saturday before the official first day of Fall (and one dedicated to the farmers who have a lot of work ahead of them this harvest). Following “Unknown Legend”, Neil headed to the piano to play “Journey Through the Past,” a moving track that seemed melancholic, given the decades he has played Farm Aid with his career in its twilight.
Asking the crowd “What’s your favorite planet?” Neil referenced his EARTH t-shirt, suggesting “If we say it together, the planet resonates.” The result led into “Love Earth,” a song so simple it would find its home in a grade school concert. After all, as Neil said, “That’s something we can do to help all the farmers.”
The classic “Heart of Gold” and more recent “Homegrown” followed, the latter with Neil on electric guitar. And while the crowd cheered for one more – many calling for the always appropriate “Rockin in the Free World”, Neil went back to Rust Never Sleeps to play “Powderfinger”, an apt substitute for a rocking show closer, and this version did not disappoint. From the opening warning bell lyrics “Look out Mama”, Neil and the Chrome Hearts were off and running, pouring gallons of emotion into each verse, and later taking the lead into “Shelter me from the powder and the finger” and stretching it out to build anticipation for the final set of lyrics, a truly rock n roll moment for a man who has hundreds of them in his cache.
Willie Nelson finally hit the stage at 10:10pm and after asking the audience how they were doing, heopened with “Whiskey River” (as always). Working through a set that included “Stay All Night (Stay a Little Longer)” and “Bloody Mary Morning” a small power issue halfway through arrived that a made SPAC feel like a big living room, the acoustic song (and puzzled Willie) slightly audible even from the top of the lawn. “Flooding Down in Texas” was sung by Lukas Nelson and featured a great guitar interchange between Lukas and Willie.
The sad yet chuckle-worthy lyrics “If I die when I’m high, I’m halfway to heaven” were the focal point of “Die When I’m High” – sung in tandem with Micah Nelson – followed by “Mammas Don’t Let Your Babies Grow Up To Be Cowboys”
With David Amram on stage with the band, “Angel Flying Too Close to the Ground” and “On The Road Again” were performed, as was “You Were Always On My Mind” featuring a nice solo on Trigger despite Willie’s arthritic hands; he really loosened up on this one to plays his Django-esque lines.
Rounding out the closing set were “Just Breathe” (a duet with Lukas & Willie), “Georgia On My Mind” (with a tight Mickey Raphael solo), “Help Me Make It Through The Night” (sung by Waylon Payne), “Everything is Bullshit” (Micah Nelson, channeling Neil Young’s guitar sound), “Last Leaf on the Tree”, “Roll Me Up and Smoke Me When I Die”, Mac Davis’ “It’s Hard to be Humble” and finally, with everyone on stage, “Will The Circle Be Unbroken” mashed up with “I’ll Fly Away,” two truly American songs for a truly American musician.
After 39 Years of Farm Aid, the cause lives on and the music lineup is second to none. Enjoy photos from Zak Radick and Derek Java from the course of this incredible day of music.
On Friday, September 20, Brooklyn based female singing trio Say She She made a long-awaited stop at Lark Hall in Albany. Lead singers Piya Malik, Sabrina Mileo Cunningham, and Nya Gazelle Brown are all classical trained singers but come together to create disco-funk music.
Say She She gave a beautiful performance filled with songs that had all of Lark Hall following their dances. Their stage presence was captivating; from the audience we were able to see the band’s friendship on display.
During the show, Say She She gave a speech about the upcoming election making huge impact on many controversial laws. They invited Lark Hall to join them in promoting change by sending post cards addressed to their Representatives, begging for stricter gun laws. The band also spoke out on abortion laws and asked the audience to raise their hands along with them in support of anyone who has been harmed by these laws.
They then sang “Echo In The Chamber”a song they stated is the soundtrack to their campaign for better gun laws. The song features the heartfelt lyrics “Call the shots, make it stop, what’s it gonna take?” and “Just because you know who they are, doesn’t mean they bear you no harm.” The song resulted in a sea of hands raised in support and all of Lark Hall rushing to fill out postcards.
Indie rock fans flocked to the State Theatre in Ithaca on Tuesday, September 17 as Band of Horses wrapped up their summer tour with a performance in the picturesque town.
This show was a long time coming for fans of the Seattle rockers, as illness forced postponement of the originally scheduled show in February. The delay did not deter a strong contingent of fans from turning out, as the show was nearly sold-out.
The evening kicked off with a passionate performance from singer-songwriter Nolan Taylor. The Ohio native performed forty minutes of what he called “sad songs”. Taylor strummed an acoustic guitar and was flanked by friend and bandmate Clarke Sexton, also on guitar.
Taylor’s vocals soared through the theater, as he performed heartfelt tracks such as “Wicked Ways” and “68” the later of which oozed with emotion and previously served as the introduction to Taylor for many, when a video of him performing the track in the woods went viral last year.
After a brief set change over, the audience took their seats for Band of Horses. Singer Ben Bridwell took his place behind a pedal steel while his four band members gathered round. Bridwell began the opening strums of “Monsters”, a stand out track from the band’s 2006 debut release. The band would follow with “The First Song” and “The Great Salt Lake” all from their debut album, and serving as an impressive 1-2-3 punch to open the evening.
Bridwell and his band mates performed a set spanning the band’s 20 year career. Ballads like “Is There a Ghost” and No One’s Gonna Love You” brought the audience to their feet and illuminated the lower portion of the theater in cell phone lights, while “The Funeral” had the audience shouting the song’s anthemic chorus.
After a 17 song main set, the band returned to the stage for one final number; the rollicking, foot stomping “The General Specific”. The track saw the band calling members of their crew to the stage to join in on the fun, grabbing a hold of tambourines, cowbells, and what ever else could be used as a percussion instrument. It was a fun end to the evening in Ithaca, and a celebratory way to end a long tour for Band of Horses.
