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 Stonesรขยย รขยยJumpin’ Jack Flashรขยย 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
Troy-based indie rock band The Belle Curves release their new album titled Subject to Change which blends Americana and rock.
The Belle Curves is the primary creative vehicle for Troy-based songwriter Delaney Hafener. The group focuses on an indie sound but with a folky, americana twist. Their latest record Subject to Change displays a variety of the group’s sounds and abilities.
The opening track “Hand Rolled” is a soft rock tune with a classic sound, but still maintaining their roots with modern indie themes. The next track “Life in the Hinterlands” bolts out of the gate with a roadtrippin’ americana feel. It certainly has a country twang and still holds the indie sound close. Delaney’s voice is dynamic, with high highs and low lows. Her abilities speak for themself throughout this album. The track “Sister” really showcases the power in the softness of Delaney’s vocals.
The track “The Process” in particular caught my attention quite soon during the first play. The track progresses wonderfully from lowkey to fierce and powerful. It then concludes in such an angelic and completing way with the vocals and instruments coming to a head followed by a fade out.
For more information on The Belle Curves and their upcoming album Subject to Change visit their Bandcamp by clicking here.
The life, career and death of Wu Tang Clan member Ol’ Dirty Bastard was chronicled for the first time ever in a new documentary on A&E. Ol’Dirty Bastard: A Tale of Two Dirtys examines the late rapper’s life as he juggled between down-to-earth family man Russell Jones/Ason Unique and enigmatic rap star, Ol’ Dirty Bastard. Known as the most unconventional in a crew full of colorful MC’s, his eccentric public persona, off-the cuff rhymes and unwillingness to conform to industry norms made him a fan-favorite (marked by the fact that he was the first member of the Wu to release a solo album with 1995’s Return to the 36 Chambers: The Dirty Version).
All in all, ODB was very cognizant of what, and who he represented amidst hip hop’s “shiny suit” era. Often making conscious lifestyle choices in order to keep his image as raw and gutter as possible. This includes the famous limo ride to get food stamps during an MTV biography piece, his foods stamp ID card on his debut album cover, as well as his unconventional delivery. In essence, ODB sought to juxtapose the glamors of the entertainment industry with the realities of inner-city life. As a result, he spent much of his career playing the role of agent provocateur.
Yet his constant his need to live up to the expectations of the Ol’ Dirty Bastard persona led to his untimely demise. Marked by first hand recountings from Wu Tang members Ghostface Killah, Raekwon, GZA, as well as ODB’s widow and her children with ODB, A Tale of Two Dirtys captures the essence of a one-in-a-lifetime personality, devoted father and troubled psyche. After watching, here’s what we learned about the late great Dirt McGirt.
A Tale of Two Dirtys captures ODB and Russel Jones.
Beginning
Although known for his out-of-this-world persona, ODB — born Russell Jones — grew up shy and reserved. That is until his cousins GZA and RZA introduced him to hip hop and began the journey of one of the great expressionist musicians of the 20th century. However, his infatuation with petty crime would manifest itself from a young age with repeated arrests for boosting clothes. He sought out teachings of the 5 percent nation for discipline, and earned the name Ason Unique after memorizing the 120 lessons, supreme alphabet, as well as the supreme mathematics. After watching the 1983 kung fu flick Shaolin and Wu Tang, Ghostface Killah details bringing the film to RZA and urging him to watch it. Which inspired RZA to kick-start the group. Dirty got his name from RZA after watching the 1980 film, Ol’ Dirty Kung Fu.
Throughout the documentary, ODB’s widow Icelene Jones vouches for the devoted family man, revealing that ODB’s sole purpose for pursuing a rap career was to provide for his wife and kids. She also details their unstable life after marriage, as the duo and their 3 children bounced from family homes to shelters, where they lived for 6 months before he signed his record deal. However, his ego got the best of him after tasting success, as he began relentlessly indulging in women. He fathered 13 children before his death, 3 of them with his wife.
Career
As ODB’s drug abuse, arrests and behavior became too unpredictable, Elektra Records pivoted away from him because he was described as a โliability.โ His famous Grammy interruption also caused Elektra Records tons of industry backlash, as they dealt with being embarrassed by not being able to control their artist. Additionally, former Roc-A-Fella records employee Choke No Joke claims that, Damon Dash signed ODB to the label after his two-year prison sentence, for publicity and that he didnโt really care about helping him overcome his drug addiction. He even claims that ODB didnโt know he was signing with Roc-A-Fella upon his release from prison. He also did not know Dame Dash would be there.
He was aware of what the Ol’s Dirty Bastard image was and worked to accentuate it. Which is why the now famous artwork for his debut album features pictures of ODB in a trashed apartment. He served as his own creative director and would even call for more “blunts” and “40s” if the room was too clean. In like manner, his need to remain rooted in order to authenticate the ODB character meant that he often found himself in compromising situations (like his 1994 shooting back home in Brooklyn). In true ODB fashion, he made an appearance at a Wu Tang Clan show at Hammerstein ballroom while on the run from the police before letting the crowd know that he had to leave due to an outstanding warrant.
Drug Abuse
As detailed by his wife, ODB’s drug abuse began with weed, then weed and cocaine blunts, then weed and crack cocaine blunts. Moreover, his 1994 shooting accentuated his drug abuse. As he racked up missed court dates due to drug arrests, he was ordered to attend rehab but escaped. He was eventually caught at a McDonaldโs in Philadelphia while giving out autographs, as two police officers were fans, knew who he was, and knew he was on the run. After a getting out of his 2-year prison stint he began abusing drugs again. ODB’s family details finding him unconscious for the last time during a studio session. Icelene then emotionally recounts her immediately lashing out at everyone in the room for enabling and taking from him.
The twelfth Summer Hoot was held at the Ashokan Center in Olivebridge, NY over the course of three days, August 23 โ 26, offering an eclectic mix of people spanning generations came together to celebrate their love for music.
Tucked away in the Catskill Mountains, the Ashokan Center offers 385 acres of pristine forestry accentuated by the Esopus Creek, which rolls through it. Augmenting this paradise, a wide array of musical talents performed at the Hoot. This harmony of nature and music created the ideal environment for co-founder Mike Merenda to declare Summer Hoot 12 as Zen.
Summer Hoot 2024 at The Ashokan Center
In the span of three days, more than twenty musical acts showcased their creative talents. The diverse lineup included folk, indie rock, jazz, and singer-songwriters, as well as Mexican, Argentinean, Creole, and Jamaican stylings.
Friday night began with Hoot founders Mike & Ruthy welcoming the early arrivals. Entertainment followed with performances by Tuba Skinny, Jeffery Broussard & the Creole Cowboys and others setting the tone for the weekend.
Ashokan Center Board of Director Kale Kaposhilin described the Hoot and the center as โa chosen family of loving intention.โ This spirit was evident as people of all ages laughed, sang, and danced throughout the Hoot.
An Instrument Petting Zoo with guitars, bongos, violins, tambourines, and banjos was set up to offer the young (and young at heart) the opportunity to try out instruments and embark on their creative journey.
Summer Hoot Instrument Petting Zoo
Saturday and Sunday featured three stages from which to choose. The music began mid-morning and continued late into the night, including a โsingers in the roundโ session at midnight. For those interested in making their own music, the Jubilee Jam tent in the Magical Musical Campground was open 24/7.
Dotted throughout the Ashokan Center grounds are a series of small buildings, one of which is The Pewter House. Stepping into this room feels like entering the 19th century, with its wood beams and wood burning stove. The intimacy of this space allowed for a deep connection with the performers.
The Pewter House
A select few performed in this unique setting. Naiika Sings, a Brooklyn-based chanteuse, gave a standout performance. Naiika, who began her career performing on NYC subway platforms and trains, elevated The Pewter House to a space of spiritual revelation with her performance.
Performers on the Pete Seeger and Toshi Seeger stages came from around the globe.ย ย Highlights included Bridget Kearney, founding member of Lake Street Dive; Steve Poltz, a Canadian folk singer; Carolina Mama, an Argentinean singer-songwriter; and Laurel Massรฉ & Vinnie Martucci, a jazz and swing ensemble.
The Mammals
Local talent from the Hudson Valley was also well-represented. The Big Takeover, David & Jacob Bernz, and Jay Ungar & Molly Mason performed. No Hoot would be complete without Mike Merenda & Ruthy Unger Merenda and their band, The Mammals. Mike & Ruthy and band closed out the Toshi Seeger stage on Saturday night.
The heart of the Hoot is music and nature. The heart of the Ashokan Center is the appreciation of the natural world. Hoot + Ashokan = Zen.
Summer Hoot Performers
The City StompersThe MammalsJordan Hamilton & Seth BernardThe Gaslight TinkersDavid & Jacob Berns joined by Josiah Longo & Tink LoydSteve PoltzBridget KearneyNaiika SingsBrendan Daniel
On August 16, Jim Andralis, known for hosting the country music variety show Grand Ole Pubry at Joeรขยยs Pub in downtown Manhattan, released his fifth LP, Ghosts.
The 11-song collection is a stark reflection on life, death, and what it means to be human. The raw emotion behind Ghosts inspires the listener to reflect on the interactions taken for granted set to the tune of soothing country guitars and Andralis’ harmonies.
Ghosts starts with “The Worst Thing,” a somber introduction to the concept of grief. The track gives us a different perspective on human emotion. It may not be the worst thing to let yourself feel your emotions and process them completely before moving on. It may not be the worst thing for things to not work out the way we expect them to. It’s a lesson that everyone could use; life isn’t very fair, after all.
The following two tracks, “5 Minutes” and “You,” are both exemplary of the album’s themes of grief and loss. “5 Minutes” is a testament to the loss of Andralis’ dog, Nikko. “You” is a poignant elegy for Barbara Maier Gustern, Andralis’ vocal coach and cherished friend. Both tracks reflect on his experiences with these adored loved ones, the time spent with both, and how love transcends romantic feelings. It is clear that these losses deeply affected Andralis and inspired him to put these feelings to music, a coping mechanism that brings him, and by proxy, his listeners, a sense of peace.
Songs like “Manhattanhenge” and “Brooklyn” bring another theme into light: the haunting of New York City. In a duet with his husband Larry Krone, “Manhattanhenge” explores the idea of an afterlife in a city loved by millions. What will happen when they’re gone, and how will New York play a part in their afterlife? Will they haunt the city they fell in love with, or move on to somewhere new? Andralis and Krone’s voices blend together in an almost perfect fashion, and it leaves listeners hoping that if there is an afterlife, they get the chance to spend it together.
Jim Andralis’ fifth album, Ghosts, gives fans an opportunity to explore some of life’s darkest themes. However, there is a comforting feeling in knowing that we are not alone when it comes to these emotions. Andralis’s country guitars provide a soothing feeling to those who are suffering from the hardships of grief and losing a loved one.
Fans can find more information and music on Jim Andralis’ website, including work with the NYC-based queer punk band The Isotoners and duets with his husband, Larry Krone.
While not in New York proper, the Berkshires are an essential part of live music for those in Eastern New York and beyond. Intersecting multiple state lines, these highlands boast a vibrant community of artists and art alike- drawing both locals and those from beyond the mountains into its captivating live performance scene. From grandiose theaters to intimate speakeasies, the Berkshires offer a venue fit for every event and occasion.
Formed by the merging of the Berkshire Theatre Festival and The Colonial Theatre, two of the countyโs oldest cultural organizations, the Berkshire Theatre Group has a long history of bringing live performance to its community. Boasting a catalog of performances dating back to 1928 and an ever-expanding repertoire of both time-honored classics and works from new and emerging artists, the performances of the Berkshire Theatre Group span four stages- The Colonial Theatre, The Unicorn Theatre, The Fitzpatrick Main Stage, and The Garage, each with their own unique personality and purpose.
Address: 6 East St, Stockbridge, MA 01262 (The Unicorn Theatre, The Fitzpatrick Main Stage)
Address: 111 South St, Pittsfield, MA 01201 (The Colonial Theatre, The Garage)
Known for their contemporary productions, Chester Theatre Company hosts a series of shows made and performed by those in the community every summer. In addition to their own works, the Company hosts talkbacks, cast conversations, and panel discussions.
Built completely upon and around the talents and works of those local to the Berkshires and beyond, The Great Barrington Public Theater performs in the Daniel Arts Center of Bard College at Simonโs Rock, either on the 300 seat mainstage McConnell Theater with orchestral and balcony seating or the 100 seat Liebowitz Black Box Theater.
Address: 84 Alford Road, Great Barrington, MA 01230
The Mac-Haydn Theatre has been producing musical theater performances for the area for over fifty years now- bringing the founding wish to spread professional musical theater beyond Broadway to fruition. Each performance comes to life on their 350 seat theatre-in-the-round stage, creating an engaging and intimate audience experience. Shows run each season between Memorial Day weekend and Labor Day Weekend.
Constructed in 1904 and opened in 1905, the Mahaiwe Performing Arts Center has acted as a community cornerstone for live performance, film, and cultural events since its inception. Boasting theater seats just under 700, year-round arts programming, and a range of events from entertainment to education, the Mahaiwe is the centerpiece to the townโs vibrant art scene.
Address: 14 Castle Street, Great Barrington, MA 01230
An abbreviation for Performance Space 21, this black box theater sits atop a mountain. PS21 is home to contemporary dance, theatre, and music that hosts cutting edge artists from across the globe. Like many performances at this venue that invite the audience to interact- oftentimes more workshop than production- visitors can explore the fields and view of the Hudson below.
Founded in 1978, Shakespeare & Company boasts a wide range of theaters to fit each productionโs needs. With tried and true Shakespearean classics, reimagined pieces, and newly debuted shows, Shakespeare & Company utilizes every seat of their 540-seat open air Arthur S. Waldstein Amphitheatre, 400-seat scaffold-and-canvas inspired Tina Packer Playhouse, intimate five row Elayne P. Bernstein Theatre, Elizabethan inspired 280-seat outdoor Roman Garden Theatre, and the 250-seat Rose Footprint Theatre, a reconstruction of the first level of Shakespeareโs first London theater.
With a rich history of live music and musical education, an open-air venue with both indoor seating and an outer lawn that provides a variety of listening experiences, and a star studded performance archive that ranges from Ella Fitzgerald to Dolly Parton, itโs no wonder Tanglewood has been consistently voted a fan favorite concert venue. In addition to individual performances, Tanglewood houses the Popular Artists Series festival, the Boston Pops, and the Boston Symphony Orchestraโs training academy.
An informal, cozy venue nestled in an old barn at the Egremont Village Inn, The Egremont Barn offers a more casual audience experience complete with pub style comfort foods and a stage boasting little more than a piano. The venueโs charm shines through in its community built around the year-round program of singer-songwriters, theater companies, open mics, and musical acts across genres.
A small speakeasy style venue tucked beneath the Red Lion Inn, The Lionโs Den offers an intimate musical experience with a timeless atmosphere. Thursday through Saturday evenings feature folk, rock, and blues acts from their Den Sessions, and Sunday evenings are the host to their Jazz series.
Address: The Red Lion Inn, 30 Main St, Stockbridge MA 01262
A Tony Award-winning theater, The Williamstown Theatre Festival is a resident summer theatre on Williams Collegeโs campus that hosts a yearly season of shows and community immersive theatre programs year-round.
From Sept. 5-8, on Cool Whisper Farm in North Hillsdale, NY the Oldtone Music Festival will bring music lovers old and young together to celebrate the music of the past and even the future.
Ahead of the 2024 installment of one of the largest roots music festivals, I had the chance to speak with Trevor Roush, the co-producer of the Oldtone Music Festival. The festival is booting up again for the first time since 2022 following the worldwide pandemic caused music venues and festivals everywhere to close. On that fateful day, a small one-day festival was held and an unlikely visitor helped bring it back bigger and better than ever three years later.
But first, what is the Oldtone Music Festival? A three-day music festival in the Hudson Valley, Oldtone Music Festival aims to promote and preserve Roots music. “Roots music to me is just all music.” says Trevor Roush, “At Oldtone, it’s not just bluegrass. We have Conjunto music, which is, a traditional Mexican music, folk music, Cajun music, old-time string band music, New Orleans jazz, New Orleans R&B… You know, it’s just all music.”
As I spoke to Trevor, he was looking over volunteers who had shown up from across the country to help put together the festival. “I feel like what’s important to me about roots music, and I’m seeing it firsthand right now is that it brings people together. Cross-generationally, and cross-culturally, they all believe in this type of music. And, you know, I’m watching 40 volunteers of all different ages from other parts of the country build stages right now and set up tents. It’s like a real family-type art… There is no there is no one person here with one job. Everyone’s sort of all over the place.”
The motto of Oldtone is “Participation is preservation.” Trevor explains how participation preserves Oldtone, “You’ve seen this. Through the pandemic, if there’s a restaurant that somebody really likes or a community, if you’re not there patronizing it, it’s not gonna be there. And if you believe in something, you need to support it. “There’s so many different ways to support things. Like, you could volunteer or, you can buy a ticket. That’s kinda the easiest way. But, I feel like once somebody is involved, they’re involved for a lifetime. And they’re also excited about getting other people involved in it.”
This familial bond and community is an essential part of Roots music in general. According to Trevor, “The music is passed down. A lot of the tunes are passed down, from, you know, the older generation to a younger generation. And there are songs about families, and working and the familiarity of doing the same task. A lot of the songs are about raising a hog and slaughtering a hog. That type of thing.”
The pandemic that shut down most of the music touring and festival circuits in the world, unfortunately caused the demise of the Oldtown Music Festival. After much thought and changing the business to a nonprofit, they are back and better (and bigger) than ever. The lineup now features the grammy-winning winning Los Texmaniacs, as well as many other acts from across the country and beyond.
Los Texmaniacs
Trevor explains what’s changed, “We have reorganized as a nonprofit, which is different. That’s made it so the festival could come back through fundraising efforts and stuff like that. We have some more support, in that way. The festival always relied on musicians basically doing us a favor and playing for far less than they normally would play for just because they believed in the festival. Believed in us. So, now we’re at a point where, we can start to pay bands what they deserve, which is nice. Realistically, we’re back to where we were. 2019 was our best year. After that, as you would imagine, things got harder. We were on a roll in 2019. If we can make it back to 2019-type numbers and attendance, we’re doing good. The support is already at those levels, which feels nice. It was nice to bring this back, but we also want to bolster the [involvement] in this area. There’s a large Latinx community and we wanna get those folks more involved in the show.”
When asked how the Oldtone Music Festival was able to return this year, Trevor responded, “It’s on a working farm, and the farmers were supportive of us having it brought back. And the neighbor to the farm is this actor called Walton Goggins. He came to the festival in 2021. We did a one-day one, and he reached out to us and he was like, ‘This is amazing. I want to be a part of this.’ He’s been super helpful in helping us reach out to people that we’ve never been able to contact before and being an advocate for the festival. And also him feeling like he has a place – a calling in the community now. He’s been just an advocate, which feels really nice and supportive.”
Walton Goggins by Shayan Asgharnia
Walton Goggins, the Emmy-nominated actor, known for Fallout, and Sons of Anarchy, joined the festival this year as executive producer. But, I was curious about what got Trevor involved in the festival. He said, “So, I’m not a musician. Which I feel like is good in some ways. I can focus on organizing things, and not have to also worry about… the co-organizer is also a musician. and he’s said he’ll never play in the festival again because he’s just too chaotic organizing and doing stuff like that. But I guess where I came to this music was, I was working for my friend’s band and, I really like this music. What were their influences? And then you start going down this, rabbit hole. You start at one point and work your way back to, what was the root? Where where does this music come from? And then you can spur off of that into so many different ways where it’s “oh, wow. I really like this type of string band music.” And, then it’s like, “Now I’m l really interested and excited about Italian string band music.” And you can endlessly just be, discovering new things, and that’s what I like about curating something like Oldtone. The older generation gets inspired by the younger generation and vice versa and all the musicians are there sharing experiences with each other.”
I asked, “Can you see a future of roots music? Not just growing, or, continuing to exist, but, can you see it, evolve into something new? Different? Has it already?”
He responded, “Yeah. I feel like it sort of is evolving, and I feel like there are people out there that have started on the scale of, an Oldtone-type festival. Or, I know people that have played Oldtone before that are now, some of the largest touring acts and, are having crossovers with, Post Malone and people like that. And people, in that pop music world are, like, “What’s the root of this music that I’m making?” And, “How do I learn more about it?” The more industry-driven pop world is almost supporting, in a way, the roots music world just by notoriety. Those people with a bigger audience, [are] bolstering some of the people in this world.” He added, “There are some people who play Oldtone that have their hands in the pop world, they could come and play something like this and feel, more comfortable. It’s fun for them, and they could feel comfortable doing it without having the backlash of, ‘You didn’t play your your hit.’ You know? So it’s really nice for musicians to have an outlet for the things that they enjoy. Music’s funny. You’re always moving forward and backwards at the same time. As a musician, you’re developing your musical tastes all the time.”
What’s Trevor most excited about? He says, “I’m excited just to get it back. And personally, artist-wise, there is a woman from, Montana called Kiki Cavazos who is kind of elusive and really hard to get. And she is coming this year and it was no small task to get her here. They enlisted some buddies from New Orleans to basically go up there and kidnap her from Montana and drive her from Montana to New York. And then she’s going to do a run with her old buddies The Deslondes. That’s what I’m excited about. She played Newport Folk Festival in 2016 or 17 and kind of faded away and had some kids in Montana. And this is her coming out party again.”
Kiki Cavazos
Trevor said, “They can expect to have a good time.” He adds that you don’t even have to be a fan of roots music to enjoy yourself, “There’s a lot of volunteers on-site right now that have been here and are the most integral parts of it that are like, “I don’t even like this kind of music. I just like being around these people.” And everyone’s so nice and everyone’s so welcoming. There’s something for everyone. You will have your eyes opened to something special.”
When asked if there was anything else he would like to add, Trevor responded, “Just give a little nod to the weather so it doesn’t rain too much on Saturday.” And in a phrase that encapsulates the entire meaning of Oldtone, he adds, “But that’s no problem with us. We’ll still have fun.”
Day Lot Gate Times:
Thursday: 4 pm -12 am Friday: 11 am -12 am Sat: 9 am -12 am Sun: 10 am – 4 pm
Full Oldtone Music Festival 2024 Lineup:
Los Texmaniacs Foghorn Stringband Kiki Cavazos The Deslondes Jesse Lรยฉge & Bayou Brew Danny Paisley & Southern Grass Sweet Megg JP Harris Dumpster Debbie Will Mentor Jordan Thibodeaux, Joel Savoy & Cedric Watson Down Hill Strugglers Rance Chase Krissie & The Kranks Chattanooga Dogs Maura Gahn Moonshine Holler The Alum Ridge Boys & Ashlee Wild Leek River The Talking Hearts The Neon Moons Zach Bryson Beg, Steal or Borrow Slinky Armadillo
Buy tickets to Oldtone Music Festival and learn more here.
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 Jerramรขยยs 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 Fiskรขยยs Dodge Ball (a dodge caravan reimagined in the shape of a ball) and on the far side of the concert field, Henk Hofstraรขยยs Eggcident installation.
The Cerealist Bowl photo by Taylor Weinberg
There was the parallel reality of Nova Heat, Olivier Grossetรยชte’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.
On Saturday, August 31, Porter Robinson took the stage at Forest Hills Stadium for the New York stop on his worldwide SMILE! ๐ tour.
Hot off the release of his latest album, SMILE! :D, Robinson was joined by an incredible four-piece band consisting of keys, drums, guitar, and a dual bassist and backup vocalist. Regardless of whether the band was propped up on the mini stage behind him, or if they joined him on top of the enormous LED screen center stage, they were a stellar support system for Robinson’s infectious energy.
The seats of Forest Hills Stadium were filled with an endearing and incredibly excited crowd, with many dressed in the pink and black motifs of the album. The rest were adorned in bright, colorful gear resembling his other two albums. Others held signs, fans, or sparklers, occasionally bringing the party out of the pit and into the stands. No matter what album Robinson was playing from, the crowd sang along as they danced and jumped around together in disjointed harmony.
Robinson opened the tour with a full rendition of his latest album, which, unlike his previous work, resembled that of a rock band. The rest of his show went along in his own Eras-Tour-style fashion, dedicating sections of the evening to his albums with special announcements before each one.
When Robinson was wrapped up with SMILE! ๐, the enormous LED screen adorned with colorful graphics and lyrics in bright, sparkly fonts would transform into a billboard, with each album’s title and years stretching across the screen.
After the announcements, Porter Robinson played each of his albums in their entirety. It was endearing to see him look back on all of his work with such passion and admiration but also to see his evolution as an artist. His mixing of music styles from alternative and electronic genres had definitely changed over the years, and it was clear that he intends to continue this steady growth in the future. It was refreshing to see, not only because artists with his acclaim and style tend to be stagnant, but because the passion and thought put into his work is clear.
The show’s energy seemed neverending, with a crowd that wanted to keep the party going long after the concert’s end. During his set, he brought out special guest Frost Children, who collaborated with him on his song “Mona Lisa,” and even invited his bassist to perform vocals on his older tracks, particularly from Nurture and Worlds.
Porter Robinson ended the show with an encore of “Shelter” and “Cheerleader,” two of his biggest hits and the most explosive performances of the night. The crowd welcomed him back on stage with resounding cheers and applause, chanting, “One more time!” as he walked off stage. With the end of “Cheerleader” came flashing pink lights and an explosion of paper confetti, blowing away in the wind and getting in the crowd’s hair as they made their exit.
The rest of Porter Robinson’s tour continues through the end of 2024 and into 2025, spanning across five continents and over 20 countries. Robinson’s next show will take him to Atlanta, Georgia, on September 5. More dates in South America are yet to be announced.
For the full list of tour dates, merchandise, and music, fans can visit here.
Setlist:
(SMILE! :D) Knock Yourself Out XD, Perfect Pinterest Garden, Kitsune Maison Freestyle, Year of the Cup, Easier to Love You, Is There Really No Happiness?, Mona Lisa (with Frost Children), Everything To Me, Russian Rouhttps://www.youtube.com/watch?v=lzMkFIw8ETMlette.
(Nurture) Wind Tempos, Musician, Something Comforting, Everything Goes On, Unfold, Get Your Wish, Trying to Feel Alive / Look at the Sky
(Worlds) Sea of Voices / Sad Machine, Divinity, Fresh Static Snow, Hollowheart, Language, Goodbye to a World, Sad Machine
While Sullivan and Ulster counties today are known for their countless miles of Catskills trails, quaint hippie towns and world-class climbing spots, they were once known for housing one of the grandest collections of summer resorts in all of America: the Borscht Belt.
For over 50 years, more than 500 hotels and thousands of bungalows catered to countless guests annually, creating a bubbling cultural scene like no other. Though the Borscht Belt era is now long-gone, the impact that it had on Jewish and American culture is undeniable and one that won’t be forgotten any time soon.
Early Years
Initially created in reaction to the increases in anti-Semitism in the New York City area during the early 1920s, the Borscht Belt was a safe haven for Jewish people who had been excluded and banned from other resorts and hotels in New York and surrounding states. Due to the massive demand and lack of alternative vacation destinations, Borscht Belt resorts quickly became a popular holiday spot for Jewish people in the region. Only 100 miles from New York City, the Catskills Borscht Belt resorts were extremely close and traveling there was simple. Frequent train service even gave those without cars a simple way to get north.
Once the Borscht Belt gained a reputation through word of mouth, Jewish families began flocking to the Catskills in droves. Many of them would even spend multiple months in the resorts, which led to the region becoming extremely special for much of the New York Jewish population. And why wouldn’t it be? Borscht Belt accommodations not only provided a nondiscriminatory vacation destination for Jewish people but also boasted luxurious hotels, top-tier music and entertainment and stunning natural beauty.
In addition to resorts for the more well-off patrons, the Catskills also had thousands of bungalows, which usually had a kitchen/living room/dinette, one bedroom, and a screened porch, which less well-off people were usually able to afford. Regardless of class and creed, there was a place for everyone to visit in the Borscht Belt.
Prime
In the Borscht Belt’s prime, over 500 resorts and 50,000 bungalows dotted the scenic hills of the Catskills. From Memorial Day to Labor Day every year, thousands of people would flood to the region, enjoying the virtually unlimited lavish amenities. Despite the resorts catering largely to their Jewish clientele, the food, music and entertainment were all top-notch, not just for the region or religion but for all of America.
Walking into one of the high-end resorts was an experience like no other. One would be met with hundreds of workers hurriedly walking around, buffets lined with more food than anyone could eat and happy guests walking to the pool or golf course. There was no shortage of entertainment in the Borscht Belt. Even busboys would have little acts they would do while serving patrons, just to get a better tip. And with all the people in such close quarters having grand times, resorts also gained the reputation of being the place to go to find your future partner.
For a few decades, the Borscht Belt looked unstoppable. Business was consistent, the resorts and bungalows kept filling up and food kept flying off the plates.
The Stars
With the Borscht Belt being so successful for many decades, naturally, the money was there to bring in the finest talent. With Vaudeville dying out 1930s with the arrival of moving pictures, comedians had to go somewhere else, which, in combination with the Borscht Belt’s rise, gave way to the perfect storm. Some of the country’s best all-time comedians, like Milton Berle, Rodney Dangerfield, Woody Allen and Jackie Mason, all got their start or regularly performed in Borscht Belt venues. Audiences were used to seeing the best of the best and would not shy away from giving vocal criticism, so the Borscht Belt became known as a comedy bootcamp for comedians looking to rise to the next level.
During the few decades of the Borscht Belt’s prime, already established comedy legends like Norm Crosby, Jack Carter and Shecky Greene butted heads with rising talents and future stars like David Brenner, Bill Dana and Robert Klein. A young Jerry Seinfeld even used to sneak into watch shows, which greatly influenced his future career as a comedy megastar. The high-pressure environments that comedians had to endure, just like how pressure makes diamonds, led to some of the greatest comedy shows of all time going down in the Catskills.
Comedy was massive in the Borscht Belt, but it wasn’t everything. While the music scene in the region lacked the star power that the comedy scene had, the quality was far from lacking. Hundreds of musicians were employed by the resorts to provide constant performances for guests, which heavily contributed to the festive reputation of the Borscht Belt era. No matter where you went, whether it be a small bungalow colony or the Concord Resort Hotel, music was everywhere, and that’s how people liked it.
The Fall
In the late 1950s and ’60s when air travel became more simple and affordable, people’s options for where they could vacation widely increased. The trains that used to frequently run up to the Catskills from New York City also decreased in frequency. These changes in travel, alongside the decrease in anti-Semitism in the decades following World War II, gave Jewish people more places to go to which were also more accepting of their faith. Another major development in the 1950s was television’s replacement of the radio as America’s most dominant broadcast medium. Now, people didn’t have to go up to the Catskills to catch a comedy or music show, they just had to turn on the TV.
As the ’60s gave way into the ’70s and ’80s, more and more of the once-thriving Borscht Belt resorts closed their doors for good. The closings acted as a domino effect: some resorts would close, which would lead to fewer overall guests vacationing in the Borscht belt. The lack of customers would cause more disrepair, which would lead to more closures, and the cycle would continue. First, the bungalow colonies fell, then the small hotels, then the large resorts. By the time 2000 rolled around, the Borscht Belt was a shell of its former self. In 2013, Kutsher’s Hotel, the last of the staple resorts, fell, signifying the official end to the already long-gone Borscht Belt era.
Photography by Marisa Scheinfeld
Today
Although the Borscht Beltรขยยs prime is long gone, the region’s rich history has lived on. Documentaries including “When Comedy Went to School” have done excellent jobs at painting the picture of what the golden era of the Borscht Belt was like to experience, highlighting the comedic superstars that ruled over the Catskills.
The Borscht Belt Museum, a museum documenting the golden age of the Catskills resort era, also opened in 2023 and has already done a lot to document and spread Borscht Belt culture, frequently updating their historical exhibits that are open to all visitors. The museum also recently hosted their second annual Borscht Belt Festival, which, in their words, is “a project which is dedicated to preserving the legacy of the Borscht Belt resort era, and celebrating its history as a refuge from bigotry, the cradle of stand-up comedy and a cultural catalyst that left deep imprints on America.”
The Borscht Belt Museum in Ellenville, NY
Many people have also been paying homage to the traditional Jewish music that rang through the Catskills decades ago, creating and sharing music honoring times past. The Jews Brothers Band is a modern Klezmer band that makes music inspired by their director’s grandfather’s old Jewish music. One of their top songs, “Up in the Borscht Belt,” harkens back to the Borscht Belt’s prime and all of the wonderful qualities that made it such a special destination.
Aaron Bendich is a 30-year-old New Yorker who, inspired by memories with his grandfather in New York City, has created and hosted two Jewish music radio shows, with the more recent one being named “Borscht Beat.” Although The Borscht Belt’s prime lasted for nearly a half-century, the impact on not just Jewish culture but American comedy and music culture is everlasting. Indeed, the Borscht Belt is alive and well. L’Chaim!
