On Monday, April 8, Joe’s Pub Annual Gala celebrated 25 years of artistic excellence and support for up-and-coming talent. The dynamic creative community of New York City came together in style.
Vuyo Sotashe & Chris Pattishall | Credit David Andrako
Joe’s Pub, a program of The Public Theater, has been a shining light for performers since it started in 1998. They welcome everyone from up-and-coming talents to Grammy Award-winning icons like Adele and Alicia Keys. The event’s proceeds supported vital initiatives like New York Voices and Joe’s Pub Working Group. Along with the Vanguard Award & Residency, all are committed to developing the next wave of creative talent.
Ellen Winter | Credit David Andrako
Angélique Kidjo, the incomparable five-time Grammy Award winner and 2024 Vanguard Resident, was the star of the evening’s spectacular lineup of performances. Members of the Joe’s Pub Working Group for 2023–2024, including Queen Esther, Ellen Winter, and Firas Zreik, as well as former New York Voices members Omar Offendum, Vuyo Sotashe, and Chris Pattishall, joined her on stage. Angélique Kidjo’s incredible performance was without a doubt the high point of the evening; it was a fitting homage to her legacy and the inventive spirit that characterizes Joe’s Pub.
L-R Ashley Meeks/Joe’s Pub; Firas Zreik; Sienna George; Ania Washington/Joe’s Pub; Ellen Winter; Audrey Frischman/Joe’s Pub | Credit David Andrako
Joe’s Pub Working Group and similar programs give local artists the space they need to develop new ideas. Some of the talent supported in this hub are Ellen Winter, Firas Zreik, and Queen Esther.
The dedication to artistic freedom, diversity, and innovation will keep influencing how New York City’s cultural scene develops in the years to come. Cheers to another 25 years of incredible shows, creative partnerships, and treasured memories at Joe’s Pub.
Talk about saving the best for last, On April 9, that was the case for Dreamville’s Bas as he stopped at the famed Irving Plaza in New York City for the last stop on his ‘WE ONLY TALK ABOUT REAL SHIT WHEN WE’RE F*CKED UP’ North American Tour.
The show featured three openers: Blxckie, Reuben Vincent, and Hoosh. Each opener each played for around 20 minutes, giving a taste of their style and sound. This shorter set times and the overall quality of the openers worked really well for getting the crowd ready for Bas to take the stage. It was obvious that Bas picked musicians he respects and enjoys listening to to open for him, something emphasized by a story he told about first hearing Blxckie’s music while in South Africa during his set.
Bas graced the stage under a red glowed ambience and sintilating sounds of his live band. Bas was particularly good at interacting with and engaging the crowd. The show kept a great energy with the crowd getting into songs from We Only Talk About Real Shit When We’re Fucked Up and Bas’ back catalog. Bas brought backing vocalists who really filled out his live sound and added a sense of harmony to the performance. These vocals were such a nice touch that really show his attention to detail in putting together a performance.
The show ended with Bas inviting a fan up to rap J. Cole’s verse on his song “Lit.” Clearly energized, the fan selected from the crowd excitedly performed with Bas. Longtime collaborator and Dreamville leader J.Cole popped onto the stage to the surprise of the fan and the crowd. Cole went on to finish the song with the fan and perform “H.Y.B.” with Bas and his classic smash hit ‘No Role Modelz’ rounding out a great night of music and vibes.
Setlist: Light of my Soul, Home Alone, 179 Deli, Black Jedi, Choppas, Yao Ming, Diamonds, Methylone, Dopamine, Ricochet, Clouds Never Get Old, Night Job, Khartoum, Risk, Decent, U-Turn ft. Blackie, Passport Bros, Boca Raton, The Jackie, Paper Cuts, Dr. O’blivion, Wait on Me, H.Y.B., Costa Rica, Down Bad, Tribe and Lit.
Many know of Suzanne Vega for her infamous tunes such as “Luka” or “Tom’s Diner,” but they may not know that she’s been a New York native since she was two-and-a-half years old and that her brand new world tour just launched here in Albany.
The tour, titled “Old Songs, New Songs, and Other Songs,” is in celebration of a new album she teased throughout her live performance. No word on a title or release date as of yet, but she did perform new songs and announced on-stage that it should be out late this year, if not early next year.
The stage of The Egg itself was dressed simply, with no fluff. A stool, two guitars (one with quite the pedalboard), and some mics. Suzanne Vega walked out and was accompanied by Guitarist Gerry Leonard.
Wearing a black pantsuit and a welcoming smile, Suzanne Vega walked to the microphone and graciously accepted the applause the Albany crowd enthusiastically gave. Taking a small bow and putting on a black top hat, she started in by leaning into the ‘old’ with tunes like “Gypsy” and “Small Blue Thing” and weaving back and forth in time throughout her catalog, reminding us of her soft, soulful, yet powerful voice and one-of-a-kind musical storytelling.
In between songs, she takes moments to talk to the audience and the intimate setting of The Egg is perfect for it. She tells the stories behind some of her songs and gives more insight to who she wrote them for and why. imparting a personal touch into the show and sheds light on things in her life, especially a specific camp counselor with whom she worked alongside at another nearby camp many years ago. Before letting any story get stale, however, Suzanne gets to the music and delivers.
Gerry Leonard’s smooth and airy, guitar blended with Suzanne’s acoustic guitar and vocal accompaniment seamlessly as he turned his solo instrument into a soundscape by employing looping pedals to sustain melodies and rhythms. This was best exemplified by the final song of the set “Tom’s Diner” where a makeshift drum beat was created and looped while guitar plucks melodically assisted.
In addition to his glowing performance on Tuesday, Leonard also co-wrote Vega’s 2014 album Tales from the Realm of the Queen of Pentacles and has worked with other talented musicians such as David Bowie, Roger Waters, and Duncan Sheik.
Suzanne Vegas world tour will continue on to the Kupferberg Center for the Arts in Flushing, NY on September 27 and at Old Dutch Church in Kingston, NY on October 4.
On a rainy April evening, April 2, 2024 to be exact, mgk and Trippie Redd brought their brand new EP genre : sadboy to the Irving Plaza stage for its first ever live performance.
A week prior, the pair got fans excited by releasing a video for their song “lost boys,” as well as a short documentary about their time creating the album. Tickets to the show were free and given to fans through a raffle and needless to say that mgk and Trippie fans showed out on Tuesday night, packing the house.
Trippie Redd (left) and mgk (right) at Irving Plaza. Photo by Lucas Kurzweil.
The two opened up the show performing the first five songs off of their new tracklist. The album gives catchy choruses while maintaining a sad tone. Through their words the two artists explore their personal experiences with drugs, relationships and depression. Although the EP is brand new, mgk and Trippie’s longtime fans already knew all of the words.
Trippie Redd (back left) and mgk (right) at Irving Plaza. Photo by Lucas Kurzweil.
After the first five tracks, the Ohio native artists started taking turns performing some of their solo music. Trippie Redd started things off with his 3x platinum track “Taking a Walk,” and mgk followed with “PRESSURE.” They then went back and forth one more time with Trippie performing “Wish,” and mgk performing “dont let me go.” Although short, the throwback portion of the show provided a nice reminder to what these two established artists have accomplished in the past.
Following their four track throwback session, mgk and Trippie Redd continued with the next four tracks of their EP which all helped showcase both artists use of soft tones and dreamy, but also dark, fairytale-like sounds. mgk and Trippie then brought back some more of their old music, with mgk performing “my ex’s best friend,” “all I know,” and “Candy,” all with the crowd at full energy, screaming every word back to mgk. Trippie sang a beautiful rendition of “Fuck Love” his 2017 that he created alongside XXXTENTACION.
With only one track from the EP unsung, the artists started to go back and perform some songs for the second time. They repeated “lost boys” and “beauty” before mgk invited a fan, who had a message on his phone saying he could rap “el Diablo” faster than him, onto the stage. mgk and the fan went bar for bar together rapping the song, and then had a warm embrace at the end before the fan left the stage. Then mgk and Trippie performed “time travel” and “struggles” off of their new EP, for a second time.
Trippie Redd (left) and mgk (right) at Irving Plaza. Photo by Lucas Kurzweil.
To close out the show, mgk performed “Wild Boy” with some acapella verses, as well as “I Think I’m OKAY.” Finally, mgk and Trippie performed the only song off of “genre : sadboy” that had yet to be played, “summer’s gone.” At the end of the song the two artists dropped down off of the stage to greet the fans at the front barricade, before finally departing.
Trippie Redd (left) and mgk (right) at Irving Plaza. Photo by Lucas Kurzweil.
Setlist: lost boys, beauty, time travel, struggles, suddenly, Taking a Walk, PRESSURE, Wish, dont let me go, half dead, hiding in the hills, no more, who do i call, my ex’s best friend, Fuck Love, all I know, Candy, lost boys, beauty, el Diablo, time travel, struggles, Wild Boy, I Think I’m OKAY, summer’s gone
Lotus brought along Blendmode to open up their Capitol Theatre show on Saturday, April 6, along with Eli Winderman from Dopapod & Jonathon Grusauskas of lespecial.
Blendmode really go the night going with their unique, bass heavy, danceable groove.
Lotus played a special show featuring guitar dueling between Tim Palmieiri & Johnny from lespecial. Winderman fit in well adding his unique synth sound to the Lotus soundscape. The set was filled with groovy jams and some face melting solos. The second set included a memorable Radiohead cover, “Airbag.”
Lotus – Capitol Theatre, Port Chester – April 6, 2024
Set 1: Middle Road, Expired Slang, Tar Pits, Marquee Moon, Debris, Shimmer and Out
Set 2: Opus, Reed, It’s All Clear to Me Now, Flower Sermon, Airbag, Wax
Long Island-based grunge band The Suicide Disease announced the release of their latest single, “Descent,” released on April 12.
The track is a reminder that even in the darkest of times, there is always a glimmer of light to hold on to. The Suicide Disease continue to be a beacon of hope for those navigating through their own personal battles. The theme is accompanied by gritty instrumentation and haunting melodies showcasing their signature sound.
The Suicide Disease saw success in their previously released tracks “Flood” and “War.” The band hopes to see even greater success with the release of “Descent.” With its raw energy and emotive lyrics, the anthem of resilience and perseverance speaks to life’s struggles and the importance of pushing forward in the face of adversity. This major theme is common in the band’s writing and performance.
The group showcases their pop-grunge sound, which is carried by their emotional vocals, punching drumbeats, and rugged, chuggy riffs. Hailing from Mastic, Long Island, The Suicide Disease utilizes their locale of depressive-beach as an outlet for creativity and sees nodes of bands like The Cure, Chevelle, and Fallout Boy. They simultaneously inhabit the spirit of bands like My Chemical Romance and Three Days Grace with the loud, in-your-face emo sound. “Descent” stays true with these sounds and inspirations and holds something inspiring yet dark in their writing.
“Descent is the dark path we take when we are constantly thinking about the macabre. Wanting someone back from the dead and not moving forward with your life because of it. It’s as bad as trying to dig up a body, you’re just digging up the past. And the message here is that death is final – so loved ones would tell you to live on.”
Jay Francis – Lead Vocals
Stream “Descent” by The Suicide Disease on all platforms here. Be sure to stay up to date on the band by checking out their socials. Click here to listen to their other music via Spotify.
NYC-based rock band The Felice Brothers have released a new single “Crime Scene Queen,” and announced their US and European headlining tour that will kick off at Bowery Ballroom on July 11.
With the tour announcement, The Felice Brothers have also announced they have signed to Conor Oberst’s new record label, Million Stars, and will release their new album, Valley of Abandoned Songs,on June 27. The 13-song collection consists of recordings primarily from sessions for the band’s 2019 album, Undress, as well as their most recent release, 2023’s Asylum On The Hill, both of which were captured live in an 1870s church with the band’s current lineup of Ian Felice on guitar and vocals, James Felice on piano and vocals , Jeske Hume on bass, and Will Lawrence drums.
When describing their new single “Crime Scene Queen,” the bands’ guitarist Ian Felice explains, “The one lyric I had when I started to write this song was ‘through the palms of pleasure island, an ominous wind began to blow.’ The rest of the story was built around that image. Humphrey Bogart’s character in The Big Sleep might also have played some role. It was recorded on the final day of our sessions for Asylum On The Hill.
“A few years ago, I started revisiting old demos that had never seen the light of day and recordings that hadn’t found a home on previous albums, and I started thinking of them as the Valley of Abandoned Songs,” explains Ian Felice. “At a certain point, I realized that I had a particular group of tunes that worked really well as an album, and so I shared it with Conor, along with my idea to post it online, but he immediately texted back that he loved it so much he wanted to start a new record label just to put it out.”
After signing the band to his new label, Conor Oberst shared, “I first encountered the Felice Brothers in 2007 after being given some of their music by a friend. I liked it a lot, but there was something I couldn’t put my finger on—singular and mysterious. An iconoclastic version of what some lazy people call “Americana”. I subsequently met them and played shows together. They became some of my best friends, family, really. I put out two of their records on the label I co-owned at the time, called Team Love.
Connor added, “then we started to perform together with them as my backing band and made a record of mine called Salutations. Needless to say, I love this band, and when I asked that horrible question, ‘Who is your favorite band?’ I always answer ‘The Felice Brothers.’ So when Ian sent me this new collection of songs and told me they just planned to put it up on the internet, I kind of flipped out, because they were so goddamn good. And then I did something I swore I would never do again: I started a new record label. This is my third. It is called Million Stars, and I am so proud to say the new Felice Brothers album is our first release. I can’t quit them. I hope you enjoy it as much as I do.”
Valley of Abandoned Songs follows the bands’ surprise releaseAsylum On The Hill, which was released exclusively on Bandcamp in December, and their 2021 album From Dreams To Dust which was praised by many.
With the release of the new single, “Crime Scene Queen“, The Felice Brothers will release their new album Abandoned Songs on June 27 before they headline their US and European tour set to kick off this summer and the band perform in New York at Bowery Ballroom on July 11. For tickets and more information about the band fans can visit here.
The Felice Brothers Tour Dates
7/11 – New York, NY – Bowery Ballroom
7/12 – Philadelphia, PA – World Cafe Live
7/13 – Cambridge, MA – The Sinclair
7/14 – Portland, ME – Space
726-28 – Nelsonville, OH – Nelsonville Music Festival
7/27 – Chicago, IL – Beat Kitchen
10/29 – Leeds, UK – Brudenell Social Club
10/30 – Manchester, UK – Band on the Wall
11/01 – Sligo, Ireland – Sligo Live
11/02 – Dublin, Ireland – Button Factory
11/04 – Glasgow, UK – St Luke’s
11/05 – Birmingham, UK – Hare & Hounds
11/06 – Cardiff, UK – The Globe
11/07 – London, UK – Electric Ballroom
11/09 – Bristol, UK – Strange Brew
11/10 – Brighton, UK – Chalk
11/12 – Amsterdam, Netherlands – Paradiso Noord
11/13 – Cologne, Germany – Luxor
11/15 – Berlin, Germany – Kulturhaus Peter Edel
11/16 – Weissenhäuser Strand, Germany – Rolling Stone Beach
Pop sensation Olivia Rodrigo brought the house down April 9 at Madison Square Garden, marking the last of four sold-out shows at the famed arena for her ongoing world tour. Fans decked out in purple, sequins, and feather-trimmed cowboy hats filled the venue, eager to sing along to Rodrigo’s 2023 angsty pop-rock album GUTS.
Olivia Rodrigo — Photo by Molly Higgins
After an opening set from 90s alternative rock favorites The Breeders, Rodrigo’s crowd of young, spirited supporters screamed with excitement as four 3D candles—spelling out GUTS, of course—were projected on stage. When the wax melted, Rodrigo would make her much-anticipated appearance.
Electric guitars crashed as a platform lifted Rodrigo to center stage, kicking off the show with her upbeat single “bad idea right?” Decked out in a sparkling silver outfit for the start of the show, Rodrigo worked the full stage from the moment she appeared, sprinting from one catwalk to another, dancing with her musicians, and interacting with fans in the crowd.
Rodrigo’s setlist featured nearly every song from GUTS and her debut album, SOUR, plus a few surprises, including an unexpected duet with special guest Jewel. Backed by eight skilled backup dancers and eye-catching effects—a significant upgrade in production value from her 2022 Sour Tour—Rodrigo put on a dazzling show, radiating confidence throughout.
Whether seated at a grand piano, shredding on the electric guitar, or floating on a giant crescent moon above the crowd, Rodrigo brought an electrifying energy to the MSG stage. Her seamless transitions between heart-wrenching ballads and early 2000s-style pop rock anthems kept the audience on the edge of their seats. As star-shaped confetti rained from the arena ceiling throughout the final notes of “get him back!,” Rodrigo danced her way backstage, triumphantly closing a show that certainly solidified her superstar status.
Olivia Rodrigo – Madison Square Garden – April 9, 2024
Setlist: bad idea right?; ballad of a homeschooled girl; vampire; traitor; drivers license; teenage dream; pretty isn’t pretty; love is embarrassing; making the bed; logical; enough for you; lacy; jealousy, jealousy; Can’t Catch Me Now; You Were Meant For Me (with Jewel); happier; favorite crime; deja vu; the grudge; brutal; obsessed; all-American bitch; good 4 u; get him back!
The indie-electro-folk-rock duo Permanent Moves, based in Brooklyn, will debut on April 12 with the release of their album Don’t Forget Us: A Chekhovian Song Cycle.
With a narrative that explores the depths of human nature, Permanent Moves draws inspiration from the classic works of Anton Chekhov. Their upcoming album features Chris Giarmo (American Utopia) and Jessie Shelton (Hadestown), Karl Blau, Starr Busby, and other special guests.
The pair believes their music allows listeners to reflect on their own paths while navigating life’s challenges. In a statement, the pair reflects on their seven-year songwriting journey, focusing on Chekhov’s talent for capturing life’s unspoken moments. The artists said, “It speaks to the questions we often sit around talking about”.
Photo by: Sammy Tunis
Praised for their “sonically gorgeous” sound, Shane Chapman and Julia Sirna-Frest have garnered recognition from The New York Times. Julia is a performer, director and musician bringing experience to the project. In addition, she is praised for her diverse talents, shining both on stage and off. Their joint vision gains depth from Shane’s skill as a musician and composer.
With build up for the album’s release, Permanent Moves is set to leave a lasting impact on the indie music scene and beyond. Soon, fans will experience Permanent Moves live at Brooklyn’s Sultan Room on April 16 for a record release show.
Get your tickets for the Sultan Room record release show and stream “Don’t Forget Us” now for a preview of what’s to come. You can experience Permanent Moves’ stunning sound in its purest form by pre-ordering Don’t Forget Us on vinyl.
On Saturday, April 6, the Binghamton Philharmonic Orchestra closed its 2023-2024 Symphonic Series with “Roman Holiday,” a thrilling program of music both from and about the sunny lands of the Mediterranean.
Carlos Perez, Ajen Lewis, Cassie Lee, Charlie Sobel, Joe Sobel
The evening opened with “Fandangos,” a piece by Cornell University-based composer Roberto Sierra that evoked Spanish dance forms of the eighteenth century, replete with bold, Andalusian-style trumpets and assertive percussion. Aided by the committed conducting of Maestro Daniel Hege, Sierra took the orchestra to extremes of speed, volume, and emotional impact. Pyotr Ilyich Tchaikovsky’s dazzling showpiece “Capriccio Italien” followed, with a martial chorus of brass and a seductive medley of folk tunes, played by the orchestra with shimmering lyricism.
The high point of the “Roman Holiday” concert, though, was Ottorino Respighi’s stunning “Pines of Rome,” an orchestral experience of the Eternal City and its iconic pine trees.
The Philharmonic was expanded to its largest size for this piece, with 75 musicians onstage and six more in the theater boxes overlooking the audience – trumpets and trombones that Respighi meant to invoke Roman legions marching on the Appian Way. As always with this ensemble, the woodwinds shone, with stand-out solos from flutist Karen Bogardus, clarinetist Paul Wongjin Cho, oboist John Lathwell, and bassoonist Melissa Kritzer; hornist Alex Shuhan and trumpeter Frank Campos also provided dazzling moments.
Mikhail Shlyuger, Margaret Heath, Nina Heath-Shlyuger
Maestro Hege led the orchestra with his trademark elegance and expressiveness, infusing Respighi’s astonishing work with lyrically shaped phrases and passionate crescendos that stirred the soul.
A standing ovation and many bows for Hege and the orchestra were proof of the power of this music and of the great skill of the Binghamton Philharmonic.
