Sarah McLachlan brought her Fumbling Towards Ecstasy 30th Anniversary Tour to a sold-out show at Radio City Music Hall on Monday, June 24.
Opening for her was Feist, who will also be joining McLachlan for additional North American tour dates this summer. Fumbling Towards Ecstasy received critical acclaim at the time of its release and has garnered a cult following in the years since. The crowd at Radio City was filled with a buzzing energy: equal parts nostalgic and anticipation.
Throughout her career, McLachlan has provided foundational support to the communities she has been a part of. For each ticket sale on this tour, $1 goes towards Sarah McLachlan School of Music, a non-profit started by McLachlan in 2002. With locations around Canada, the schools provide free music education and mentorship to students in under-served communities.
There was also Lilith Fair, the revolutionary all-female traveling music festival founded by McLachlan. Lilith Fair made stops in New York at Jones Beach Theater in Wantagh every year it ran- 1997, 1997, and 1999. Fumbling Towards Ecstasy was released just a few years prior and helped bring McLachlan’s music to further international audiences.
McLachlan entered the Radio City stage to a roar of applause before the spotlight even had its chance to shine on her. She opened the show with a few songs off of her other albums before diving into the Fumbling setlist. 30 years later, the songs of Fumbling Towards Ecstasy have proven to be both a time capsule and present day cache. A reminder of the difficulties life can present us at unaccepted moments and a celebration of making it through it. The album is a timeless classic that prevails decades, the audience’s enchantment throughout the evening was proof of that.
Currently working on a new album, McLachlan has performed a new song, “Gravity,” on a few stops of this tour. McLachlan will be playing next in Columbia, Maryland at Merriweather Post Pavilion on June 27. The Fumbling Towards Ecstasy Tour will be making additional stops in North America through the end of the year.
Sarah McLachlan – Radio City Music Hall – Monday, June 24, 2024
Set One – Greatest Hits: Sweet Surrender, Building a Mystery, I Will Remember You, Drifting, Song for My Father, World on Fire, Adia, Beautiful Girl, Answer, Witness
Set Two – Fumbling Towards Ecstasy: Possession, Wait, Plenty, Good Enough, Mary, Elsewhere, Circle, Ice, Hold On, Ice Cream, Fear, Fumbling Towards Ecstasy
Encore: Gravity, Angel
Feist playing at Radio City on June 24Sarah McLachlan playing Radio City on June 24
Cake returned to Ommegang Brewery in Cooperstown, on Saturday, June 22, greeting over 7,000 fans who went the distance to attend this sold-out show in Central New York during a heat wave.
Cake, from California, has been around since the 1990s and has released original songs (“Going the Distance,” “Short Skirt” and “A Long Jacket”) and covers (“I Will Survive”) that never seem to age. Cake always makes an effort to stop in New York throughout their tours. This show was the fourth time Cake has been invited to play at the Ommegang Brewery.
Although Cake isn’t from New York, it felt like a homecoming show. The backdrop of the stage and the tree on stage blended into the mountains of New York surrounding the brewery and stage. The show opened melodically with Willie Nelsons’ ‘Sad Songs and Waltzes’ before launching into back to back songs from across their entire song catalogue – “Opera Singer,” “Rock and Roll Lifestyle,” “Long Time,” “Frank Sinatra”. Lead singer, Jon McCrea, who’s voice hasn’t aged a bit, also wasn’t stingy in use of the famous vibraslap throughout their set especially since many audience members egged him on by playing their own vibraslaps from the crowd.
The show slowed back down for ‘Mexico’ and the fans’ voiced echoes the words and melodies back to them. The frontman explained that they usually stop for a set break but they would continue to play ‘Shadow Stabbing’ and fight the impeding storm to stay away.
Sadly, lightning struck right after the song concluded and everyone was asked to evacuate the grounds to wait out the storm. Emails were sent out at around 10pm stating the show was cancelled, despite most people lacking any phone reception in the mountains to receive the update.
People went home soggy and disappointed after a short and sweet show and an hour long wait to know if the show would continue. But many Cake fans were satisfied to hear and singalong to songs old and new on a mostly beautiful day in New York and were relieved to know Cake will still be touring.
Cake is heading back to California to continue their tour in July. Perhaps, perhaps, perhaps they will be back to Ommegang soon to finish the show they started and plant a tree for the Cake Forest.
Cake – Ommegang Brewery, Cooperstown, NY – Saturday, June 22, 2024
Setlist: Sad Songs and Waltzes, Opera singer, Perhaps, Perhaps, Perhaps, Long Time, Rock and Roll Lifestyle, Meanwhile, Rick Jamesâ¦, Frank Sinatra, Sheep Go To Heaven, Mexico, Shadow Stabbing
On Friday, June 21, Manhattan-based singer-songwriter Morley released her newest single, “It’s Hard to Stop.” The single is the first off of her forthcoming album, Follow the Sound, set to release on September 27.
In collaboration with her husband, Chris Bruce, “It’s Hard to Stop” is a soft, soothing recollection on the tenderness of the human condition and heartbreak.
Over the course of the last decade, Morley has received widespread critical acclaim for her contributions to the arts. Before releasing her first album, Morley worked for the Alvin Ailey American Dance Center, a modern dance company based in Manhattan, as a choreographer. During her tours with the dance center, she began writing and composing original music.
Morley’s style combines elements of jazz, folk, and classic Americana glued together by free-flowing improvisation. “It’s Hard to Stop” is no different. The single incorporates elements of acoustic folk and indie with her bluesy voice reminiscent of Nina Simone.
Since then, she has used her music to become a widespread advocate for social justice. Morley has performed all over the world, including for and alongside prominent activists, charities, and religious figures, including His Holiness the Dalai Lama, Nelson Mandela, and Virgin Unite. In 2019, Morley released the album Borderless Lullabies, which continues to raise funds for K-I-N-D (Kids In Need Of Defense).
Now, Morley is ready to unleash her creativity through a combination of her iconic folk and jazz-inspired sounds. Along with her husband, producer Chris Bruce, Follow The Sound has contributions from several artists and instrumentalists. Meshell Ndegeocello (bass), Shara Nova a.k.a. My Brightest Diamond (vocals), Toumani Diabaté (kora), Jon Cowherd (piano), Chris Bruce (guitar, bass), Arun & Trina Ramamurthy (violins), Jack DeBoe, Jay Bellerose and Abe Rounds (drums), and Cole Kamen (trumpet) all contributed to the highly-anticipated album.
‘It’s Hard To Stop’ arose from an improv, a stream of consciousness while Chris and I were playing in our apartment one night. Looking out the window at all those city lights got me thinking about all the dreams and tender hearts striving to have a beautiful life inside them, glimpses of our highest possibilities came to mind, and how hard it is to stop from wanting things to be different in the world than the way they are, right now.
Morley
For more information on the artist and future releases, visit their website. To Stream “It’s Hard To Stop,” click HERE.
On Friday, June 21, Wilco performed the first night of a string of three shows at the Beacon Theatre.
Opening for Wilco at the sold-out show was Brooklyn-based Cut Worms. This summer tour supports Wilco’s latest album, Cousin, released in September 2023.
The art deco interior of Beacon Theatre felt like the perfect venue for the band hailing from Chicago, a city known for its extravagant architecture. “I always remember this place because the exit signs have the Black Flag font,” frontman Jeff Tweedy joked to the crowd. “That’s how I know where I am.” The band has a new EP, Hot Sun Cool Shroud, set for release on June 28. The EP release coincides with Wilco’s Solid Sound Festival at the Massachusetts Museum of Contemporary Art in North Adams, MA.
Wilco performed songs spanning 30 years of the band’s discography. There were many celebrations throughout the night, including the 20th anniversary of A Ghost Is Born and a “Happy Birthday” crowd sing-a-long for the band’s multi-instrumentalist Pat Sansone. The crowd maintained high energy throughout the night, with many standing ovations and encouragement from the band along the way. “Were you singing? It sounded good.” Tweedy quipped after “Passenger Side.”
The band performed a four song encore before ending night one of their NYC run. Wilco performs again at Beacon Theatre in NYC on June 24. Their Solid Sound Festival in Massachusetts runs from June 28-30, followed by a few more summer tour dates across North America.
Wilco – Beacon Theatre, NYC – Friday, June 21, 2024
Setlist: Misunderstood, Forget the Flowers, Handshake Drugs, Pittsburgh, I Am My Mother, Cruel Country, I Am Trying to Break Your Heart, Meant to Be, If I Ever Was a Child, Summer Teeth, Hummingbird, Bird Without a Tail/Base of My Skull, Passenger Side, Evicted, Impossible Germany, Jesus, Etc., Whole Love, The Late Greats, Heavy Metal Drummer, I’m the Man Who Loves You
Encore: Falling Apart (Right Now), California Stars, Via Chicago, Spiders (Kidsmoke)
Year 21 of the Rochester International Jazz Festival kicked of this weekend, with 13 indoor venues as well as four open air stages being used during the nine-day event.
Bad Sneakers
Starting on June 21, streets around the famed Eastman School of Music were closed and transformed into a music lovers haven, with Gibbs St being becoming Jazz St for the next 9 days. The hub of the festival, Jazz St has a large stage with viewing from 180 degrees around, a large air-conditioned merchandise shop, beer trucks, and culinary promenade the opposite end. There are also info booths around to help visitors navigate and get questions answered.
Kingfish Ingram
Also conveniently located along Jazz St are four indoor venues, including Kodak Hall (Eastman Theatre), which hosted the legendary Taj Mahal on Friday night and Lee Ritenour on Saturday.
Mahal brought a show that mixes old school stripped down blues with tropical vibes, as he played the keyboard, guitar, and banjo. With steel drum, bass, and drums to add to the sounds, Taj and crew energized the crowd on the first of nine amazing nights of music.
Christie Dashiell
The following night, Ritenour took the stage and wowed yet another packed house of music fans. With sixteen Grammy nominations and one win (1985 “Early A.M. Attitude”), Ritenour’s music has not gone un-noticed, as he showcased his guitar skills with specials guests Randy Brecker and Bill Evans for roughly two hours.
Across the street from Kodak Hall is Max Rochester, which provides an airy atrium setting, with amazing acoustics for more casual sets, such as the soulful sounds of Christie Dashiell and Franck Amsallem‘s perfectly arranged piano pieces. Stop by Max at Eastman this week for some amazing culinary delights and perfect ambient sounds as you sip your spirits.
One of my favorite venues during the festival is The Little Theatre. Just outside the perimeter of the festival, this nostalgic theatre greets you with the aromas of classic popcorn as you make your way across the hall to the 1929 300 seat theater. A step back in time, indeed. As with recent years, The Little hosts Roots and Americans acts. Small acts, with minimal gear to set up, but amazing sounds and stories. This weekend, Thunderstorm Artis stopped by and told stories of being one of eleven kids (number 7 to be precise) and island life in Oahu. His laid-back personality, smooth and poignant vocals, and witty rizz paired perfectly the crowds for each of his 2 shows as well the venue itself. A finalist from The Voice, Artis is quickly making his name known.
You want free shows? They are plentiful each night of the festival. The blues serenaded the intersection of East Ave and Chestnut St for nearly three hours as Christone “Kingfish” Ingram and Chris Beard played on Saturday night to a packed street that stretched nearly a full block out and half block each way. This festival is more than grammas jazz records, as it encompasses many genres and takes.
The Jazz St Stage hosts free shows from 330pm until 10 every night. Local high school jazz bands get showcased, the Army band, and various other young local ensembles have opportunities. Later on, more noticeable acts will shake the stage, as Miss Emily did.
Hailing from Prince Edward County in Ontario, Miss Emily has a powerful soulful voice that resonates to every corner of the room she is in. Playing songs she wrote for her daughter and about mother nature (ironically as the winds picked up around the area), Emily played 2 sets for the Sunday evening crowd. Chatting with her after her first set, she says said she was amazed at the festival and the area in general and would love to come back with a full band in the future. This night was just her and the keyboardist.
âMiss Emilyâs voice has got to be heard to be believed – raw, expressive, transitioning flawlessly from a plaintive cry to a sonorous growl, weaving blues, country and rock while she does it. Miss Emily is unafraid to dig deep when she sings, tackling big, messy feelings in her songs – and you can feel it in every note.â
â Rob Baker (The Tragically Hip)
New venues for this year’s festivities are The Duke and Inn on Broadway. The Duke sits just outside the perimeter of the festival, and it is taking up space in a former retail mecca that is growing back up with the area around it. 18 sets will adorn the small stage over the week. It is the fourth business for ownership who also own a small plate venue right across the hall.
The Inn on Broadway is 95-year-old, 25 room boutique hotel and steakhouse that many visitors will pass as the make their way to the main event. The musical venue is an elegant second floor ballroom, with great sound and lots of natural light.
With the first weekend in the books, the Rochester Jazz Festival is primed for a strong finish as acts such as Sheila E, Brubeck Brothers Quartet, Bill Charlap, Samara Joy, and John Oates roll into town. Local favorite, Joy, is making her first appearance as a headliner at the festival, after playing smaller stages in recent years. The festival concludes Saturday night, June 29.
Four decades since its creation, the Grey Fox Bluegrass Festival has not just survived but flourished. The beloved five-day celebration of all bluegrass music is set to return to Oak Hill, NY, this summer, from July 17â21.
The Grey Fox Bluegrass Festival is one of the oldest continuously running bluegrass festivals in the U.S. Now, the festival is celebrating its 40th anniversary and the 16th year of Oak Hill as its home. Throughout its many years of operation, Grey Fox has grown into a community essential, now being a foundational annual event for locals in the Oak Hill area. For anybody who enjoys bluegrass music, or even just live music for that matter, Grey Fox Bluegrass Festival should be on your list of New York’s summer festivals to visit.
One of Grey Fox’s specialties is the variety they put into every year’s lineup. “We want to have a wide and diverse lineup. We consider ourselves a really big umbrella to bluegrass and roots music,” said Grey Fox Festival Executive Director Mary Burdette. Don’t come to Grey Fox expecting just traditional bluegrass. There’s so much more to discover. “We do embrace all sorts of bluegrass, from traditional to contemporary, jamgrass and jazzy,” Burdette said.
One of the most diverse groups coming to Grey Fox this year is the South Korean bluegrass band Country GongBang. Country GongBang won the International Band Performance Grant in 2023, which gave them the financial assistance they needed to tour in the U.S., with the Grey Fox being one of their stops. Country GongBang’s unique take on contemporary bluegrass music with a mix of English and Korean vocals has already garnered them international attention, with the group already playing festivals in Japan and France. The quintet is set to play Thursday, Friday and Saturday at Grey Fox.
Le Vent du Nord, a French-Canadian folk band, is another standout in the lineup. The seasoned quintet, with more than 2,500 performances all across the globe, has an upcoming album that will celebrate their 20th anniversary as a band and “promises to be a vibrant testament to their evolving artistry.” Shows from Le Vent du Nord often include elements of audience participation and should be a must-see for anybody at Grey Fox looking for a lively set.
Wyatt Ellis, a 14-year-old bluegrass prodigy, is a show that any and all true bluegrass fans can’t miss. Ellis, who played at the Grand Ole Opry just eight months ago, has already garnered major attention in the bluegrass community. His debut single, “Grassy Cove,” even went to #1 on the Bluegrass Today charts. “He’s an old soul in a young body,” Burdette said. Ellis is set to play at Grey Fox on Saturday, the 20th.
On top of the festival’s lineup, every year the Grey Fox Festival designates an artist or group as that year’s artist-in-residence, who will spend the festival bouncing between different stages, playing with other artists on the setlist. This year’s artist-in-residence is Grammy-nominated all-women string band, Della Mae.
Della Mae has long been closely associated with Grey Fox, with one of their first gigs ever being at the festival nearly 15 years ago. Celia Woodsmith, the guitarist and vocalist of Della Mae, even met her husband at Grey Fox. “They love, love, love Grey Fox, and we’re really excited to have them,” Burdette said.
While the music is certainly the highlight of the Grey Fox Bluegrass Festival, there’s much more that comes with the experience.
The festival is held on the scenic Walsh Farm in Oak Hill, NY, right next to Catskill Creek. There is ample space for both quiet camping and picker’s paradise camping, where you can expect after-midnight jammin’, along with the six separate performance stages. All the other essentials, like first aid, security and information booths, are present as well. A map of the full grounds can be found here.
Grey Fox has been held at Walsh Farm for 16 years, so naturally, the grounds have become special to those who come every year. With the festival itself celebrating its 40th anniversary, enough time has passed that generations of families have grown while attending Grey Fox. “One year I sent our media team out to find a good story, and they stopped at this campsite, and there was an infant, parents, grandparents and a great-grandmother all at that campsite, and they’d been coming all those years,” said Burdette.
A massive appeal of Grey Fox and one of the reasons why multiple generations of families can all come together is the festival’s family-friendly nature. Besides the billed artists, which people of any age can enjoy, kids have an entire stage dedicated to them, Family Stage. The Family Stage is home to a myriad of child-friendly activities, including tie-dying, instrument making, nature crafts, yoga for kids, family concerts, dances, sing-alongs, storytelling, puppetry, ventriloquism, movies and more. “We also have a bluegrass academy for kids, and we’ve had as many as 120 kids from ages eight to 17 learning to play, sing and perform bluegrass music,” Burdette said.
For those who have never been to the Grey Fox Festival, there isn’t too much to worry about. Take the time to learn the lay of the land. There’s no reason to rush, so get acquainted with the stage layouts and where all the other essentials are. “If you don’t really know the music that much, you can just kind of wander around, and you’ll hit something that you love,” Burdette said. No matter where you go on the grounds, music and good times will be happening, so the specifics are not too important.
The music even continues throughout the night, with countless families and groups jamming out in the picker’s paradise camping sections seemingly endlessly. According to Burdette, people will usually be jamming until 6 a.m.
And if the atmosphere gets the best of you and you think about joining in, you’re in luck. The Slow Jam Tent, which runs Thursday, Friday, and Saturday, is primarily for musical novices and features beginner instrumental classes, vocal workshops, and slow jams meant to help anybody with any level of experience. “Every day, all day long, they’re teaching people how to play, and then how to jam, and how to take solos if they’re ready. How to be in the background if they’re not, and just how to play well with others. The people around the campgrounds are just really, really friendly,” Burdette said.
So if you’re looking for a culture-filled music festival with something for all ages, look no further than the Grey Fox Bluegrass Festival this July.
See below for lineup.
Full Lineup:
Della Mae (Artist-in-Residence) Del McCoury Band Molly Tuttle & Golden Highway Yonder Mountain String Band The Steeldrivers Hawktail The Travelinâ McCourys The Gibson Brothers Sister Sadie I Draw Slow Shadowgrass Sam Grisman Project Wyatt Ellis Darol Anger & Bruce Molsky Charlie Parr The Mammals SCYTHIAN Chris Jones & The Night Drivers Pine Leaf Boys Charm City Junction Casey Driessenâs Red Shoe Stringjam Brennen Leigh The Faux Paws Joe Newberry Twisted Pine Mike+Ruthy (of The Mammals) Pictrola Zoe & Cloyd Unspoken Tradition John, Trish & Quickstep Jim Gaudet & The Railroad Boys Mark Gamsjager & The Lustre Kings Mild Goose Chase Niamh Parsons & Graham Dunne Country GongBang The Cross-Eyed Possum Rachel Sumner & Traveling Light Into The Fog The Clements Brothers Berklee American Roots Music Showcase
Tickets to the full festival with camping are available here. Single-day tickets will be available soon as well.
“CMA Fest,” the Music Event of Summer, will air its annual concert television special on ABC, Tuesday June 25 at 8pm EST. It will be available to stream on Hulu the following day.
The War and Treaty perform at CMA Fest
The three hour special will be hosted by Jelly Roll and Ashley McBride and will recap four days of musical performances and surprise collaborations which occurred during CMA Fest in Nashville, June 6-9.
Courtesy of Country Music Association
Tuesday’s special will feature performances by Kelsea Ballerini, Big & Rich, Clint Black, Brothers Osborne, Luke Bryan, Terri Clark, Jordan Davis, Jackson Dean, Billy F Gibbons, HARDY, Jelly Roll, Cody Johnson, Little Big Town, Lynyrd Skynyrd, Ashley McBryde, Parker McCollum, Megan Moroney, Jon Pardi, Carly Pearce, Post Malone, Shaboozey, Blake Shelton, Brittney Spencer, The War And Treaty, Thomas Rhett, Keith Urban, Gretchen Wilson, Lainey Wilson and Bailey Zimmerman.
The Castellows perform at CMA Fest
Ahead of watching the CMA Fest Concert Special, check out the full recap from New York State Music for the CMAC festival this month here.
A destination venue for industry veterans and rising stars, Brooklyn Paramount hosted The Church and The Afghan Whigs for their second co-headlining show on a 19-date tour this past Thursday evening, June 20.
Originally opened in 1928 and dubbed ‘America’s first movie theater built for sound,’ Brooklyn Paramount reopened its famed doors in the heart of downtown this past March, and since doing so, has seen a constant stream of genre-spanning musical talent – with a full slate of artists scheduled well into December. The night’s festivities were presented by WFUV, a non-commercial radio station owned by Fordham University, located on its Bronx campus, and nationally recognized for its alternative music format.
Fans wait in line ahead of entering Brooklyn Paramount | Photo Credit: Michael Dinger
Providing opening support was Kristin Hersh, who in addition to her solo work which often features emotional vocals delivered in raw, visceral manner, is best known for her singing and songwriting in the alternative rock band Throwing Muses. Taking a lone seat at center stage promptly at 7:30 pm, Hersh warmed up the large swarm of fans who arrived early to see her 30 minute set, which comprised three Throwing Muses offerings and four tracks selected from her eleven solo albums – Hips and Makers (1994), Sunny Border Blue (2001), Crooked (2010) and Clear Pond Road (2023).
At 8:10 pm, The Afghan Whigs appeared onstage and immediately launched into a 15-song set spanning a nearly four decade career. Hailing from Cincinnati, Ohio, the duo of frontman Greg Dulli and bassist John Curley – who started it all way back in 1986 – are cited as having influenced several musicians of high esteem in their own right, including fellow Ohio natives The National, Interpol, and The Gaslight Anthem, to name but a few.
Greg Dulli of The Afghan Whigs | Photo Credit: Michael Dinger
An eclectic blend of alternative and indie rock, post-punk, grunge, and for good measure, R&B, the hour-long set kicked off with “Pantomima,” the lead single from Dulli’s 2020 solo album Random Desire. Apart from an astounding cover of English singer-songwriter Martina Topley‐Bird’s “Too Tough to Die” midway through, The Afghan Whigs gifted its fans several of what are considered the best tunes from their nine studio album catalog.
Standout numbers from the night included the moody and atmospheric “Debonair” (Gentlemen, 1993), fan favorite “Algiers” and “Matamoros” (Do to the Beast, 2014), the introspective “Oriole” (In Spades, 2017), and “Somethin’ Hot” (1965, 1998), featuring a driving rhythm accompanied by a sound palette of power guitar riffs and energetic percussion.
John Curley of The Afghan Whigs | Photo Credit: Michael Dinger
The Church are touring off the strength of their most recent two albums, the universally hailed album The Hypnogogue, and its companion science fiction concept album Eros Zeta and the Perfumed Guitars, released in 2023 and 2024, respectively. The Aussie psych-rock quintet of founder Steve Kilbey (lead vocals, bass), long-time collaborator Tim Powles (drummer), Ian Haug (guitarist formerly of Australian rock icons Powderfinger, who joined the band in 2013), Jeffrey Cain (multi-instrumentalist who has been a full-time member since early-2020), and Ashley Nalor (touring guitarist and backing vocalist for The Church since February 2020, best known for fronting the Melbourne-based band named Even) silently slithered onstage under the cover of darkness at approximately 9:45 pm.
As The Hypnogogue’s title track played over the house PA, the crowd waited in eager anticipation as the slow burning introduction, with its multiple sonic layers, continued to build momentum. At long last, the cinematic extravaganza was underway.
Steve Kilbey of The Church | Photo Credit: Michael Dinger
With selections presented from six LPs spread across their massive discography (25 studio albums in total), The Church’s dreamy psychedelia experience continued with “Myrrh” (Heyday, 1985), but not before Kilbey first greeted the more than 2,000 souls in attendance. “Good evening ladies and gentlemen, thank you very much. We are so happy to be here tonight. What a wonderful – the word splendid comes to my mind – what a splendid, old theater. Thanks so much for coming along.”
Kilbey introduced the next song, “Metropolis” (Gold Afternoon Fix, 1990), as “the last time we ever darkened the doorstep of commercial radio, 34 years ago, you may remember this one.” The proceeding mystical journey that he and his bandmates brought all of us on was filled with indelible highlights, with too many to list in this review. However, the goosebump-inducing moment that tops that list, for me at least, would have to be The Church’s performance of “No Other You” (The Hypnogogue), a heartfelt love song showcasing Kilbey’s voice filled with a yearning for a woman who cannot be replaced.
The Church | Photo Credit: Michael Dinger
Outside of their psychedelic-tinged, instant classics appearing on 1988’s Starfish, “Under The Milky Way” and “Reptile,” the album that put Kilbey and company on my radar as a 16-year old entranced by their anthemic songs filled with melody and orchestration, it was another track from The Hypnogogue that filled the venue with an overall sense of reflection. The operatic “Flickering Lights,” which found Haug taking up the mandolin, was appropriately rendered by The Church to a backdrop of bright white flashing stage lights and multicolored strobes.
The stellar live show culminated with two tracks collected from opposite ends of their storied career – “Last Melody” (Eros Zeta and the Perfumed Guitars, 2024) and “You Took” (The Blurred Crusade, 1982) – a trippy, cosmic jam filled with epic, swirling guitar.
Watch The Church perform two hit songs from their aforementioned fifth studio album Starfish, “Under The Milky Way” and “Reptile,” below:
Following the current run of North American tour dates which ends in Los Angeles on July 13, our favorite mates have cleared their calendar for the duration of the summer. However, if at the end of the year you find yourself in the Land Down Under, The Church have a series of six shows beginning at the Enmore Theatre in Newton on November 23, culminating at Hindley Street Music Hall in Adelaide on December 7. Dates sandwiched between include stops in St Kilda, Brisbane, Hobart and Perth.
Kristin Hersh Setlist: Eyeshine > Kay Catherine (Throwing Muses song) > Mississippi Kite > Your Ghost > City of the Dead (Throwing Muses song) > Bywater (Throwing Muses song) > Your Dirty Answer
The Afghan Whigs Setlist: Pantomima (Greg Dulli song) > Debonair > Catch a Colt > Algiers > 66 > Matamoros > What Jail Is Like > Too Tough to Die (Martina Topley‐Bird cover) > Light as a Feather > Oriole > It Kills > Demon in Profile > Going to Town > Somethin’ Hot > Summer’s Kiss
The Church Setlist: The Hypnogogue > Myrrh > Metropolis > C’est la vie > No Other You > Under the Milky Way > An Interlude > Flickering Lights > Reptile > Realm of Minor Angels > Grind > Last Melody > You Took
UPCOMING TOUR DATES
June 24 – Toronto, ON @ The Danforth Music Hall
June 25 – Detroit, MI @ The Majestic Theatre
June 27 – Indianapolis, IN @ Hi-Fi
June 28 – Chicago, IL @ The Vic Theatre
June 29 – Milwaukee, WI @ Summerfest 2024
June 30 – Minneapolis, MN @ First Avenue
July 2 – Denver, CO @ Ogden Theatre
July 3 – Bellvue, CO @ The Mishawaka
July 5 – Seattle, WA @ The Showbox
July 6 – Portland, OR @ McMenamins Crystal Ballroom
July 8 – Sacramento, CA @ The Sofia
July 9 – San Francisco, CA @ The Fillmore
July 11 – San Diego, CA @ The Observatory North Park
July 12 – Anaheim, CA @ House of Blues Anaheim
July 13 – Los Angeles, CA @ The United Theater on Broadway
I Don’t Want To Go Home, The Oral History of the Stone Pony, was released in early June. New Jersey native Nick Corasaniti explores the history of the venue and the surrounding community. Complete with a foreword from Bruce Springsteen, Oral History of the Stone Pony documents the community’s resilience in the face of ruin.
In 1974, Asbury Park’s future was uncertain. Recovering from a riot and facing ruin, the Stone Pony offered the gleam of hope the town needed. Bouncers Jack Roig and Butch Pielka, underprepared and minimally funded, were determined to own their own venue. Soon, Bruce Springsteen called the Stone Pony Home. Despite success in attracting notable artists like Stevie Van Zandt, “Southside” Johnny Lyon, and Springsteen, the Stone Pony struggled to get by.
The history of the Stone Pony is emblematic of American life: dogged resistance and big reams, all in the face of decline and neglect. Corasaniti’s insight as a lifelong New Jersian is boosted by his experience as the New York Times’ Jersey correspondent. Bruce Springsteen, Steve Van Zandt, Southside Johnny, members of the E Street Band and Asbury Jukes, the Ramones, the Jonas Brothers, Pearl Jam, the Kinks, Tom Morello, Kenny Chesney, Jack Antonoff, The Gaslight Anthem, the Bouncing Souls, the Lumineers, Russell Crowe and other legendary musicians have featured interviews. Non-musicians associated with the history of the Stone Pony, including bouncers, bartenders, local bon vivants and politicos, including Govs. Chris Christie and Phil Murphy, are also featured.
The book has already received critical praise: Kirkus Reviews described it as a work with, “charming bits of Springsteen-iana… [with the] theme of a community stubbornly determined to survive amid adversity.” Booklist says the book promises a, “stirring tale of rock ‘n’ roll survival.”
Umphrey’s McGee at The Stone Pony, 2018 – photo by Capacity Images, Chris Capaci
It is difficult to overstate The Stone Pony’s role in rock ‘n’ roll history. During the 70s, Ocean Grove resident Johnny Lyon and Middletown’s Steve Van Zandt named their band for the Pony. With soulful, classic, and horn driven R&B music, Southside Johnny and the Asbury Jukes played the Stone Pony three nights a week. Van Zandt would leave the group to play with Bruce Springsteen and the new version of the E Street Band. Salty Dog, Stir Crazy, Winfield, Holme, Salvation, Mad Dog and the Shakes (featuring local legend and former E Street drummer Vini Lopez), The Shots, Cold Blast & Steel, Cahoots and Acme Boogie Company all played the Stone Pony during the 70s.
The 80s brought a new wave of rock and dance music to the Pony. Legendary performances included stars on the way up such as Stevie Ray Vaughn, Elvis Costello, The Ramones, Cheap Trick, Skid Row, Blondie, The Stray Cats and Winger. Other artists who took to the Pony stage included Meatloaf, Todd Rundgren, Jimmy Cliff, Joan Jett, Blue Oyster Cult, Gregg Allman, Dickie Betts, Ace Frehley of Kiss, Levon Helm, Robert Gordon, Johnny Winter, Vanilla Fudge, David Johansen (a.k.a. Buster Poindexter), Mink DeVille, Dion, Ronnie Spector and Mountain. Van Morrison used the club for the shooting of a music video because of its “cool atmosphere.”
The Stone Pony hit a slump in the late 80s and early 90s. With insurance prices and other expenses rising, the Stone Pony came close to ruin. Steven Nasar bought the venue in bankruptcy court, and planned to make it into a dance club. In 2000, Jersey City restaurant owner Domenic Santana promised the Pony would be open by Memorial Day in a press conference.
Credit: Michael Dinger; The Pretenders playing at the Stone Pony
Santana renovated the Stone Pony, adding a permanent exhibition of art and artifacts from the history of the city and the venue itself. With a new state of the art lighting and sound equipment, redesign of the outside Stone Pony Landing area, tenting and a small food facility, the venue was ready to retake its rightful place in popular culture.
Artists did not abandon the Stone Pony: The Pretenders, The Strokes, Interpol, Joan Jett and the Blackhearts, Patti Smith, Jason Mraz, Third Eye Blind, Sean Ono Lennon, Clarence Clemons, The Wailers, The Backseat Lovers, Indigo Girls, and Ziggy Marley among many others have continued to play at the Stone Pony. New Jersey native musicians continue to play the Stone Pony, and pay tribute to their roots, including Grateful Dead Tribute Band JRAD. The community’s resilience in the face of difficulty is remarkable, and a testament to the strength of music.
In celebration of their 50th anniversary, The Stone Pony is hosting a summer series, more information is available here.
The book is available for purchase here, and a CNN report on a the Stone Pony’s history is below.
Bonnaroo 2024 was my first time attending a music festival of this size as well as camping there. Going into it, I had no idea what to expect or how vast the grounds and crowds would be. The sheer scale of the festival was awe-inspiring, and was a humbling experience to be part of.
The festival drew over 70,000 Bonnaroovians to the festival in Manchester, TN over four days, June 13-16 with the festival completely sold out. Throughout the festival, the temperature soared to a high of 94 degrees, but that didn’t dampen the spirits of Bonnaroovians from partying all day and night.
Bonnaroo Day 1: June 13
I arrived at the media camping grounds at 8 am to claim my spot and swiftly set up camp before the gates for Centeroo opened at noon. At noon, I made my way to Centeroo for the first time and walked the grounds. Right away, there was a contagious energy of excitement on the ground from veteran Bonnaroovians returning home to first-timers like myself in awe of all of it.
While exploring Centeroo, I made my way to the House of Matroomony. I heard about this house performing weddings at Bonnaroo and thought the idea was cute; little did I know when I walked in there, I would witness and photograph the first wedding of Bonnaroo. The couple was Savannah and Nathan Ingle, who were officiated by Virginia Slim Jim. What a way to kick off my Bonnaroo.
Savannah and Nathan Ingle center left and right, Virginia Slim Jim in the center
My first show of the day was later in the evening Durand Bernarr at the This Tent. His set was high energy, and he had a fantastic stage presence and the crowd was eating up his performance from the moment he walked out in his all-denim look. Throughout his performance, he sang songs from his EP En Route released May 31 this year. I stayed at This Tent for the next show Nation of Language. This was my first time hearing and seeing them perform, and it was a thrilling experience. The band has an 80s synth pop melodic sound to them that really works and kept the crowd grooving. They started their set off with ‘A New Goodbye’ from their new studio album Strange Disciple. From the This Tent, I quickly had to make my way to the What Stage to catch headliner Pretty Lights.
Durand Bernarr
Pretty Lights had such an imaginative backdrop behind the DJ booth, a wall of circuit panels with wires that was part of his setup. With a band accompanying him, Derek Vincent Smith started his set by hyping up the crowd and giving them a performance of “Swirl Song/Sun Machine,” the lighting that followed keeping the crowd hyped and flowing to the tunes.
Towards the end of the song, hearing the crowd sing lyrics from David Bowie‘s “Memory of a Free Festival” – ‘Sun Machine is coming down and we’re gonna have a party’ – was such a magical moment. Hearing the crowd of that magnitude for my first time at the festival was just a small taste of what would come the next couple of days. To finish off my first day of Bonnaroo, I made my way to That Tent to see Geese. Another first-timer seeing and hearing of this band, who brought their punk-rock fusion and had the crowd in their grasp from the moment they got on the stage.
Pretty Lights Crowd
Bonnaroo Day 2: June 14
Friday was a jam-packed day for music. Starting my afternoon off at the That Tent for MIKE who brought his profound sound that showcased his lyrics and wisdom within the music. Throughout his set, he got great crowd participation whenever he interacted with them. He performed songs from his new record ‘Burning Desire’ and a couple of songs that were untitled and were still a work in progress. The crowd loved each song he did.
After MIKE’s set, I headed towards This Tent for Bonny Light Horseman. The band brought a calm demeanor with their folk sound and strong lyrics behind each song. It was a nice change of pace, from all the hustle and bustle that a festival can bring. After the calm, I made it to Which Stage for The Japanese House who continues the same level of calm in her performance. A blue sky and cloud backdrop set the tone perfectly for it. She performed an unreleased song called ‘Smiley Face’. In her words, it’s “about my big gay love,” and the crowd went absolutely crazy for it.
MIKE
Drivers Era at the What Stage had tremendous energy throughout their whole set. There was amazing chemistry between the band and the crowd that carried the performance. ‘Turn Up the Music’, ‘Get Off My Phone’ and ‘Feel You Now’ started the set, and all around you couldn’t have walked away after their set without having a smile on your face. I then raced over to This Tent to catch Grouplove, my second time seeing them perform, and I knew the moment that they took to the stage they were going to take everyone on a ride with them. The atmosphere was so electric and contagious. I had such a fun time photographing them.
The Drivers Era, Ross Lynch
I got a little break before heading back to Which Stage for Lizzy McAlpine. Her stage setup was quite unique, it was giving off living room vibes, with a band set up straight across the stage with her being right in the middle and having stage light stands as her backlight across them all. Her performance felt very intimate, no matter where you were in the crowd. She started her set with ‘doomsday’ that got everyone in their feelings from the start. In the middle of her set, she did a mashup of Rascal Flatts “Bless the Broken Road” and John Denver’s “Leaving on a Jet Plane” that the crowd loved.
After getting in my feels with Lizzy, Maggie Rogers took the Which Stage next. Maggie had by far one of my favorite artist’s entrances of the festival. Her band started playing the intro to ‘It Was Coming All Along’, and she rose from a lift on top of her stage stairs case, and when she popped up, the crowd went crazy for her. She went on to perform ‘Drunk’ and ‘That’s Where I Am’ but by the end of her third song, I had scurried off to the What Stage for headliner Post Malone.
Maggie Rogers
Post Malone’s intro was the most exciting thus far this weekend, starting with a string quartet walking out and beginning to play softly, then getting louder, followed by a female guitarist who gave a killer guitar solo that led into the band’s intro to ‘Better Now’ and his entrance to the stage was accompanied with pyrotechnic fireworks. The crowd was beyond ready for Posty, and from the moment he took to the stage, the crowd sang every song along with him. He had such a smooth transition into ‘Wow’ and a mashup of ‘Zack And Codeine’ and ‘Psycho.’
Post Malone
To wrap up my night, I headed back to the Which stage for my most anticipated show of the night T-Pain. I don’t think people really realized how many hits this man has. His set was packed with almost all of them, he started his set with ‘Take Your Shirt Off’ and then went into ‘Up Down’ then ‘Bag of Money’. After the third song I quickly went to put my camera away to go join the crowd for the rest of his set.
To be part of this crowd was truly insane, everyone was having such an amazing time singing, and two stepping the night away. He had such tremendous stage presence throughout the whole set. My favorite songs he performed were ‘Good Life’, ‘Black and Yellow’, ‘Kiss Kiss’, and his cover of Sam Smith’s ‘Stay With Me’ blew me away! Crowd favorites were ‘2 Step’, ‘Low’, cover of Journey’s ‘Don’t Stop Believin’ and of course ‘Buy U a Drank’. He wrapped up his set by doing ‘All I Do Is Win’ and ‘I’m on a Boat’.
Bonnaroo Day 3: June 15
I managed to get some sleep after T-Pain’s late set, which went into the early morning. By noon, it had reached the festival’s hottest temperature at 94 degrees. I made my way to Outteroo and headed towards Plaza 3 House of Yes Pride Parade. This was the fourth year that the House of Yes has hosted the Pride Parade.
When I arrived and entered the House of Yes was a truly heartwarming moment, to be surrounded by the queer community and feel love in the air instantly. Knowing everyone in that room was in a safe space to be their authentic self and no judgment by anyone. Just before the pride parade kicked off, a little dance party broke out in the House of Yes. Everyone was enjoying themselves, and soon enough, the parade kicked off, and the party continued outside. From the House of Yes, the parade took everyone to Where in The Wood for the after-party, where the dance party continued with a DJ set.
I made my way back into Centeroo to catch my first show of the day, The Maine at the What Stage. The rock band brought high energy that had the crowd dancing from their opening song ‘Blame’ and they performed ‘Sticky’ and ‘Slip The Noose’. I finally had a nice break from the sun before going to the Which Stage for Brittany Howard. I’ve been a big Brittany Howard fan for quite some time now, and to finally have gotten to photograph her and see her perform was such a dream. Her vocals are so unique and powerful, the energy she gave off the stage was amazing. ‘Earth Sign’ started her set, with her soulful vocal chops that set the tone for her set. Her soulful voice continued into ‘Georgia’ and the song ‘Stay High’ gave the crowd an insight into the wide range of her vocal ability and sound she has developed.
From one soulful performance to another one. I made my way back to What Stage for Jon Batiste. As with Brittany, I was excited for Jon’s set. His vocals and lyrics are so powerful, and on top of that, there aren’t that many people who can pull off a sequin suit, but he did. There are no words to describe the sheer radiant energy he was giving to the crowd. My favorite song he performed was ‘Freedom’, an energetic song and mood booster that had the crowd on their feet dancing.
Jon Batiste
I boogied my way back to Which Stage for my favorite artist at the festival, Renee Rapp. I’ve been lucky enough to have seen her perform before, but this was my first time photographing her, and she did not disappoint. Her fans were among the loudest at the festival at that time. I love how Renee is able to do such smooth transitions from her upbeat songs ‘Talk Too Much ‘and ‘Poison Poison’ right into her softer song ‘Bruises.’ I enjoyed the rest of her set once I was done, my personal favorites were ‘Not My Fault’, ‘Pretty Girls’, ‘Tummy Hurts’ and the song she hates ‘Too Well’. After her set, I walked away from it with one of the biggest smiles on my face.
Renee Rapp
To end my night, This Tent had the Dashboard Confessional Emo Superjam. Bonnaroo is known for doing Superjams where a mix of artists perform a set based on the theme and it’s always a festival highlight. When I got there, I saw Dashboard Confessional and Andrew McMahan doing Something Corporate’s “I Woke Up In a Car.” By this point, I was running on about 5 hours of sleep, and it was finally catching up to me. I left the Superjam early and called it a night.
Dashboard Confessional and Andrew McMahon, Emo SuperJam
Bonnaroo Day 4: June 16
I couldn’t believe it was the final day of the festival, and I had so much in store for myself that day. I couldn’t miss seeing Chappell Roan on the Which Stage. This artist is right up there with T-Pain, Renee Rapp, Brittany Howard, and Jon Batiste for my must-see performances while here. She’s been having one hell of a year, and had by far the biggest crowd for any artist at the festival. She and her band are dressed in all latex doctor/nurses outfits. The sheer volume of the crowd could be heard throughout the festival grounds and camping grounds. ‘Femininomenon’ got the party going with a song ‘with a fucking beat.’
With every song, the crowd was singing right along with Chappell. She then went into ‘Naked in Manhattan’ and ‘Super Graphic Ultra Modern Girl’. Hands down the most anticipated song of hers I was looking forward to and also a crowd favorite is ‘HOT TO GO’. To see the sea of people in the crowd doing the dance was so magical and definitely a core memory for me from the festival. She debuted a new song called ‘The Subway,’ another show that left a smile on my face afterward.
Chappell Roan, photographed from the crowd
With a little break, I headed to the What Stage for Carly Rae Jepsen. Right from the start, she brought out high energy, and there was a strong crowd connection from the beginning when she sang ‘Now That I Found You’. Unfortunately, due to thunder and lightning, her set was cut short, but after the weather cleared up, she was able to get back on stage and finish her set. Due to the weather, the schedule changed a little, but that’s just festival life for you.
Which Stage had Goth Babe, and they were another artist that I hadn’t heard of before, and I really didn’t know what to expect. When he came out to start his set, I was pleasantly surprised. He had an indie vibe to him with a hint of pop. I definitely jammed to his music while in the pit and instantly became a fan. For as much as I wanted to stay for his set, I had to head out to catch Megan Thee Stallion on What Stage.
Goth Babe
Megan knows how to put on a show! She started her set with ‘HISS’ accompanied with pyrotechnics. The crowd roared when she came out and kept the energy going with ‘Ungrateful’ and ‘Thot Shit’. For the last time of the festival, I made my way back to Which Stage for Jason Isbell and the 400 Unit. With his Americana sound, he slowed down the pace and had everyone bobbing and singing to ‘King of Oklahoma’ and ‘Stockholm.’
Here is where I made an executive decision to stay for two songs of his instead of the three in order to make it to my last show of Bonnaroo at the This Tent for Taking Back Sunday. I made it just in time as the band was starting to play ‘S’Old.’ The crowd was electric for the pop-punk group, and honestly, it was such a perfect way for me to end my Bonnaroo experience.
Megan Thee Stallion
Reflection
I am forever thankful to have had this opportunity to have come and cover Bonnaroo 2024. Before I got to Bonnaroo, I heard and read about The Bonnaroovian Code and didn’t really think too much about it. As I sit here reflecting on my time on the farm I understand now when everyone says ‘The Bonnaroovian code isn’t just for four days a year in Tennessee – it’s for all Bonnaroovians, everywhere and all the time. Bringing the spirit of Bonnaroo with you out into the world.’ I can’t wait to go back for round two in 2025.
