Atlanta rapper Jeezy has been no stranger to New York City over his decades-long career and his latest tour stop for ‘The Playlist’ in NYC was no different.
The Snowman brought his Playlist Concert Series to a sold-out Irving Plaza on Thursday, September 12, leaving the Big Apple with another memorable evening with one of hip hop’s most engaging performers.
Jeezy brought the house down at Irving Plaza last night with his electrifying Playlist Concert. Fans were treated to a night of unforgettable music and a high-energy performance. Backed up by DJ Ace, the atmosphere was buzzing as Jeezy took the stage, captivating the audience from the moment he appeared. The setlist was a perfect mix of fan favorites and new hits.
With his cohort DJ Ace, he cut through his hit-filled set like a pro. Rolling out classics like “RIP” and “White Girl,” as well as cuts off his 2023 project, Jeezy kept all eyes on him during his set. With an unmistakable voice and swagger, there is really nothing quite like a Jeezy show, and New York City showed the Snowman no shortage of love. In fact, it was one of the most engaged and energetic crowds and we know that NYC is a tough crowd.
In person, Jeezy is an endlessly positive individual. Performing alone, in front of a stark light projection that obscured his features and made him look more like a shadow than a man, he made every effort to highlight the idea that he, the famous rapper, is just like us: the day-job slob who paid for a ticket. He took time to directly engage with and show love to his fans.
In just over an hour, the man ripped through a career’s worth of hits with passion and charisma. He stalked the stage, switching his flow from a barking punk frontman’s delivery especially on “Seen it All” and Recession-era smash “Put On.” Also has NYC engaging in screaming the ad-libs back at him like on Thug Motivation standouts “Standing Ovation” and “Soul Survivor”. If you can, you can still catch Jeezy on tour, tickets here.
On a gorgeous late-summer evening in the heart of downtown Brooklyn, Anne Erin Clark (better known as St. Vincent) performed a second consecutive sold-out show at Brooklyn Paramount this past Wednesday, September 11.
Touring in support of her seventh studio album dubbed All Born Screaming, released on April 26, Clark not only self-produced the LP featuring a bevy of special guest artists, but also released it on her own Total Pleasure Records label.
St. Vincent | Photo Credit: Michael Dinger
Originally opened in 1928 and having hosted seminal artists the likes of Miles Davis, Buddy Holly, Frank Sinatra and Ella Fitzgerald, the 2,700-capacity Brooklyn Paramount reopened its famed doors this past March after years of restoration, and since doing so, has been a destination spot for industry veterans and rising stars alike.
Brooklyn Paramount Marquee | Photo Credit: Michael Dinger
With a constant stream of genre-spanning musical talent gracing its stage for the last six months, tonight was no different. Providing opening support for St. Vincent on this 12-date tour of North America, which launched in Boston, Massachusetts on September 5, was experimental electronic musician Yves Tumor (born Sean Lee Bowie). Taking the stage at exactly 8:00 pm, the 34-year old musician who was born in Miami, Florida and raised in Knoxville, Tennessee immediately launched into an eleven-song set with a heavy dose of tracks taken from their fifth and most recent studio album titled Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds).
Yves Tumor | Photo Credit: Michael Dinger
A self-taught multi-instrumentalist, Yves Tumor’s atmospheric stage lighting was the perfect accompaniment to their tonal palette – ranging from the sonically atmospheric to vibes of hypnotic trance – interspersed with glam cockiness resembling that of Prince. Exuding a kinetic stage presence and energy rarely seen, Yves Tumor was backed by a trio of extremely talented musicians who delivered the rock neo-psychedelia goods, complete with jangly guitar, looping basslines and a 4/4 drum beat signature.
St. Vincent | Photo Credit: Michael Dinger
Born screaming in Tulsa, Oklahoma, but a New Yorker at her core, I was introduced to St. Vincent a decade ago when she released her self-titled fourth studio album to critical acclaim. Like many of her fans, I was drawn to her melodic, distortion-rich guitar playing. Certainly not underrated, she is often cited as being among the best guitarists of all time, including a nod from Rolling Stone last year. Armed with her Ernie Ball Music Man signature guitar, St. Vincent brought the packed house to its knees on multiple occasions, often with humor:
I have to tell you about the first night that I ever met this woman [touring bassist Charlotte Kemp Muhl]. I went over to her house, and she put an albino snake around my neck. And she said ‘Hey, I’m Charlotte.’ On that same night, I had taken mushrooms for the first time. And then, we walked home at 4:00 in the morning and we were walking by construction, you know, ConEd doing stuff down below. And we were like ‘Hey, can we go down there?’ And the dude was like ‘yeah.’ So, we crawled through the bowels of this city, and I can tell you that the bowels of this city are as beautiful as its face. And let that be said at all of our funerals. I love you so much New York.
St. Vincent
The 100-minute long show featured twenty songs spread across fifteen years of St. Vincent’s discography, with “Birth in Reverse” and “Surgeon” substituted for “Krokodil” and “Year of the Tiger” the night before. The only album not represented in tonight’s setlist was her 2007 debut studio offering Marry Me.
After interacting with lucky fans in the first several rows center stage, falling backwards into their arms, the emotionally charged show culminated soon after with St. Vincent alone onstage for the encore, “Somebody Like Me” (Daddy’s Home, 2021). After the thunderous applause finally subsided, St. Vincent thanked Yves Tumor for opening the night and commenced the final number. Not a minute in, she exclaimed “Oh, I fucked this song, I fucked it so bad. I’m so sorry.” Erupting in a roar of laughter, the fans could not care less about the false start, but St. Vincent did – a testament to her professionalism as a musician. Retreating to her original position beneath the arch-framed stage design, St. Vincent came forth again to the edge of the stage apron and finished the show with style and grace, as if it could have ended any differently.
St. Vincent | Photo Credit: Michael Dinger
Following an appearance at Riot Fest in Chicago, Illinois on September 21, the next leg of St. Vincent’s tour resumes in Dublin, Ireland on October 13, concluding in Southbank, Australia on November 28.
Yves Tumor Setlist: God Is a Circle > Echolalia > In Spite of War > Gospel for a New Century > Jackie > Meteora Blues > Parody / Heaven Surrounds Us Like a Hood > M~~S B~~~~~E > Operator > Secrecy Is Incredibly Important to the Both of Them > Ebony Eye
St. Vincent Setlist: Reckless > Fear the Future > Los Ageless > Big Time Nothing > Marrow > Dilettante > Pay Your Way in Pain > Digital Witness > Sweetest Fruit > Flea > Cheerleader > Broken Man > Birth in Reverse > Surgeon > Hell Is Near > Candy Darling > New York > Sugarboy > All Born Screaming > Encore: Somebody Like Me
It’s had many names over the years: The Knickerbocker, The Pepsi, The Times Union Center and currently the MVP Arena. But on Tuesday, September 10, the storied building was transformed into a cathedral of heavy metal. Playing host to the legendary Megadeth and their “Destroy All Enemies” tour featuring Mudvayne and All That Remains, the scorching night of thrash, prog, punk, speed and metalcore music bludgeoned downtown Albany like a 10-ton hammer in a way that hasn’t been felt in years.
An epic evening of arena sized anthems and a career-spanning setlist packed with deep cuts and fan favorites alike, Dave Mustaine once again proved why his band remains one of the cornerstones of metal’s “Big Four.”
Thrash metal icons Megadeth returned to the MVP Arena for the first time in 17 years on 9/10/24.
For anyone familiar with Mustaine’s storied career, the sight of him on stage, shredding through riff after riff, felt like witnessing history in motion. After being famously ousted from Metallica in the early ’80s, Mustaine forged his own path by forming Megadeth in 1983, determined to make his own mark on metal. His fierce ambition and relentless work ethic paid off—Megadeth has since sold over 38 million albums worldwide, earning their place alongside Metallica, Slayer, and Anthrax as the pioneers of thrash metal.
But the show in Albany wasn’t just about Megadeth’s past. It was a testament to the present power of Mustaine, who at 63, plays with the same ferocity that marked his early years, if not more. This resilience is all the more impressive considering his 2019 battle with throat cancer, which threatened to sideline him permanently. Instead, Mustaine emerged victorious, his unmistakable snarl and masterful guitar work as sharp as ever. His playing style—technical, lightning-fast, and rhythmically complex—defines Megadeth’s sound and was on full display during songs like “Holy Wars… The Punishment Due,” “Peace Sells,” and “Symphony of Destruction.”
Fuck Cancer: Megadeth’s Dave Mustaine was back in Albany on 9/10/24 after beating a life-altering diagnosis.
Megadeth would also play selections from their most recent album, 2022’s The Sick, The Dying…and the Dead! which featured the eerie visual aid of an old plague doctor pushing a wagon cart full of corpses across the stage. Also from the same album, “We’ll Be Back” stood out as a new favorite for its relentless power groove and over-the-top shredding, further proof this band still has plenty of gas in the tank. Adding fuel the frenzy, time-tested staples like “Washington is Next!,” “Hangar 18” and “Sweating Bullets” sounded massive and just as potent as they were decades ago.
Destroy All Enemies: Megadeth performing at the MVP Arena on 9/10/24.
The crowd, a sea of black-clad fans with fists pumping and heads banging in unison, responded with a fervor that could only come from decades of loyalty. For many, Megadeth’s music represents something deeper. Their songs, often steeped in political themes, war, chaos, and personal demons, strike a chord with listeners who revel in metal’s intensity and cathartic aggression. This is why heavy metal endures—its primal power, complex musicianship, and dark themes speak to a primal part of the human experience.
Symphony of Destruction: Watch fan shot footage of Megadeth performing at the MVP Arena on 9/10/24.
As much as the night belonged to Megadeth, it was far from a one-band show. Mudvayne, co-headlining the tour, brought their own brand of chaos to the MVP Arena. Rising to prominence in the early 2000’s, Mudvayne, known for their groundbreaking debut L.D. 50, has a reputation for blending nu-metal with progressive elements, and their set did not disappoint. Musically tight, they delivered heavy grooves, complex rhythms, and a raw power that paired perfectly with Megadeth’s thrash fury. Known for their theatrical costumes and high-energy performances, frontman Chad Gray worked the crowd with ease, demonstrating an innate ability to connect with fans. Dressed in his trademark face paint and blood splatter, Gray’s commanding presence and guttural screams during songs like “Not Falling,” “Death Blooms,” “-1,” and “Internal Primates Forever” were highlights of the night.
Dressed to Kill: Mudvayne’s Chad Gray painted the MVP Arena red on Tuesday, 9/10.
Speaking candidly to the audience after ”Dull Boy,” Gray gave a heartfelt speech about the importance of staying true to yourself. Saying how this is the place to leave your baggage at the door. The problems at work, in your relationship, at school, with your family, with the law—they will all still be there tomorrow, but here at the arena, this is a safe place to let it all out. Demanding the fans make enough noise to satisfy him before they continue playing, Gray talked about the honor it is to be playing with Megadeth, one of the big 4 that inspired and empowered him as a kid we he came from nothing. Addressing the elephant in the room, i.e. the amount of people at the show, he would tell us “Anyone who knows metal is here, and if you’re not, that’s probably a good thing. Because once metal is in you, it never leaves. It doesn’t matter if you’re 6 of 65, you’re a metal kid for life.”
Ryknow Power: Mudvayne bassist Ryan Martinie was dropping bombs all night long on 9/10/24.
After delivering a standout version of “Nothing to Gein,” and working their way through “Happy?” Gray would reflect once again. Talking about how to him, this tour represents the passing of the torch. From one generation of metal to the next, he’s made an oath to carry it forward from here. Referencing influences like Metallica and Slayer, and later Pantera and Korn, he said heavy music will always keep evolving and it’s up to the fans to keep showing their support, no matter who the current torch bearer may be. Wanting the audience to know that he’s proud of each and every person who came out to see the show, he says it’s important to remember to reward yourself every once in a while, and to not be ashamed tomorrow for liking heavy music today. Asking if Albany can dig what he’s putting down, the band then launched into their biggest hit, “Dig” to close out their set. What a performance!
Dig This: Watch fan shot footage of Mudvayne performing “Dig” in Albany, NY 9/10/24.
Kicking off the night was Springfield, Massachusetts’ All That Remains, a metalcore band whose blend of melodic and brutal elements set the tone for the evening. No stranger to the Capital Region, the band has been playing various Albany clubs since forming in the early 2000’s and clearly have developed a loyal following in the area. Their impressive guitar solos, particularly from lead guitarist Jason Richardson, caught the attention of the early crowd.
Opening up with “Now Let Them Tremble,” and working their way through songs like “Six,” Divine,” and a massive rendition of “This Calling” from their beloved 2006 album The Fall of Ideals, All That Remains have a style that leans more into metalcore than traditional thrash. Making sure to bring a balance of aggression and melody, by the time the band reached their set closing number and biggest song, “Two Weeks, anyone who was on the fence was converted. Showcasing the band’s ability to fuse heavy breakdowns with catchy hooks, All That Remains was the perfect choice for an opening act.
All That Remains kicked off the night in Albany on 9/10/24.
Despite the aggressive sounds emanating from the stage, the Albany crowd remained surprisingly tame. While many die-hard fans in the front row headbanged and moshed in sync with Mustaine’s riffs, a significant portion of the audience seemed content to take in the spectacle from their seats, perhaps a testament to the older demographic that Megadeth now commands. Even so, the energy in the arena was palpable, and the night felt like a celebration of heavy metal’s enduring legacy.
As the tour rolls on through the rest of North America, including this upcoming Friday the 13th at Bethel Woods, it’s clear that the “Destroy All Enemies” tour is more than just a trip down memory lane—it’s a reminder that Megadeth and their fellow metal titans still have plenty left to say. For those in attendance in Albany, it was a night that highlighted the power of heavy metal to bring people together, proving that, even in 2025, metal is far from dead.
Megadeth | September 10, 2024 | MVP Arena | Albany, NY
Setlist: The Sick, The Dying…and the Dead!, Dread and the Fugitive Mind, Kick the Chair, Hangar 18, Washinton is Next, Countdown to Extinction, Sweating Bullets, Angry Ain, Trust, Tornado of Souls, We’ll Be Back, Symphony of Destruction, Mechanix, Peace Sells
Encore: Holy Wars…The Punishment Due
Mudvayne | September 10, 2024 | MVP Arena | Albany, NY
Setlist: Not Falling, Silenced, Internal Primates Forever, Fall Into Sleep, -1, Death Blooms, Dull Boy, Nothing to Gein, World So Cold, Happy?, Dig.
All That Remains | September 10, 2024 | MVP Arena | Albany, NY
Setlist: Now Let Them Tremble, Chiron, Six, Divine, Let You Go, This Calling, Two Weeks.
Soaring to spectacular heights for two nights in Saratoga Springs, indie-improv groove sensation Goose delivered a pair of performances that felt more like a homecoming celebration than rock concerts. After playing to their largest ever crowd (at the time) during their debut at SPAC last year, this time around, the colorful band decided to bet on themselves and make a weekend out of it.
Playing four sets over two consecutive nights, the Norwalk, Connecticut-based band showcased just how far they’ve come from their humble beginnings. Not too long ago, Goose was cutting their teeth at smaller venues like Albany’s former Parish Public House and Putnam Den. Now, they’re packing out massive venues and headlining some of the biggest festivals on the circuit. It’s been a meteoric rise that underscores the band’s extraordinary talent and their magnetic draw for fans.
Goose performing in Saratoga Springs on 9/6/2024
Since their ascent in the pandemic era, Goose’s fan base has exploded, thanks to their intoxicating blend of groove-based improvisation, catchy melodies, heartfelt vocals and relentless touring. For the family and friends who have supported them since the early days, this SPAC run was a full-circle moment—an intimate celebration amidst their ever-growing fame. In just a few short years, Goose has gone from playing bar gigs to headlining stages like Red Rocks and major festivals such as Bonnaroo and Peach Fest. Their rise has been both organic and rapid, fueled by the band’s tight-knit musicianship and a growing, fervent fanbase.
Live streams during the pandemic introduced their genre-bending sound to a global audience, which quickly transformed them into one of the most exciting acts on the modern jam and indie circuits. Luckily for fans, despite their growing fame, the band continues to maintain their down-to-earth, hardworking ethos and have continued serving up plenty of free high-quality content and live streams to keep casual fans and new ones interested. Whatever the secret to their success is, it’s clearly working, as evidenced by the massive applause the band received while walking out on the Broadview Stage at SPAC on Friday, September 6th.
Kicking off the festivities with a nod to the OG-honkers in the audience, multi-instrumentalist Peter Anspach strapped on his guitar for one of the few times of the night and led the band through “Elizabeth,” a song that was first played in Saratoga Springs in 2018 to a mostly empty Putnam Place down the street. Now performing it on the big stage at SPAC, you somehow always knew this is where Goose was destined to be. Their signature sonic sound has been arena and amphitheater-ready from the very start. Keeping it old school, Goose then unleashed a pair of longtime favorites next with their version of the Wood Brother’s “Atlas,” followed by “Turned Clouds,” the opening track from the bands 2016 debut album Moon Cabin.
The Great Handini: Multi-instrumentalist Peter Anspach performing with Goose at SPAC on 9/6/2024.
At the core of Goose’s sonic magic is the unspoken chemistry between the band members, each with their own signature style and endearing nicknames. Primary vocalist and axeman Rick Mitarotonda, or simply “Snakes,” leads the charge with his soulful vocals and dexterous guitar work. The always smiling Peter Anspach, affectionately known as “Handini,” handles keys and rhythm guitar, adding a layer of infectious good-natured energy. Trevor Weekz, or “Tweekz” holding down the bass, is the quiet powerhouse of the group, while percussionist and multi-instrumentalist Jeff Jeff Arevalo helps bring the rhythm to life with a cool confidence in the back.
Making his SPAC debut on drums was the newest member of the band, former Swimmer timekeeper Cotter Ellis who joined the band early in 2024. Injecting fresh energy into the band’s live performances, Ellis’ dynamic drumming has found a seamless place in Goose’s sound, adding new textures to their already eclectic mix of indie rock, funk, and improvisational jams. On Friday, Goose would really open things up for improvisation on the fourth song of the night, “Borne.” Taking the hypnotic track for an impressive 17-minute joyride, you knew exactly what Mitarotonda meant when he crooned out the lyrics, “I’m not tired / I’m not worn at all / I’ve just started / Now I’m shown around / Just what we were born to be.”
Rick Mitarotonda shredding his custom guitar, the Empress, at SPAC on 9/6/24.
Serving up a sweet treat to the many Grateful Deadheads in the crowd was a surprise bust-out of the Monroe Brother’s “Rosa Lee McFall,” a song Jerry Garcia often played with his side projects. This was the first time Goose has dusted it off in 76 shows. Switching gears to a more contemplative vibe next, Mitarotonda had complete command of the audience as he serenaded SPAC with the introspective “Bob Don” before Peter would take over on an impressive 18-minute version of “Pancakes,” a song he wrote with his band Great Blue before joining Goose. Taking on new life in recent years, the Anspach-penned tune has since become a staple of the Goose live show, becoming both a fan favorite while simultaneously paying homage to his early roots. The high octane jam sent the crowd into intermission buzzing with excitement for what was still yet to come.
Goose performing in Saratoga Springs on 9/6/2024.
Opening the second set with the longest jam of the night, “Arrow” has long been a major improvisation vehicle for Goose. Featuring some of Rick’s most heartfelt singing of the weekend, Goose went reaching for the stratosphere on this one and found it, yielding an unforgettable 26-minute journey of pure musical bliss. Following it up with the first “Everything Must Go” since their hometown Westville Music Bowl summer tour closer, this stellar version clocked in as the fourth longest version of the song the band has ever played. Locked in and firing on all cylinders, the energy in the pavilion was through the roof.
A key ingredient in Goose’s captivating live experience is the mesmerizing stage lighting, expertly crafted by lighting director Andrew Goode. Goode’s use of vibrant colors, synchronized patterns, and dramatic builds complements the music’s improvisational nature, elevating each song to a visual feast. His lighting design doesn’t just illuminate the stage, it creates an immersive, otherworldly atmosphere that draws fans deeper into the performance. The interplay between Goose’s jams and Goode’s lighting transforms each concert into a multi-sensory experience that lingers in the minds of fans long after the final note.
Lighting director Andrew Goode mesmerized in Saratoga Springs.
Following another nod to Great Blue, “Jeff Engborg” was played for the first time since October of 2023. But the biggest bust-out of the weekend came next when Goose dipped into a beautiful, soul-wrenching cover of Tom Waite’s “Christmas Card From a Hooker in Minneapolis.” Played for the first time in a staggering 254 shows, Goose last covered it during their now-legendary Swanzey, NH drive-in show in October of 2022. There’s a sticker on one of Peter’s keyboards that says, “Phone Down, Eyes Up, Heart Open,” but on “Hooker,” I simply couldn’t resist taking my phone out. I had been chasing that one for a while, and in that moment, it was everything I needed and I didn’t want it to end.
The only thing that could top it was the song that got me hooked on Goose in the first place and as Rick crooned out the final words, “I’ll be eligible for parole come Valentine’s Day,” you could faintly hear the buttery-smooth transition into exactly what I was craving– a nice, dank 15-minute “Arcadia.” Hell yes. With time left for just one more, Rick would offer a nod to his previous band Vasudo as “Hot Love & the Lazy Poet” was chosen as the lone encore. As the band walked off stage to a howling ovation, you knew all the people you told about Goose years ago are finally starting to get it. Goose is special. This band is the real thing.
To my friends that inexplicably turned down miracles, I hate to beat a dead horse, but you simply missed out. For anyone lucky enough to catch Goose live, whether it’s their first or fiftieth show, it’s an experience that stays with you—a reminder that great music, like the fans that support it, is always evolving.
Watch pro-shot video of Goose performing “Big Modern!” on Night 2 at SPAC
Creating good vibes and blowing minds and returning to SPAC for Night 2 on Saturday, Goose would do it yet again. Opening up with a unique “indie-groove” arrangement of “Atlas Dogs” for the first time in 133 shows, the band also surprised folks with their cover of The National’s “Bloodbuzz Ohio.” After debuting the massive new track “Big Modern!” at the tour opener six days earlier in New Jersey, SPAC fans would get the second version ever played, this one coming in at nearly half the length of its predecessor at only 18 minutes. A beautifully performed “This Old Man’s Boat” made the hairs on your neck stand up, while the OG fan favorite “Hot Tea” had the entire place on their feet and dancing up a storm.
Saratoga Bust Out: Goose played the “indie groove” version of “Atlas Dogs” for the first time in 133 shows on 9/7/2024.
One thing that sets Goose apart is their deep connection with their fans. With the audience as much a part of the show as the band itself, the SPAC crowd was an eclectic mix of fans, from dedicated “poster collectors” lining up early for limited-edition artwork to first-timers eager to experience the Goose magic. The atmosphere was energetic yet laid-back, with people dancing freely, sharing stories of past shows, and reveling in the moment.
With a veritable and organic pre-party and post-party scene emerging around the band, there was plenty of excellent music to be heard outside of SPAC all weekend too, notably with sets by the Prince-Bowie supergroup Annie in the Water and Grateful Dead cover band The Wheel. Prior to the show on Saturday, members of Goose would hit the links for a good cause, teaming up with the Western Sun Foundation for “Goose on the Green” to help raise money for local charities. And while it was all smiles before showtime, when the band came out for the final set of the run, they put their game faces on and were all about getting down to some serious improvisational business.
Goose opened their 4th and final set at SPAC with a 25-minute rendition of “Hungersite” on 9/7/2024.
Kicking it off with a huge 25-minute rendition of “Hungersite,” the ‘wow’ factor was off the charts. Weaving their way through multiple tension and release peaks and even flirting with some type II jamming, the song’s massive crescendos made SPAC come unglued. Diving deep into their roots once again, Goose would show more love to Vasudo with “Give It Time,” a song that seems to be in steady rotation since Cotter Ellis took over on drums. After cracking the 20-minute mark on the always epic “Drive,” the song that had everyone talking afterwards was the cover of Nina Simone’s “Sinnerman.” Played for the first time in 87 shows, Peter would describe it as “one of the craziest dance parties he’s ever seen,” with even the lawn getting down. Closing out the triumphant SPAC run with a 2-song encore, “So Ready” gave way to just the second ever performance of “Zalt.”
Watch pro-shot video of Goose performing “Drive” on Night 2 at SPAC
After the show, the question on everyone’s mind loomed large. Will Goose follow in the footsteps of their jam band elders like Phish, Tedeski Trucks Band and Dave Mathews and make Saratoga Springs an annual stop on their touring schedule? After two mind altering, life affirming nights that showcased their unique ability to weave intricate jams with fan-favorite songs and positive energy, one thing is clear—they’re a band that thrives on the live experience. From their early days in the club scene to headlining the biggest stages in the world, Goose is a testament to the power of grassroots success. Their story is still unfolding, but if these shows at SPAC are any indication, the best is yet to come. Up next, the band plays three nights at Chicago’s Salt Shed before heading to the West Coast for the remainder of September. Until then, keep and eye on the bands Youtube channel for tons of free music and full-show performances. We’ll be watching and can’t wait to see what these guys do next!
Considered the pre-cursor to the 2024 VMAs at UBS Arena, the free, family-friendly event took place on Sunday, September 8 from 12 noon to 5pm at Domino Park in Williamsburg. What better way to ring in one of music’s biggest nights than a beautiful late summer afternoon of celebration along the Brooklyn waterfront? And this year’s Moon Person goes to…the second-annual VMAs Block Party!
Jordan Adetunji (Left), Knox (Middle), and Lola Brooke (Right) perform at the 2nd-annual MTV VMAs Block Party at Domino Park in Brooklyn, New York.
Hosted by MTV’s Dometi Pongo and WCBS’ Alecia Reid, the second annual VMAs Block Party kicked off one of music’s biggest weeks and featured live performances from artists like Jordan Adetunji, Knox and Lola Brooke, in addition to and all-day DJ Set by DJ CherishTheLuv.
Jordan Adetunji took to the stage to perform some of his recent cuts and finished his set with smash-hit “Kehlani” that sent the crowd into a frenzy.
Knox took the stage with the energy and passion that have come to define his music. His set, featuring fan favorites like “Sneakers,” “LoveLetter,” and “NotThe1975,” showcased his skill in blending catchy melodies with heartfelt lyrics.
Lola Brooke sure knows how to keep the energy going! The rapper took the stage on Sept. 8 at Domino Park, and had the crowd going crazy for her performance which rounded out the VMAs Block Party.
The event also featured MTV VMA Moon Person Photo Opp, MTV VMA Free Swag Station, The Rolling Stones x MTV Pop-up Shop, BK Whopper Whopper Remix Photo Opper, MTV Mental Health is Health ASKtivation, and Mr. Flower Fantastic MTV Topiary Moon Person for all participants to enjoy.
The day was a celebration of music’s ability to bring people together, with Jordan Adetunji, Knox, and Lola Brooke, each showcasing their individual talents while also highlighting the shared human experiences that their songs explore.
Megan Thee Stallion will take the reins for music’s biggest night on Wednesday, September 11, 2024 at 8:00pm ET. Before you get comfy on the couch to cheer on your favorite musicians, check out what you missed in the gallery below.
Amidst a backdrop of New York Harbor and skyscrapers, Joe Russos Almost Dead (JRAD) returned home with an impressive declaration. The New York originals hit the stage at 6:15pm sharp on Friday, September 6 and Saturday, September 7 for back to back sell out shows to no surprise. It was another day at the office for the quintet, as this show marked their second visit to The Rooftop at Pier 17.
“Gotta Serve Somebody”, rang out to kick the weekend off. The audience would agree in saying Mr. Dylan would be proud. Tom Hamilton (Guitar and Vocals) came out swinging, delivering an electrifying solo that made the floor shake. Marco Benevento (Keys, Synth, and Vocals) as usual had infectiously positive energy as he laughed on, smiling from ear to ear like a mad scientist watching a creation thrive and prosper.
With classics “Music Never Stopped”, “Estimated Prophet”, and “New Speedway Boogie”, the audience got their classic dead fill well before the first set ended. The second set featured several bust-outs including “Foolish Heart” and “Alice D Millionaire”. Closing with fireworks both figuratively and literally, the band encored with Them’s “Gloria”, the perfect cliffhanger to end the evening on. Scott Metzger (Guitar and Vocals) stood out here, as he did at many other points during the two nights. Masterful precision on the fret board, raw, powerfully passionate vocals, and great respect for the material of which he is deservingly trusted with.
After an outstanding first set on night two, attendees were gifted a special treat – a sit in featuring Lee Ranaldo, formerly of Sonic Youth. At first, only accompanied by the band leader Joe Russo (Drums, Percussion, and Vocals), rain began trickling in as the duo embarked upon a tribute to Ned Lagins, “Seastones”. A composition of deep ambient space as Mr. Ranaldo alternated between a synth pick up rig, xylophones, and using what seemed like a violin bow on his guitar. The rest of the group joined the stage not long after. With rain coming down harder, the band nor the audience paid it any mind, as it all seemed quite fitting. They gracefully transitioned into “Dark Star,” with Lee taking lead on vocals. JRAD’s guest proved no stranger to Grateful Dead aura, seamlessly joining the fold, elevating the show to an unanticipated but greatly appreciated height.
With the bar set very high, the rest of set two featured numerous heavy hitters in the famous catalog of music. The arrival of “Terrapin Station” was an important stop of the evening before the audience would erupt once more. The iconic piano melody played masterfully by Benevento, Pink Floyd classic, “Pigs (Three Different Ones)” was up next. Ha-ha’ing all unison, the endeavor unfolding could make one take notice as to what makes JRAD the epic force it continues to be.
In a world where Grateful Dead cover bands are in abundance, there are the ones that stand out and the ones that don’t. JRAD is in a league entirely of their own. Touring around the country quite frequently, they leave no stone unturned, both in musical style and energy. Led by Russo, whose ability behind a drum and percussion kit could make one’s jaw drop, him and his bandmates function like co-pilots, flying and landing an epic plane.
One faux farewell later and with Mr. Ronaldo back on stage, “Morning Dew” was the closing designated number. As the band played on, the audience took it all in one last time in almost complete silence. Going out with a strong force of momentum, they bid their audience goodnight. While the band must have been rightfully exhausted, the same could not be said about the audience. The house appropriately played “This Must Be The Place” from The Talking Heads to which the concert venue became a dance floor. Their tour will resume nationwide in early October.
Joe Russos Almost Dead – Rooftop at Pier 17 – September 6, 2024
Set 1: Gotta Serve Somebody, The Music Never Stopped, Estimated Prophet, New Speedway Boogie, Hot Lanta, Shakedown Street
Set 2: New Minglewood Blues, Foolish Heart, Brown-Eyed Women, Alice D. Millionarie, Feel Like A Stranger, Atlantic City, Casey Jones, Playing In The Band
Encore: Gloria
Joe Russos Almost Dead – Rooftop at Pier 17 – September 7, 2024
Set 1: My Brother Esau, Rueben and Cherise, Let It Grow, Help on the Way, Slipknot! , Fire and Brimstone, Cumberland Blues
Set 2: Seastones, Dark Star, Where’s Sly? Lady With A Fan, Terrapin Station, Greatest Story Ever Told, Pigs (Three Different Ones), Jack Straw
On Wednesday, September 4, guitar virtuoso John 5 delivered an unforgettable performance at Albany’s Empire Underground. The venue switched from the larger Empire Live to take advantage of the superior acoustics for a live album recording. This more intimate setting gave fans an up-close experience with one of rock’s most iconic guitarists, making for an immersive show that fans will not soon forget.
For over 30 years, John 5 has been a highly-touted guitarist, known for his work with acts like Rob Zombie, Marilyn Manson, and Mötley Crüe, while also maintaining a prolific solo career.
The night kicked off with Albany’s own Tom Atkins Band, who brought their local flair to the stage. Los Angeles’ Turning Jane was next up, setting the tone with their dynamic performances.
John 5’s set at Empire Underground showcased his unmatched versatility, effortlessly blending genres and switching stringed instruments.
As the night came to a close, the crowd was left buzzing from John 5’s electrifying performance. With a live album soon to follow, fans can look forward to reliving the magic of the night. The combination of an intimate setting, stellar opening acts, and the possibility of a live recording made this show a standout.
Earlier this year Pearl Jam announced their twelfth studio album, Dark Matter, followed by a World Tour with 35 dates, currently coming to an end in North America with an Australian Leg ahead. On September 3 and 4, they returned to Madison Square Garden (MSG) for the first time in two years, making this appearances #49 and #50 at the World’s Greatest Arena.
During Night 1, Eddie and the band plowed through a massive 2+ hour set with 25 songs filled with emotional dedications to various fans in attendance. The entire show is built around a giant projection screen which integrates breath-taking visuals by the great Rob Sheridan, whose most notable work has been with Nine Inch Nails. It really set the mood for each songs and elevates the band, the performance and the space to a higher level.
Other than the usual staples (“Alive,” “Even Flow,” “Porch”) Eddie played a solo cover of “Imagine” by John Lennon, and the band rocked out a The Who’s “Baba O’Riley,” all with six songs off Dark Matter, which all sound fresh and integrated seamlessly into the set.
Pearl Jam – Madison Square Garden, NYC – Tuesday, September 3
Setlist: Pendulum, Better Man (with The English Beat’s “Save It for Later” tag), Immortality, Scared of Fear React, Respond Wreckage, Satan’s Bed, Even Flow, Out of My Mind, Mind Your Manners, Dark Matter, Do the Evolution, Upper Hand, Love Boat Captain (with The Rolling Stonesâ âJumpin’ Jack Flashâ intro), Black, Given to Fly, Porch Encore: Imagine (John Lennon cover), Inside Job, Unthought Known, Running, Once, Alive, Baba O’Riley (The Who cover), Indifference
It’s been just over two weeks since Phish’s Mondegreen music festival in Delaware, the band’s 11th in their more than 40 year career, and a reunion of fans as the band’s 2024 summer tour wound down.
Phish Mondegreen photo by Filip Zalewski
Spread out widely across the grounds of The Woodlands and Dover Motor Speedway, fans found themselves walking miles at a time to make it into the festival. And that’s before you’re dancing and driving your step count up and up. If you walked around 30 miles in those four days, you seem to fall in the median of the 40,000 attendees, based on anecdotal data.
Amid the huge jams and festival Phish that was heard over eight sets, there were plenty of non-musical highlights as well, particularly the art installations that peppered the festival area.
Over four days time, you’d have had the opportunity to see Luke Jerramâs Museum Of The Moon, where a 21-foot recreation of the Moon was suspended in mid-air, shining brightly through the trees at night. Just past the security checkpoint, you could see Lars Fiskâs Dodge Ball (a dodge caravan reimagined in the shape of a ball) and on the far side of the concert field, Henk Hofstraâs Eggcident installation.
The Cerealist Bowl photo by Taylor Weinberg
There was the parallel reality of Nova Heat, Olivier Grossetête’s Cardboard City Hall (which had to be dismantled a day early on Saturday, due to expected high winds) and Leigh Fordham Hall, which doubled as a game show stage before and after Phish each day.
Standing out as the most memorable and unique was The Cerealist Bowl, which was a speakeasy that required a password, featuring costumed servers and strange performance art, uniquely, a man who sat in front of a cotton candy machine, slowly covered in stringy pink sugar fibers.
Heliosphere photo by Brian Ferguson
Centered in the festival field was The Heliosphere, a beacon of light that bumped late-night music post-Phish, and served as a way to find yourself in these expansive grounds, making the immense festival feel much smaller, manageable even.
There were of course some downsides, including fan complaints during and after the festival citing ADA shuttle issues and accommodations. Add in communication issues between production team and staff in the campgrounds (also with shuttles) and there were some things that could have been done better. But nothing on the music or art end was lacking at any point of the weekend.
Museum Of The Moon photo by Derek Java
Even though the threat of severe weather on the final day led to a single afternoon set of Phish instead of two evening sets, fans took this in stride, rejoiced at the idea of afternoon Phish at a festival (something scrapped for Mondegreen, but a staple of all 3.0 fests, Magnaball, Superball and Fest 8.
While some who lived proximate to Delaware and were home Sunday night, others had time to rest before they ventured home, as planned, on Monday. For a four day run, the idea of music ending a little earlier was welcome to some older fans, allowing time to soak in these few days of Phish before heading back to civilization.
While the severe weather never materialized, the band made a smart call to plan for safety, to ensure the music was not impacted, and informed fans with plenty of advance notice, a notification going out on the Mondegreen app around 5pm on Saturday evening.
Overall, the festival was a huge success by all standards, with fans left wondering how long until they return to Dover for Phish Festival #12.
Below, view photos from Phish’s Mondegreen via four NYS Music photographers, each with a different style and eye for the band over the four day music festival.
Nigerian star Asake roared into New York Friday night for his debut at Madison Square Garden with a show in support of third and latest album, “Lungu Boy.” Asake is promoting his third album, titled Lungu Boy which is out now via EMPIRE/YBNL Nation and features appearances from Central Cee, Ludmilla, Stormzy, Travis Scott, and Wizkid.
In the lead-up to the release of ‘Lungu Boy,’ a lot of the chatter around the project hinted at Asake introducing the world to Lagos Island and the quirks of its subculture, in order to contextualize his stunning rise and his stage design and presence did just that. The evening started with a narrating explaining the experience that the crowd was going to set on with none other than Asake himself. The show opened in spectacular fashion as Asake ascended from beneath the depths of Madison Square Garden. The performance had everything from pyrotechnics to choreographed dances and visual effects.
His set Friday night at New York’s Mecca, Madison Square Garden — his debut MSG performance— saw him backed by a full band, street dancers, DJ and MC, including horns, to bring his jazz-influenced sound into a live setting. Clad in between two outfits show off his unique wardrobe style, he performed cuts from the entire album such as “Active” featuring Travis Scott, “Wave” featuring Central Cee, “Skating” which saw an elaborate display of skating and BMX biking tricks and more from the album.
In addition to performing songs from his new album on the Lungu Boy tour, Asake also performs tracks from his 2022 studio debut, Mr. Money With The Vibe(“Terminator,” “Peace Be Unto You,” “Muse,” “Joha,” “Sungba”), and its 2023 follow-up Work Of Art (“Amapiano,” “Basquiat,” “Lonely At The Top,” “Remember” and “2:30”).
In the end, it was hard for the crowd to fathom the electric show ending and even harder for Asake himself.
In true Asake fashion, he left the New York crowd with a night that they will never forget, the Lungu Boy from Lagos Island.
