Country music’s biggest party invaded downtown Nashville June 6-9, as CMA Fest returned for its 51st edition. The four day long event featured hundreds of musical acts performing on one of nine official stages, with many other performances and events lined up across town.
Music ran daily from 10am until almost midnight with most of these performances free to those in attendance. Only the night time performances at Nissan Stadium and Ascend Amphitheater charged admission. Stadium performers included Jelly Roll, Luke Bryan, Lainey Wilson, Old Dominion and many others.
Ascend Amphitheater during CMA Fest
CMA Fest kicked off under Thursday June 6 under beautiful blue skies and typical warm southern temperatures. Early arrivers were treated to a special Q&A session at the CMA Close Up Stage with country legend Dolly Parton, while the Riverfront Stage opened the music portion with a set by Dylan Scott (who would perform at the Ascend Amphitheater later that evening). Warren Zeiders packed the Riverfront Stage Thursday afternoon, showcasing his gritty country rock. Early on it became clear that the CMA talet valued the fans in attendance, as it was common to see acts hop off stage and meet fans following their performance.
Warren Zeiders
As the sun set on day one, fans made their way across the Cumberland River to Nissan Stadium for sets by Lynyrd Skynyrd, Thomas Rhett, Shaboozey and Chapel Hart (among many others). The night also featured surprise performances by Post Malone and Blake Shelton.
Brett Young
A not so quick walk down the famed Broadway on Friday morning and one would realize the packed Thursday crowd had grown enormously for Friday’s festivities. Shortly after noon, the Reverb Stage reached audience capacity, as fans flocked to see rising sensation Shaboozey perform his blend of hip hop and country sounds, in high energy style. The Riverfront Stage would follow suit and reach capacity soon after, in anticipation of performances by Niko Moon and Collie Caillat. Those waiting in the hot sun were treated to sets by Alana Springsteen and BRELAND. Moon, dressed in neon green and a sun hat, radiated messages of love and positivity, themes that would reoccur through out the weekend.
Alana Springsteen
The party ramped up Saturday, with The War and Treaty kicking off the festivities on the Riverfront Stage, while Dasha, fresh off a stadium performance the previous night, opened the Chevy Vibes Stage. Shaylen would draw quite the crowd early afternoon, mixing country and alternative styles in a display of angst and passion. The afternoon would also see performances form acts such as Restless Road and Ingrid Andress. Perhaps the star of the afternoon was Tucker Wetmore, who filled the Hard Rock Stage to capacity, and saw fans spill on to Broadway and surrounding streets to try and catch a glimpse of the set.
The War and Treaty
CMA Fest marked a pinnacle moment in the careers for many of the performers who took the stage over the four day festival. The War and Treaty preached the need to be your “authentic self” as you strived to achieve whatever goals you set for yourself. Country-rocker Shaylen became visibly choked up and moved to tears during “What If I Don’t”, a song she wrote soon after moving to Nashville to give her music career one last chance. Jelly Roll, a Nashville native, lamented on trips to Nissan Stadium with his late father to watch the Titans play and cherished how he was now performing in that same stadium. In all, it was a weekend dedicated to celebrating and honoring both the successes and rising stars in country music, all the while placing the fan at the forefront.
Ascend Amphitheater, CMA FestChayce BeckhamCMA Fest50 Years at the Opry, CMA FestDashaDrew ParkerDylan ScottElla LangleyElla LangleyGavin DeGrawGina VenierIngrid AndressThe Kentucky GentlemenLee BriceLee BriceCMA FestNissan Stadium during CMA FestRestless RoadShaylenThe War and Treaty
As the Grateful Dead found themselves in between tours in the early summer of 1982, side projects were apparently the name of the game in order to stay musically limber. And a new music venue in South Fallsburg, NY was more than happy to have them. Jerry Garcia Band kicked off a string of shows in the Northeast at Music Mountain on a co-bill with Bob Weir’s Bobby and the Midnites. This new venue in Sullivan County at a revamped hotel lodge that never quite made it actually played host to the first permissible concerts in the area since Woodstock in its very brief existence.
One of the last of the few shows ever played here was this heralded Jerry Garcia Band show on this day in 1982 that’s loaded with classic cover song selections and a few JGB “originals.” This particular iteration of the band features some of Garcia’s closest and longtime collaborators playing together and it certainly comes through in the sound. Bill Kreutzmann, his Grateful Dead cohort, is on drums with John Kahn manning the bass guitar. Longtime JGB member Melvin Seals is joined on keys by Jimmy Warren. And Julie Stafford and Liz Stires provide the backup vocals.
Jerry Garcia Band ticket stub – June 16, 1982
The show begins with a vintage take on Smokey Robinson’s “How Sweet It Is,” a staple in the Jerry Garcia Band songbook. A sizzling early guitar solo sets the stage for responses from Melvin Seals and Warren on keys with everyone in the band getting a chance to shine right from the start. The harmonized vocals add a layer of authenticity to this cover. Bill Kreutzmann then starts up the next number on the bass drum by himself as the rest of the band patiently merges into the beginning of “Catfish John,” a much lesser known cover song that JGB has also made one of its own. Garcia takes the wah pedal/effect out for a spin much to the delight of the Music Mountain crowd with the rhythm section maintaining a steady pocket of groove throughout. After some fun interplay with Seals, Garcia then fires in one last funky guitar solo on this well cooked “Catfish.”
Music Mountain – South Fallsburg, NY
In the three-spot is another Jerry Garcia Band regular, “That’s What Love Will Make You Do.” Originally credited to Little Milton in 1971, the song was played numerous times by Legion Of Mary, an all-too-brief previous side project of Garcia’s from the 70s that also featured Kahn, Martin Fierro on saxophone and flute along with Merl Saunders on keys. Their familiarity with this number comes through in spades as Garcia and Saunders take turns ripping through their respective solos on another groove-heavy funk vehicle that has Music Mountain in full swing.
Things finally cool off a bit with “Valerie,” a Robert Hunter-penned song that would go on to appear on Garcia’s Run For The Roses which would be officially released later this year. It’s got elements of “Loser” woven throughout and all the feel of an early 70s Dead song dressed up in a JGB jacket that fits perfectly in this spot. And, of course, it wouldn’t be a Grateful Dead-related show without a nod to Chuck Berry and the band takes care of this in the form of a ripping cover of “Let It Rock” that sees Garcia unleashing another bevvy of scintillating guitar runs. This funnels right into a set-closing “Deal” that’s as tight as any GD version with the harmonized backup vocals from Stires and Stafford adding some additional flavor to it.
A spirited Music Mountain crowd welcomes the Jerry Garcia Band back for a second set that starts with another cover, this time it’s “(I’m A) Road Runner,” a song first recorded by Junior Walker and the All-Stars in 1965. This would become another JGB live show staple throughout the years. Seals and Garcia get into some heavy interplay on this one as the the band stretches this “pop” hit into a fun, relaxed jam. “Love In The Afternoon” then follows, another Robert Hunter-penned song that first appeared on Garcia’s Cats Under The Stars album from 1978, his first LP using the band name Jerry Garcia Band and his first LP on the Arista label.
The real meat and potatoes of the second set, and perhaps the show itself, is the “Don’t Let Go” that comes next. It’s a near 20-minute joy ride of deep funk and some of the more exploratory jamming of the evening. The rhythm section of Kahn and Kreutzmann is hard at work once again and develop a deep groove that Garcia plays off of effortlessly. With Seals adding additional layers of sound atop it all, it makes for a lively jam that’s rife with musical cohesion and craftsmanship. Almost suddenly, the rest of the band then eases up that allows for a brief Kreuztmann drum solo that then turns into a bass duel with Kahn before Garcia slowly reenters the mix. It’s a loose, acid jazzy type jam that’s one of the show’s true highlights.
Although there would be no traditional encore tonight, the rest of the set almost feels like one, starting with a super slow take of The Band’s “The Night They Drove Ol’ Dixie Down.” With the tempo dialed down to an absolute crawl, this gives one of the last Garcia guitar solos of the night some added poignance and emotion. The beautiful backup vocals from Stires and Stafford certainly doesn’t hurt either. The show then comes to a close with “Run For the Roses,” the title track of the soon to be released album and another classic Garcia-Hunter collaboration. And with that, Jerry Garcia band puts the finishing stamp on one of the last shows to ever take place at the ill fated Music Mountain.
An apparently rain-soaked show from Bobby and the Midnites that went well into the night then followed – check out the audio here.
https://www.youtube.com/watch?v=uE27loWjRq0
Jerry Garcia Band – Music Mountain, South Fallsburg, NY – June 16, 1982
Set 1: How Sweet It Is (To Be Loved By You), Catfish John, That’s What Love Will Make You Do, Valerie, Let It Rock > Deal
Set 2: (I’m A) Road Runner, Love In The Afternoon, Don’t Let Go, The Night They Drove Ol’ Dixie Down, Run For the Roses
On Thursday, June 13 the 8th Jazztopad Festival kicked off with performances from composer and pianist Kris Davis accompanied by the Lutosławski Quartet at Dizzy’s Club of Jazz At Lincoln Center.
The Jazztopad Festival, running from June 13 to 27, will have shows across New York, Philadelphia, and Canada. The Polish festival celebrates Jazz music and the talents of musicians worldwide. By bringing Jazztopad to North America and legendary venues like Dizzy’s Club, the music and artists featured are exposed to new audiences. Its partnership with the Polish Cultural Institute New York makes the festival possible.
Thursday’s performance included the premiere of Kris Davis’ new piece “The Solastalgia Suite,” written for the Lutosławski Quartet. Specifically, this show marks the first time she composed for strings. The quartet includes Roksana Kwaśnikowska on 1st violin, Marcin Markowicz on 2nd violin, Artur Rozmysłowicz on the viola, and Maciej Młodawski on the cello.
The first piece played, “The Solastalgia Suite,” started slow and bitter, as the audience patiently anticipated the brand-new composition. The music eventually built up to the extravagant song everyone was waiting for. Undeniably, attendees’ genuine respect and appreciation for the music echoed throughout the room. As Davis led on the piano and the Quartet responded accordingly, their synchronization exemplified their talents.
Set to the backdrop of the sun setting on the iconic Columbus Circle view, the performance began the festival with a heartwarming and celebratory experience.
At Caffe Lena in Saratoga Springs, a captivated audience was on hand for the June 9 performance from Larry Campbell and Teresa Williams.
The second of two nights for the Woodstock couple at the historic venue, each night was opened by Jenna Nicholls, who brought a unique voice to the stage, one that is tailor made for Caffe Lena. With Jon LaDeau on guitar alongside her, Nicholls opened with a ukulele song that had an old timey radio sound, making horn sounds via bilabial fricative while she plucked away.
A resident of Saugerties, Nicholls cited the Jalopy Music Hall scene for her folk/Americana sound, one that is as unique as it is intriguing. Add in some cowboy songs and a little yodeling, and Nicholls rightfully has earned her first headline show at Caffe Lena on January 18, 2025.
Woodstock locals Larry Campbell and Teresa Williams, fresh off the release of All This Time earlier this year, took the stage around 9pm for a mesmerizing set. Joined by former Hot Tuna drummer (and longtime Midnight Ramble production manager) Justin Guip and bassist Branden Morrison (whose tone was on point all night), the band opened with the lead single from All This Time, “Desert Island Dreams.”
During the show, Campbell was impressively augmenting his guitar sound to have that of a slide guitar, minus the slide. He mentioned that his father grew up in The Bronx, while Williams mentioned her home of Peckerwood Point, TN, in a dry county, just north of Memphis.
Performing much of their new album in order – “All this Time,” “Ride with Me,” “The Way You Make me Feel” and others, Campbell and Williams would pause between songs to share stories, including those involving legendary drummer, Levon Helm. Sharing a story from the recording of Electric Dirt, Campbell recalled that Levon suggested the duo start their first record, which would be recorded at Levon’s barn in Woodstock. One of those tracks would end up on their recent release, the George Jones/Gene Pitney composition, “That’s All it Took.”
A mid show cover of Duke Ellington’s “Caravan” was time for all four on stage to shine, as seen below.
A deep cut of American comedy and vaudeville came to light with “A Little Better,” a song referencing Stan Laurel and Oliver Hardy, bringing to mind the simple joys of life that can make you feel better, by watching ‘Stan and Ollie Dance.’
Stories from Williams of ‘pew jumpers’ at revivals down south peppered the set, noting the spirit of the music that compelled even the most devout to rise from their seats in joy and exultation. A cover of “Long Black Veil” by Lefty Frizzell featured Larry Campbell on mandolin and tugged at your emotions as Teresa Williams belted out the lyrics in the small confines of Caffe Lena.
A cover of Helm’s “Poor Old Dirt Farmer” off Dirt Farmer, which featured Campbell as producer and on multiple instruments and was engineered by Guip, was presented as a ‘cajun waltz’ but had a distinct sound of having Irish and Appalachian roots.
The penultimate song, “When I Stopped Loving You” was a highlight of the night, as was the Julie Miller penned “I Love You.” The encore of “Down on My Knees” was followed by a rousing rendition of the Grateful Dead classic, “Sugaree.” The duo spent time meeting fans in the lobby of Caffe Lena, discussing songs and their show and taking photos, a treat to close out a spectacular performance.
On July 20, 2024, catch Larry Campbell and Teresa Williams with musical friends old and new at their inaugural July Jam at Arrowood Farms in Accord. Get tickets here.
Dreamer Boy is the alter ego of Zach Taylor, a rising star in the indie pop scene known for his dreamy soundscapes and heartfelt lyrics. Hailing from Nashville, Tennessee, Dreamer Boy blends elements of lo-fi pop, bedroom pop, and indie rock to create a unique musical experience that resonates with listeners across various genres. His music often explores themes of love, self-discovery, and nostalgia, wrapped in lush, atmospheric production.
Dreamer Boy released his debut album Love, Nostalgia in 2018, receiving praise for its introspective lyrics and innovative sound. Following this, he released All the Ways We Are Together in 2021, further establishing his presence in the indie music world. Dreamer Boy’s ability to craft emotionally resonant songs with a laid-back vibe has earned him a dedicated fan base and critical acclaim.
Dreamer Boy’s performance at Baby’s All Right in Brooklyn on June 11th was nothing short of magical, marking his triumphant return to New York City with a late-night show that left the audience enchanted and wanting more.
Eager fans filled the intimate venue to capacity, creating an electric atmosphere that perfectly set the stage for Dreamer Boy’s unique blend of indie pop. As the lights dimmed and the first notes filled the room, Zach Taylor, adorned in a painted clown face with a giant star over his eye, cowboy hat, and cowboy boots, took the stage with an infectious energy.
A Cowboy’s Charm
One of the most endearing aspects of Dreamer Boy’s performance was his playful and carefree demeanor. Throughout the night, he delighted the crowd with goofy little dance moves, his cowboy boots adding a whimsical touch to his already charming stage presence. His lightheartedness was contagious, and the audience couldn’t help but smile and dance along with him.
Audience Participation
Dreamer Boy’s interaction with the audience was a highlight of the night. He exclaimed early in the set, “We made it to the big city!” which the crowd met with enthusiastic cheers. His genuine excitement and gratitude for being in New York City were palpable, adding a layer of authenticity to his performance.
At one point, he playfully asked the crowd, “Can I get a yeehaw?” The audience responded with a resounding “Yeehaw!” that echoed through the venue, solidifying the bond between the artist and his fans. Later in the night, he expressed his appreciation by saying, “Thanks for having us yâall, this is too fun, this is too fun,” capturing the joyous spirit of the evening.
Dreamer Boy’s setlist for the night included a mix of fan favorites and newer tracks, each performed with an emotional depth that drew the audience in. His vocals, layered over dreamy instrumentals, created a sonic landscape that transported listeners to a place of introspection and bliss. Songs like “Falling for the Wrong One” and “Crybaby” showcased his lyrical prowess and ability to connect with the audience on a personal level.
The intimate venue allowed a close connection between Dreamer Boy and his fans, making the performance feel shared. Dreamy visuals and ambient lighting enhanced the show’s ethereal vibe, creating a captivating atmosphere that perfectly complemented his music.
Dreamer Boy’s show at Baby’s All Right showcased his growth as an artist. His playful personality and engaging presence stood out. Heartfelt music and fun moments made the performance emotionally resonant. As he rises in indie music, Dreamer Boy’s unique sound and genuine audience connection shine. Fans left the venue smiling and with hearts full of his dreamy melodies. They eagerly anticipate his next visit to the big city.
A new face in the Albany Music scene, Lake Effect, released their first six-song EP, Drifting on May 17.
The band formed in 2022 with Lenore Aldi-Snow, who writes all the original music. The other three members come from the funk band, NoLaNauts, also based in Albany. Ben Moss is on Guitar, Brian Brancato is on drums and background vocals and Matt Girtler is on bass and backing vocals. The group played for what they thought was just one performance on New Year’s Eve 2022 at Jive Hive Live, a small venue in Albany.
Lake Effect came together again at Christ’s Church in Albany in April 2023 as an official band this time. They played 23 of their original songs including the tracks from Drifting. The EP was mixed and produced by Alec Lewis at his studio, Honey Home.
The EP is full of Aldi-Snow on the keys playing classic funk rhythms. “Trouble” has an uncanny resemblance to Bill Wither’s “Use Me.” The band uses neo-soul and funk sounds but mixes them with Aldi-Snow’s crisp jazz vocals. “EDGE,” the last track on the EP features Brancato’s and Girtler’s vocals with a blues-rock end to Drifting.
Although Lake Effect is currently on a break due to other musical commitments, they plan on recording more music in the future – listen to their EP Drifting on any streaming site.
Melanie Martinez’s return to New York City on June 5th for her Trilogy Tour at Madison Square Garden (Night One) marked a significant moment for the artist and her fans. Following her memorable performance at Radio City Music Hall last year, Melanie once again captivated her audience with a meticulously crafted show that highlighted her evolution as an artist.
As a native New Yorker, she played to a packed arena filled with passionate fans of all genders and ages; a true testament to her enduring appeal and artistic vision.
Melanie Martinez 6/5/2024. Photo by Emma Goldschmidt
Melanie Martinez: An Album Retrospective
Martinez’s Trilogy Tour followed her journey as an artist through her 3 existing albums: Crybaby, K-12, and Portals. Her debut studio album, Cry Baby, was released in 2015. It was a concept album that told the story of a character named Cry Baby through whimsical yet dark songs.
Her sophomore album, K-12, released in 2019. This continued the story ofCry Babywith a corresponding feature film; showcasing Melanie’s talents not just as a musician but also as a filmmaker and storyteller.
In 2022, Portals explored themes of rebirth and transformation, marked by an ethereal and otherworldly aesthetic. Known for her theatrical live performances, Melanie’s concerts are immersive experiences that blend music, visual art, and storytelling.
Melanie Martinez 6/5/2024. Photo by Emma Goldschmidt
Album 1: Crybaby
The concert began with a bang as Melanie appeared on an elevated platform for “Crybaby,” dressed in a pink cotton dress surrounded by dancers in bunny ears and “crybaby” costumes. The stage backdrop featured cradle imagery, setting the tone for the whimsical and dark narrative that defines the Crybaby album. Fans dressed in elf ears, dresses, and bows screamed in delight as the platform gradually lowered, seamlessly transitioning into “Doll House.” Here, Melanie and her dancers performed a doll-like choreography, with expressive movements that visually spelled out “d-o-l-l-h-o-u-s-e.”
The attention to detail continued with “Sippy Cup,” where her dress swayed to the beat as she reached the main stage. The show maintained its high energy with “Carousel,” featuring a two-headed rabbit carousel and pyrotechnics that mirrored the burning carousel imagery. For “Alphabet Boy,” Melanie rose on a platform stylized as alphabet blocks. During “Soap,” actual bubbles filled the stage, enchanting the audience.
“Pity Party” brought inflatable candles to the stage, with heart-shaped balloons falling from the ceiling during the song’s climax. Melanie’s playful use of a pink axe added a dramatic flair, much to the crowd’s delight. The first album segment concluded with “Play Date” and “Mad Hatter,” with Melanie disappearing in a cloud of smoke.
Melanie Martinez 6/5/2024. Photo by Emma Goldschmidt
Album 2: K-12
Transitioning into the K-12 segment, the stage transformed into a school bus that landed in front of a school backdrop, revealing Melanie in her schoolgirl costume. The nostalgic “Wheels on the Bus” set the stage for the school-themed songs, including “Class Fight,” where Melanie and a dancer balanced on a seesaw.
“Show and Tell” saw Melanie as a marionette, complete with ribbons tied to her wrists, which she dramatically broke free from at the song’s end. The theatricality continued with “Nurses Office,” where Melanie was wheeled out on a gurney by dancers dressed as nurses. “Strawberry Shortcake” featured Melanie on a platform stylized as a strawberry shortcake, glowing ethereally.
“Lunchbox Friends” depicted a narrative acted out by dancers, while “Teacherâs Pet” was a solo performance with Melanie emerging from a desk, rolling on the ground, and utilizing fire pyrotechnics. “High School Sweethearts” featured dancers parading with lit-up sweetheart candies bearing cheeky messages, culminating with Melanie being “shot” by a cupid’s arrow on screen and lowered beneath the stage.
Melanie Martinez 6/5/2024. Photo by Emma Goldschmidt
Album 3: Portals
The final segment, focusing on the Portals album, began with “DEATH,” aligning with the theme of rebirth. Melanie appeared in a floral, earthy dress with a fairy/alien mask, surrounded by dancers in minimalist forest nymph attire. The stage transformed into a cemetery, complete with giant headstones and a gate opening on the screen.
In “VOID,” Melanie danced with her mask on against a backdrop of a wispy black void. “TUNNEL VISION” featured a light ring that followed her, creating a mesmerizing effect. “FAERIE SOIREE” brought inflatable mushrooms to the stage, while “LIGHT SHOWER” had Melanie sitting on a giant slug prop, twirling gracefully.
“SPIDER WEB” saw Melanie donning wings on a platform, accompanied by a dancer in a fly costume, portraying a passionate young fan. “BATTLE OF THE LARYNX” was a dramatic solo performance where Melanie wielded a sword against a dragon on screen, complete with intense fire pyrotechnics.
Melanie Martinez 6/5/2024. Photo by Emma Goldschmidt
Night One of Melanie Martinezâs Madison Square Garden run was a spectacular blend of music, theatrics, and storytelling. Each song was a meticulously crafted experience, demonstrating Melanieâs unparalleled attention to detail and artistic integrity. From her set designs and elaborate costumes to her dynamic choreography and powerful vocals, Melanie proved why she remains a trailblazer in the music industry. Her return to New York was nothing short of triumphant, leaving fans eagerly anticipating what she will create next.
On May 24, Manhattan-based indie pop artist Macinizby released her debut single, “Closet.” The thoughtfully crafted single tells the coming-of-age story of a queer person finding their way through life, love, and heartbreak.
Released right before the beginning of LGBTQ+ Pride Month, “Closet” opens the door for the next generation of queer artists and musicians to come into the spotlight.
Photo Credit: Hellen Elizondo
Before her solo debut, Macinizby had already built a reputation for herself as a drummer in the city’s indie rock scene, playing with acts such as Bec Lauder and The Noise, Breaker, and Rose Paradise. However, unlike her work as a group performer, “Closet” gives us a deeply personal perspective of who Macinizby is, not only as an artist but as an individual, writer, and producer.
Produced alongside Jacob Geoffrey, “Closet” stands out from Macinizby’s past indie rock records with her group acts. The single acts as a method of storytelling for Macinizby. It’s hard to ignore the passion in her voice, let alone the meaningfulness of the lyrics. Reminiscent of the early days of Avril Lavigne and other pop-rock artists of the early 2000s, Macinizby puts her own creative spin on a classic teen love story.
The steady guitar riffs, coming-of-age angst, and bouncy vocal melody brings this song back, while the storyline brings us into the modern day. With “Closet,” time travel is absolutely possible. Any listener instantly feels as if they’ve traveled in time to a music video from 20 years ago. Macinizby’s “Closet” is a great way to introduce new audiences to the pop-rock genre.
As for the storyline, it is clear from the beginning what the artist is trying to convey. The struggles of a queer relationship are highlighted very poignantly. Yet, there is a sense of comfort that Macinizby’s lyrics and voice provide. Even in a situation as difficult as m maintaining a relationship, there is still hope. Love may or may not be the end result, but while it is there, it’s best if we enjoy it.
Get ready to rock…but also be prepared to shed some gay tears.
Macinizby
For now, we must wait. But, there is no doubt that Macinizby’s new song, and solo career, are highly anticipated. Fans can listen to “Closet” on all major streaming platforms, as well as with this link.
Appearing first with a gently phased guitar, the newest single, “Sun Song,” from NYC based indie outfit Monotronic thumps the low end frequencies for the opening minute.
With a beautifully brassy lead vocal, the latest release seems a breath of fresh air to the often nasal driven and female voiced genre. Skillfully produced, the dynamic shifts with the chorus to a major key pop groove reminiscent of your favorite 90’s hits before snapping shut to the second verse.
Bandleader Ramsey Elkholy displays tight songwriting with attention grabbing vocal melodies that seem designed to ping around your head for the rest of the day. His use of weaved vocals on the final chorus punctuates that display near perfectly.
Monotronic comprises a collective of NYC musicians, seemingly embracing the culture of Empire State artists synergistically growing together. At 3:30, their single leaves nothing to be desired except repeated plays and a follow up release.
The 2024 Songwriters Hall of Fame 53rd Annual Induction and Awards Dinner once again took New York City by storm on the evening of June 13, 2024.
Opening with remarks by SHOF Board Member and Show Committee Chair Evan Lamberg, the Gala recognized and honored the immeasurable impact of some of the most legendary songwriters of our time.
NEW YORK, NEW YORK – JUNE 13: Carrie Underwood speaks onstage during the 2024 Songwriters Hall of Fame Induction and Awards Gala at New York Marriott Marquis Hotel on June 13, 2024 in New York City. (Photo by L. Busacca/Getty Images for Songwriters Hall Of Fame)
The evening was a dazzling spectacle as musical icons Hillary Lindsey, Timothy Mosley p/k/a Timbaland, Dean Pitchford, Bill Berry, Peter Buck, Mike Mills, and Michael Stipe p/k/a R.E.M., and Walter Becker and Donald Fagan p/k/a Steely Dan were inducted into the Songwriters Hall of Fame. Master songwriter and multi-award-winner Diane Warren received the prestigious Johnny Mercer Award, and 4X GRAMMY award-winning recording artist SZA received the Hal David Starlight Award. The night also followed the posthumous induction of legendary country songwriter Cindy Walker to the SHOF for her remarkable contributions to the world of music in a special tribute held at a SHOF Master Session in Nashville.
NEW YORK, NEW YORK – JUNE 13: Trey Anastasio performs onstage during the 2024 Songwriters Hall of Fame Induction and Awards Gala at New York Marriott Marquis Hotel on June 13, 2024 in New York City. (Photo by Bennett Raglin/Getty Images for Songwriters Hall Of Fame)
The Songwriters Hall of Fame Induction and Awards Dinner, year after year, is a stunning night full of spectacular moments honoring the art of songwriting. The evening kicked off with a special performance of Irena Cara’s “Fame,” performed by 2024 Abe Olman Scholarship recipients Rodney Chrome, Molly Kate Kestner, Sierra “Spirit” Kihega, Ava Liv Mabry, and Matilda Marigolds. 4X GRAMMY award-winning recording artist Deniece Williams then took the stage to begin the induction of Oscar-winning and multi-GRAMMY and Tony-nominated songwriter Dean Pitchford. Williams performed her 1984 hit “Let’s Hear It for the Boy” of Footloose fame, which had the whole crowd clapping to the rhythm. Multi-award-winning actor Kevin Bacon and musician Michael Bacon, who together form The Bacon Brothers, then continued the party, bringing the house to their feet for an electrifying performance of “Footloose” that put Kevin Back in the dancing shoes of his former role. The brothers then inducted Dean, saying his writing has “inspired all of us to reach for our dreams.” Following his induction, Dean performed “Once Before I Go,” a piano-backed, emotional retrospective, fitting for such a momentous occasion.
Renowned manager Irving Azoff began the honors for Steely Dan, naming them “among the best bands ever” and claiming that “their records will be recognized as iconic for the rest of time.” Singer-songwriter and lead guitarist of Phish, Trey Anastasio, then took the stage to perform a medley of Steely Dan hits. The funk-infused “Kid Charlemagne” blended seamlessly into the famous riffs of the timeless, swinging groove of “Reelin’ In the Years.” Trey then inducted Donald Fagan and Walter Becker, stating that together, “they created a body of work that defied categorization – masterful, thought-provoking, elegantly melodic songs filled with beautifully flawed, deeply human and believable characters.”
Songwriters Hall of Fame Chairman, Rock & Roll Hall of Famer, and 6X GRAMMY award-winning musician Nile Rodgers took the stage next to honor SZA with the Hal David Starlight Award, which is presented to young songwriters making a significant impact in the music industry with their original songs. Nile praised her abilities as a composer, which “manage the amazing feat of being ethereal and keeping it real at the same time.” The 4X GRAMMY award-winning recording artist then performed an intimate, acoustic performance of her hit “Snooze” from her breakthrough sophomore album SOS, and claimed that receiving this award “validates [her] entire career.”
NEW YORK, NEW YORK – JUNE 13: (L-R) Carrie Underwood, Clive Davis and Diane Warren attend the 2024 Songwriters Hall of Fame Induction and Awards Gala at New York Marriott Marquis Hotel on June 13, 2024 in New York City. (Photo by L. Busacca/Getty Images for Songwriters Hall Of Fame)
Next to the stage was 8X GRAMMY award-winning country superstar Carrie Underwood who kicked off the induction for Hillary Lindsey with a powerful performance of “Jesus Take the Wheel” from her debut album Some Hearts. Carrie bestowed the title “queen of modern Nashville songwriting” to Hillary and 4X GRAMMY-winning musician Keith Urban joined her on stage for the induction. Hillary then performed a stripped down medley of the songs she penned, with a rendition of Lady Gaga’s “Million Reasons” which turned into a duet with Keith Urban joining her for “Blue Ain’t Your Color,” his electric guitar perfectly complimenting her bared-down acoustic melodies.
NEW YORK, NEW YORK – JUNE 13: Timbaland speaks onstage during the 2024 Songwriters Hall of Fame Induction and Awards Gala at New York Marriott Marquis Hotel on June 13, 2024 in New York City. (Photo by Bennett Raglin/Getty Images for Songwriters Hall Of Fame)
4X GRAMMY-winner and SHOF inductee Missy Elliot took the stage next to induct her frequent collaborator and friend Timbaland, crediting the fellow 4X GRAMMY-winning rapper and producer with “changing the cadence of hip-hop.”
NEW YORK, NEW YORK – JUNE 13: Timbaland conducts onstage during the 2024 Songwriters Hall of Fame Induction and Awards Gala at New York Marriott Marquis Hotel on June 13, 2024 in New York City. (Photo by L. Busacca/Getty Images for Songwriters Hall Of Fame)
On his induction, Timbaland claimed it to be the “best award [he] could ever get,” before he performed a victory lap of the hits that brought him here, energizing the room with a medley of “Big Pimpin’,” “Pony,” “SexyBack,” “Get Your Freak On,” “Drunk in Love,” “Promiscuous,” and “Suit & Tie.”
NEW YORK, NEW YORK – JUNE 13: (L-R) Mike Mills, Michael Stipe, Bill Berry and Peter Buck, of R.E.M., perform onstage during the 2024 Songwriters Hall of Fame Induction and Awards Gala at New York Marriott Marquis Hotel on June 13, 2024 in New York City. (Photo by Bennett Raglin/Getty Images for Songwriters Hall Of Fame)
R.E.M. had the last induction of the evening, led by 6X GRAMMY award-winning singer, songwriter, and actor Jason Isbell who performed the band’s 1987 song “It’s the End of the World as We Know It (And I Feel Fine).” With his guitar in overdrive, the high energy, quick-flying alternative rocker lit up the room. The band then performed for the first time together in 15 years, playing their multi-GRAMMY award -winning hit “Losing My Religion,” which enthralled the audience with a mesmerizing, mandolin-driven performance.
NEW YORK, NEW YORK – JUNE 13: Michael Stipe, of R.E.M., perform onstage during the 2024 Songwriters Hall of Fame Induction and Awards Gala at New York Marriott Marquis Hotel on June 13, 2024 in New York City. (Photo by Bennett Raglin/Getty Images for Songwriters Hall Of Fame)
The program neared the finale with the presentation of the Johnny Mercer Award to Diane Warren, the highest honor bestowed by Songwriters Hall of Fame. Multi-award-winning songwriter, SHOF inductee, and Johnny Mercer Award recipient Paul Williams presented the award, claiming “A.I. worries about Diane Warren.” GRAMMY and EMMY award-winning singer and songwriter Andra Day put on a rousing performance of her Oscar-nominated song “Stand Up for Something” from the 2017 film Marshal, with her soaring vocals giving the evening wings.
On accepting her award, Diane stated “songwriting isn’t something I do, it’s who I am and what I live and breathe for every day of my life.” 5X GRAMMY award nominee El Debarge then closed out the evening, performing “Rhythm of the Night,” Diane’s first hit song,coinciding with the song’s 40th anniversary and bringing the room to their feet, stomping and clapping as the ceremony closed with a bang.
