NYS Music 2024

Category: Features

  • Grateful Dead Continue Their First Run at the Knick: March 25, 1990

    We continue our look back at one of the more influential and memorable series of shows The Grateful Dead have ever played in the State of New York. On this day in 1990, the Dead continued their first ever run of shows at The Knick in Albany, formally known as Knickerbocker Arena. The three-night run sees the band in peak form and contains so many musical highlights that it was rightly crafted into a three-disc 1996 live release entitled Dozin’ At The Knick. After a brilliant first night, the band shows no letup in this second night that features a prime portion of the second set that’s all featured on the album.

    The show begins with a succinct but crisp “Greatest Story Ever Told,” with Jerry Garcia’s signature guitar tone present early and often. The vocal harmonies of Bob Weir and Brent Mydland are on point as the band seems fully engaged from the get-go. “Touch of Grey” then follows in the two-spot, the Dead’s “hit” from their 1987 In The Dark release that introduced the band to so many. Garcia nails all of the vocals and phrasing, in addition to the signature ripping guitar solo, and Mydland joining in on harmonies seems to take this “Grey” to another level. It’s a surprise this wasn’t include for Dozin’ At The Knick selection.

    Weir then leads the band through a bluesy cover of “Wang Dang Doodle” before Mydland does the same on one of his signature tunes, “Never Trust A Woman.” Brent’s soulful vocals combined with increasingly powerful runs on the organ make this one of the finer versions ever played, sadly also one of the last as well. The Dead then cue up a classic love song for the Knick, one familiar to Jerry Garcia Band setlists, “Jack-a-Roe.” The tune about doing anything in the name of love, which can be traced back as far as the early 1800s, features story tale-like lyrics and a couple of ripping runs by Garcia on guitar on the band’s modern day take on it.

    They follow this up with another cover, this time a wonderful take of the Bob Dylan-penned “When I Paint My Masterpiece.” Weir handles the bluesy vocals with aplomb, which rise in intensity from start to finish, wrapping up a fun three-song section of the first set. This grouping of songs is prominently featured on the first disc of Dozin’ At The Knick and it’s no surprise why.

    The band then shifts back into “jam” mode and unleash a 13-minute “Bird Song” that’s one of the highlights of the show. It features a jam that takes off immediately and, fittingly, bounces and flutters around in a way only the Dead can manipulate. Garcia goes through a multitude of guitar filters and the resumption of the composed section seems to come out of nowhere. Seizing this momentum, the first set then ends with a triumphant “Let It Grow” that’s highlighted by some nimble bass lines from Phil Lesh and more explosive runs from Garcia up and down the fretboard. It caps off a first set at the Knick bookended with two Dead originals played to perfection with a fun mix of cover songs thrown in between.

    To begin the second set, “Eyes of the World” quietly starts up in a much slower, groovier tempo than most of its predecessors. It’s a pristine version with some nice interplay between Garcia and Lesh throughout and with the instrumental sections between verses executed to perfection as the band seems fully engaged right away after the set break.

    As the “Eyes” jam dwindles down to drums-only, so starts the beginning of “Samson of Delilah” in a clean segue. Mydland shines on keys in a jam that starts off strong and never lets up as the Dead treat the Knick crowd to another one of their takes of a traditional arrangement, this one with Biblical roots. From this, the opening chords of “Crazy Fingers” emerge and Garcia reassumes the helm. It’s a slow. deliberate take on this Dead classic and Garcia drops another guitar solo in an accompanying fashion.

    As the tempo finally begins to pick up at the end, the Dead execute another fairly seamless segue into another live staple, “Truckin’.” Weir leads the band on vocals on a brief, but jubilant take of this classic number that doesn’t stretch out too far. Instead, a blues-heavy riff soon develops and the Dead immediately launch into a cover of Howlin’ Wolf’s “Spoonful.” This one gets capped off will a full-on, short but sweet “Mind Left Body” outro jam, with Garcia playing through a trumpet-like filter. This was likely a nod to the full-fledged MLB jam that took place just the night before.

    This sets the stage for the traditional mid-second set “Drums” -> “Space” section and drummers Mickey Hart and Bill Kreutzmann proceed to go through every percussive tool at their disposal. The “Space” section is highlighted by Garcia and Mydland both noodling maniacally on their respective instruments before Garcia unleashes a trombone-like guitar effect to change the mood and Mydland slowly starts up another one of his signature tunes, “I Will Take You Home,” in a very silky transition.

    Once “Home” finishes up, the mood shifts from sentimental to joyous once more as the Dead treat the Knick to their ripping cover of “Goin’ Down The Feeling Bad.” This yields a brief but jubilant jam with Garcia singing the verses energetically, but as it quickly descends in pace, he quickly slides into the opening licks of the always contemplative “Black Peter” and the Dead deliver a poignant version.

    To close out the set, they then launch into a cover of Chuck Berry’s “Around and Around” a song they’ve mastered and made their own by now. Weir belts out the vocals that rise in intensity with each passing verse and the Dead give the Knick crowd one last dose of pure rock and roll as only they can. The entire sequence from “Space” to “Around and Around” is seamless and near flawless and prominently featured for all to enjoy on Disc 3 of Dozin’ at the Knick.

    To close out night two of the run, the band shows their love for American-based rock once more with a second Dylan cover, this time it’s “Quinn the Eskimo.” This shuts the door on night two at the Knick, with one left to play.

    Check out Archive.org for a great recording of the entire show.

    Grateful Dead Knickerbocker Arena – Albany, NY 3/25/90

    Set 1: Greatest Strory Ever Told > Touch of Grey, Wang Dang Doodle, Never Trust A Woman, Jack-a-Roe, When I Paint My Masterpiece, Let It Grow

    Set 2: Eyes of the World > Samson and Delilah, Crazy Fingers > Truckin’ > Spoonful > Drums > Space > I Will Take You Home > Goin; Down The Road Feeling Bad > Black Peter > Around and Around

    E: The Might Quinn (Quinn the Eskimo)

    View this and more Grateful Dead shows from across the years in New York State with our interactive map below

  • Historical Peek at a Theatrical Gem: Paramount Hudson Valley Theater in Peekskill

    Beyond the perspective of traditional theater, one might fix their gaze upon the Paramount Hudson Valley Theater.

    Paramount Hudson Valley Theater
    Paramount Hudson Valley Theater

    As the story goes, Peekskill opened its doors in 1930 to serve as a 1,100 seat subsidiary of Paramount Pictures. George and Charles Rapp designed quite the structural feat given the resources and materials available within that era.

    Completely decked out to the nines, this Art Deco style theater hosted so many wondrous artistic elements. For nearly a generation, the Wurtlizer organ ascended from the pit of the stage to provide simply spectacular symphonies. 

    Paramount Hudson Valley Theater

    Some of the greats like Banks Kennedy provided plenty of tuneage to those in attendance of the 1,500 person capacity limit. More times than not, standing room only seemed to be the status quo.

     Paid in Full had been “picturized” by Paramount in 1919. The producers, with their unerring instinct for a good play, were being judicious in their re-entering the game. Change was in the air. Motion pictures were making headway all across the country with most small towns now having converted their stages into motion picture theatres.

    Other interesting facets of the Paramount Hudson Valley Theater were the industrial sized accouterments that helped the Peekskill facilities run smoothly. To stand the true test of time, any building must be designed with innovation and longevity in mind. 

    One of those incredibly interesting features was the industrial sized A/C plant on the premises. 

    Paramount Hudson Valley Theater

    As time went on, the rise of shopping malls and cable television led to the theater’s demise.

    Gone but not forgotten, the Paramount Hudson Valley Theater saw a resurgence via revitalization in 2013. Relaunched as a multidisciplinary center, the space became essential for cultural and educational experiences such as theater, dance, music, storytelling and poetry readings.

    Local playwrights continue to emerge upon the flourishing arts scene in this nonprofit multidisciplinary center for the arts. Thanks in part to a grant from ArtsAlive [ArtsWestchester], many rambunctious actors and actresses have continued to thrive. 

    “The arts, it has been said, cannot change the world, but they may change human beings who might change the world.” [CH] Maxine Greene, an American author, teacher, philosopher 

    Notably, the theater’s re-emergence led to the inception of a “Dramatist Guild” by the name of DG Footlights. All in the name of developing your craft, these witty dramatists contribute to a vibrant, valued and phenomenal art scene. 

    This soundscape, including the previously mentioned rendition of “Ol’ Man River,” accompanied by the fear and anger portrayed by Aluko in his performance, illuminated the Peekskill Riots as an eruption of emotion charged by vehemently differing philosophies and feelings and further hindered by institutional (in)action.

    Source

    Of late, Paramount Hudson Valley Theater was pinned upon the list of Westchester County Landmarks, as well as the New York State and National Registers of Historic Places.

    Make sure to check out So Good! Neil Diamond on 04/06 and An Evening with David Sedaris on 04/18.

  • Excision Performs a Double Header in Buffalo 

    The Dad of dubstep himself, Excision, kicked off his two night event in Buffalo on March 19. Buffalo Riverworks got two shows on the famous Nexus tour which has steam-rolled not only the EDM world, but the mainstream music scene as well due the innovative production quality. 

    Excision
    Photo Credit: Maddie McCafferty

    Openers Bring the Heat

    When Excision stops into town he is a master when it comes to putting on a performance. He brings out the best of the best openers that help curate that energetic environment he is known for. Night one started off high intensity sets from Jkyl & Hyde followed by LAYZ. LAYZ has been a continuing growing force in the bass music scene with her heavy hitting beats and new age sound. 

    Excision
    LAYZ, Photo Credit: Maddie McCafferty

    Ray Volpe followed up with his set that only continued to fill Riverworks with more energy. Ray Volpe’s highly sought after ID “Laserbeam” is one that immediately gets the crowd raging. Bass music icon Eptic wrapped up the line of openers with his cutting edge baselines and masterwork song structures. 

    Excision
    Eptic, Photo Credit: Maddie McCafferty

    This stacked line-up of openers paved the way for yet again another undeniably jaw-dropping performance from Excision. Of course this festival creator is no stranger when it comes to wowing the crowd. His booming success at Lost Lands each year goes to show his mastery at not only producing music, but producing a high quality show. It’s the reason Excision, also known as Jeff Abel, resides in the epicenter of an ever-expanding realm of bass music.   

    Photo Credit: Maddie McCafferty

    This DJ legend opened up his set with visuals that outlined his famous “X” symbol as fans signaled out to him in the crowd. The suspense filled the room as the music intensified and Jeff took over the stage.

    Excision
    Photo Credit: Maddie McCafferty

    The bass was booming that night as Excision played his numerous hits including “Name Drop” and “Titans.” He invited humor into his sets for those who are able to catch the memes he cuts into segments of different songs. One famous meme this producer always has in his set is “my name’s Jeff” from the movie 21 Jump Street.

    Excision
    Photo Credit: Maddie McCafferty

    A New Age for Production

    Countless people were head banging, opening up huge mosh pits, and grooving with flow toys. The insane energy at an Excision show can’t be replicated anywhere else. His visuals are are so advanced that even mainstream artists like Kanye are trying to figure out how to replicate the quality. 

    Photo Credit: Maddie McCafferty

    Excision has implemented 3D visuals into his Nexus tour. This has taken the rave experience to a whole new level and is a must see. On night two he had one segment during his show where Shrek was seen dancing from a distance. Then as the beat dropped Shrek appeared to be popping out of the screen towards the crowd. This had fans wide-eyed and looking towards each other in shock. No one could believe how immersive the projections was. 

    Photo Credit: Maddie McCafferty

    This made it even more so with Buffalo Riverworks assistance by allowing Excision to use the side screens so more people could relish in this renowned production quality. No other artists at Riverworks utilizes the side screens so it’s safe to say Buffalo holds a special spot for Excision. 

    Photo Credit: Maddie McCafferty

    Excision may be the king when it comes to dubstep, but he also knows how to get people right in their feels. Every time he performs his collaboration with Illenium titled, “Feel Something,” it does just that. People were seen embracing each other and teary eyed as it played.

    Photo Credit: Maddie McCafferty

    Trying to describe an Excision show will never do it justice. So northeast music lovers take that drive to go see a stop on this tour. The Nexus tour has stops at Boston on March 24 and Cincinnati on March 27. Get your tickets here.

  • In Focus: Gary Clark Jr. Performs Soho Sessions, Raising Funds for Music Will

    On Tuesday, March 19, Gary Clark Jr. performed at The Soho Sessions, an exclusive music-driven community known for curating exceptional live experiences in NYC. Clark Jr. was celebrating the release of his new album released this week, titled JPEG RAW.

    music will
    In attendance were Actor Richard Kind, Jane Rose, Promoter Peter Shapiro, Elle Fanning, Fran DeFeo, David Fricke, Gus Wenner, Steve Schirripa among others. photo by Kim Mancuso Photography. 

    In addition to celebrating Clark’s new album, this edition of The Soho Sessions also celebrated music through raising awareness and funds for Music Will, the organization that has provided music teacher training, curriculum, and instruments to over 6,000 schools across all 50 states – impacting over 1.6 million students to date.

    music will
    photo by Kim Mancuso Photography. 

    The nonprofit strives to reach a million more students by 2027 while making music education accessible to all students regardless of their socio-economic circumstances. Music Will runs the largest nonprofit music program in the U.S. public school system.

    Music Will believes that music education is a right, not a privilege, and it should reflect the cultures of the students it serves. That’s why, for two decades now, their programs have taught students such popular American genres as rock, pop, R&B, Latin, rap and country—alongside styles already taught in schools, such as classical and jazz.

    Chief Relationship Officer, Janice Polizzotto (right) pictured sitting with Soho Sessions executives. photo by Kim Mancuso Photography. 

    Additionally, more than 70 colleges and universities now use their approach to music education majors. Several state departments of education have partnered with Music Will to grow music education in the schools they serve. Its mission of transforming lives by transforming music education has grown into a movement.

    photo by Kim Mancuso Photography. 

    Stream Gary Clark Jr.’s new album JPEG RAW below.

  • The Chesterfield Kings Release Rockin’ “Meet You After Midnight”

    Garage rockers The Chesterfield Kings announced the release of their latest single, “Meet You After Midnight.” The band also announced their first live shows in over 15 years.

    The Chesterfield Kings formed in the late 70s, heavily influenced by the bluesy and rugged sounds of the 60s. The group hails from Rochester and has toured for decades but hasn’t since the early 2000s.

    The single is reminiscent of 60s bands like The Doors, Beach Boys, The Who, and more. The Chesterfield Kings add an element of that ’70s dirty garage sound as well. The track feels like entering a portal to the classic era of rock n roll, super well done in its instrumentation, lyricism, and catchiness.

    The band plans to tour for five dates across the US beginning March 16 and wrapping up March 22. The tour stops in Austin, Los Angeles, Pheonix, Las Vegas, and San Francisco.

    Catch The Chesterfield Kings on the The Wicked Cool Records Revue!, presented by Hard Rock and Little Steven’s Underground Garage, which marks the fabled garage rockers’ first live shows in over 15 years.

    To check out The Chesterfield Kings’ latest track, “Meet You After Midnight,” click here. For more information on the band and their upcoming shows, click here.

    The Chesterfield Kings Upcoming Shows:

    16 – Austin, TX – Continental Club (SXSW) *

    * w/ The Jellybricks and Bobby Mahoney

    19 – Phoenix, AZ – The Crescent

    20 – Los Angeles, CA – Lodge Room Highland Park

    21 – Las Vegas, NV – The Shag Room at Virgin

    22 – San Francisco, CA – Brick & Mortar Music Hall

  • Christian Parker’s Upcoming “Change is Now” Album Pays Homage to The Byrds

    Folk/country artist Christian Parker has announced his upcoming album, Change is Now, set to release on March 22. The album pays tribute to some of The Byrds’ classic hits.

    Christian Parker
    Christian Parker

    The album, Change is Now is something of a power-folk medley. Each song has an energetic folk melody, but a very distinct sound that Christian Parker made his own. The album pays much homage to the Byrds’ classic hits like “Ballad of an Easy Rider,” “Chimes of Freedom,” and “The World Turns All Around Her.” You can very clearly hear Parker’s own original spin on the tunes.

    Along with The Byrds, Parker has clear influence from other classic artists like The Beatles, Blue Oyster Cult, and of course, Bob Dylan. Each song on the album has its own spark, its own character and its own rhythmic flair. Some tunes on the album are perfect for a excited countryside drive, while some fit for a calm, hopeful campfire.

    Christian Parker

    Christian Parker hails from Canton, New York up by the Canadian border. Parker’s dazzling collection of songs have been warming the hearts of listeners over the past 3 and a half decades. His music contains lyricism around emotion, tension, and hope, carried by chiming guitar, and unforgettable hooks.

    Earl Poole Ball, one of the original Byrds studio members, joins Parker on the album. This addition adds another element of honor to the album already paying homage to The Byrds. The album’s folk-driven, country-twanged, and mainstream appeal brings people of all tastes together.

    Earl Poole Ball

    To learn more about Christian Parker, and to stream his upcoming album, Change is Now, click here.

  • Exploring Alice Coltrane’s Spiritual and Musical Legacy: A First Listen Event for “Live at Carnegie Hall”

    On March 20, history and music intertwined at the Resnick Education Wing at Carnegie Hall, where an exclusive first listen event was held for Alice Coltrane’s Live at Carnegie Hall album. This event marked the culmination of years of anticipation for fans worldwide, as the concert, originally performed in 1971, was finally set for release on March 22, under the title Alice Coltrane – The Carnegie Hall Concert.

    Alice Coltrane, a luminary in the jazz world and a spiritual seeker, took the stage at Carnegie Hall for a special gala benefiting the Integral Yoga Institute. Backed by an ensemble of renowned musicians, including Pharoah Sanders, Archie Shepp, Jimmy Garrison, and Cecil McBee, among others, Alice delivered a transcendent performance that captured the essence of her musical and spiritual journey.

    The evening began with a captivating listen to the album, transporting listeners back to that pivotal moment in 1971 when Alice Coltrane graced the stage at Carnegie Hall. The audience was then treated to a thought-provoking panel discussion hosted by Marcus J. Moore, featuring esteemed guests Michelle Coltrane, Brandee Younger, and Cecil McBee.

    The panel discussion delved into various aspects of Alice Coltrane’s music and legacy, offering insights into her creative process, spiritual journey, and the impact of her music on contemporary artists. Throughout the conversation, panelists shared personal anecdotes, reflections, and interpretations of Alice’s music, providing a deeper understanding of her artistry and influence.

    One of the key themes that emerged from the discussion was the improvisational nature of Alice Coltrane’s music. Cecil McBee, reflecting on his experience playing alongside her, highlighted the freedom and spontaneity she encouraged in her band members. He emphasized that Alice created an environment where musicians could express themselves authentically, without constraints or preconceived notions.

    Michelle Coltrane, drawing from her childhood memories, spoke eloquently about her mother’s musical legacy and spiritual evolution. She described Alice’s transition from grief to spiritual awakening following the death of John Coltrane, her husband. Michelle emphasized the profound impact of Alice’s music on her own artistic journey, citing instances where her mother’s influence could be heard in her compositions.

    Brandee Younger, a contemporary harpist and composer, shared her perspective on Alice Coltrane’s influence on her own work. She discussed how Alice’s music transcended boundaries, incorporating elements of jazz, gospel, Indian classical music, and world music to create a unique and transformative listening experience. Brandee expressed admiration for Alice’s fearless experimentation and dedication to spiritual exploration.

    The panelists also explored the spiritual dimensions of Alice Coltrane’s music, highlighting her deep connection to Indian spirituality and her role as a spiritual leader. They discussed how her music served as a conduit for spiritual expression, offering solace, inspiration, and transcendence to listeners around the world.

    As the event concluded, it became evident that Alice Coltrane’s legacy extends far beyond the confines of a concert hall or recording studio. Her music continues to resonate with audiences of all generations, inspiring artists, musicians, and spiritual seekers alike. Through her pioneering spirit, unwavering dedication to her craft, and profound spirituality, Alice Coltrane left an indelible mark on the world of music and beyond.

  • Chris Pellnat Releases Latest Multi-Sound Album “Cairn”

    Chris Pellnat announced the release of his latest folk, synth, rock fusion album, Cairn and it is certainly something unique. The album showcases several unique and intriguing sounds from Chris Pellnat’s repertoire.

    Cairn Chris Pellnat

    Chris Pellnat is a singer-songwriter based in Hudson, New York. In addition to his solo work, he plays guitar in the Poughkeepsie-based rock band, The Warp/The Weft. He is also half of the duo, Teeniest. He performs mostly in upstate New York. Chris creates melodic, memorable songs using unusual instrumentation, including vibraphone, clarinet and dulcimer in addition to guitar, bass, drums and
    synthesizers. His songs are sometimes cleverly humorous, but always with an underlying message.

    There is clear vocal and instrument influence from artists like Bob Dylan, Tom Petty, John Lennon, Paul Simon and more. Cairn combines elements of traditional American folk, orchestral music, acoustic rock, and even electronic. Each song on the Cairn has its own feel and theme. Some songs are about hope, some are about endings and beginnings, some are about nothing. The album has an overwhelming ability to calm, but also the ability to get your feet tapping or your head swaying.

    Cairn has a good deal of variety in terms of musical vibe and style. It starts off with “Ship on the Horizon,”
    a dulcimer-and-accordion-driven song that sets the tone with the sound of ocean waves. “Wandering Squandering” is a straight-ahead electric rocker. “Forest Giants” is a trippy, electronic exploration inspired by the wilderness. The album continues like that: you never know what the next song will sound like, and you’ll likely be surprised when you find out.

    For more information on Chris Pellnat’s music and to listen to Cairn, click here.

  • Slow Fiction Releases Enticing New Single “Monday”

    Multi-faceted  alt rock band Slow Fiction have released their enticing new single “Monday” ahead of the band’s live performance at No Fun venue in Troy on March 27

    Brooklyn based band Slow Fiction consists of five members that bring together amazing performances, distinctive songwriting and innovative vocals delivered by their lead vocalist Julia Vassallo. Their new single “Monday” is a first single from the band’s upcoming EP record Crush set to be released on May 24 via So Young Records.  

    Emerging within a music community shattered by lockdowns, Slow Fiction was woven together from a tapestry of friendships from hometowns and college connections. As boundaries disappeared and audiences expanded, the band became closer, utilizing the changes to play around with their content and achieve ever-greater and more powerful heights.

    Inspired by the raw, sweeping fuzz of bands like Sonic Youth and The Jesus and Mary Chain, the finished composition is a sonically explosive piece of work. A familiar guitar sound from the 2000s meets cutting edge modern angst to produce a sound that is both nostalgic and enticing. The band was liberated as their confidence increased through their live performances, and they used all they had learned to start working on “a lot more cohesive and bigger sounding” project.

    Slow Fiction is fast making a name for themselves as one of the most captivating and intriguing live performers coming out of New York’s thriving scene at the moment. Their new EP goes over and above to demonstrate their potential by combining nostalgic overtones with unquestionably heavy emotional content and stark realities. The band is slowly becoming one of the most intriguing artists to come out of the current music scene because of their skillful blending of personal suffering with a wide range of musical inspirations and dreamy, euphoric tones.

    Following the announcement of their new EP Crush, and the release their new single “Monday” which was accompanied by a visualizer that features a footage taken out the window of a NYC subway, the band has also announce a slew of upcoming tour dates, including a stint at SXSW and shows supporting Hinds and Sprints. 

    To learn more about the band and pre-save their new EP, fans can visit here and Tickets for their tour can be found here.

    Slow Fiction Live

    3/5 – Baltimore, MD – Ottobar

    3/6 – Richmond, VA – Richmond Music Hall

    3/8 – Carrboro, NC – Cat’s Cradle w/ Provoker

    3/9 – Columbia, SC – New Brookland Tavern

    3/10 – Athens, GA – Hendershot’s

    3/12 – SXSW – Seven Grand @ 11pm

    3/14 – SXSW – Lefty’s Brick Bar – Clash Showcase @ 7pm

    3/19 – Brooklyn, NY – Baby’s All Right w/ Hinds 

    3/21 – Brooklyn, NY – Elsewhere Zone One w/ Sprints 

    3/22 – Brooklyn, NY – Elsewhere Zone One w/ Sprints 

    3/23 – Washington, DC – DC9 w/ Sprints

    3/27 – Troy, NY – No Fun w/ Thus Love, Native Sun

  • Platinum Artist Donna Lewis Shows Chemo Journey Using Music

    Platinum-selling songwriter and artist Donna Lewis of New York is back with a touching song “The Imposter.” Inspired by Lewis’s personal battle with breast cancer, this powerful track explores the depths of the human experience, capturing a blend of light and dark, fear and bravery.

    The song takes listeners through Lewis’s treatment center’s different rooms, vividly capturing the darkness, pain, and terror she experienced during chemotherapy. The chorus, however, shines through the darkness with love, light, and gratitude.

    donna lewis The Imposter

    Sonically speaking, “The Imposter” shows the duality of Lewis’s struggle by combining upbeat downtempo trip-hop exploration with driving sonics and euphoric vocals.

    Lewis, known for her classic love ballad “I Love You, Always Forever,” reunites with acclaimed producer Holmes Ives to create an album that is resilient and full of hope. Together, they transform Lewis’s cancer journey’s hardships into an artistic creation that knows no bounds. In addition to her musical pursuits, Lewis is to become an ambassador for Making Strides Against Breast Cancer.

    The forthcoming album, Rooms With A View, details the highs and lows of Lewis’s year-long battle with breast cancer. Lewis provides not only an experience but also a ray of hope for anyone going through a difficult time through her stirring lyrics and expressive vocals.

    “It is an offering of hope for anyone going through a dark tunnel. I am forever grateful to share it with you,” said Lewis.

    Stay tuned for Rooms With A View, Donna Lewis and Holmes Ives‘ joint song that is bound to inspire and uplift listeners everywhere – give “The Imposter” a listen here or below.