On Sunday, January 28, the Binghamton Philharmonic Orchestra, together with the combined choirs of the Southern Tier Singers’ Collective and the Binghamton University Chamber Singers, mounted a moving musical performance of Mozart’s Requiem at the Broome County Forum Theatre. It was a rare treat to hear this great work of the choral repertoire, especially when performed with such great mastery.
The orchestra and choir were joined by four up-and-coming young soloists from the Curtis Institute of Music: soprano Juliette Tacchino, mezzo-soprano Katie Trigg, tenor Jackson Allen, and bass Evan Gray. The quartet of singers, hailing from as far away as France and New Zealand, powerfully conveyed the profound human longing in Mozart’s vocal writing. Tacchino’s silvery sound blended beautifully with Trigg’s rich, plummy tones, and all four soloists distinguished themselves by their highly expressive musicality.
Amanda and Talia Rabineau
Maestro Daniel Hege led a tight, seamless ensemble through the wildly contrasting emotions of the Requiem; as usual with this group, the woodwinds were particularly strong. Hege’s tempos seemed to grow organically from one movement to the next, giving the work a living, breathing pulse and a satisfying sense of wholeness.
Carlos Perez, Cassi Lee, Ajen Lewis
But it was the chorus that was the true star of the show. Prepared by William Culverhouse, the combined choirs infused Mozart’s majestic work with energy, elegance, and intimacy. Culverhouse’s singers showed themselves capable of rigorous counterpoint and stunning pianissimi, their phrasing crisply commanding and meltingly lyrical by turns. Mozart’s demands on the chorus are almost soloistic, and this chorus was fully up to the challenge, cycling through his extremes of volume, speed, and emotion with virtuosity and aplomb.
Tenor Jackson Allen, Bass Evan Gray
Over 1100 concertgoers, including many younger music lovers, came out on a snowy midwinter day to hear Sunday’s stunning performance, demonstrating their appreciation with a standing ovation and several curtain calls. The Philharmonic’s foray into the great repertoire of choral music was a great success, one that bears repeating!
Shooting for the moon with infinite potential, Asbury Parks’ next big thing is Fungkshui. Not stopping there, they may also be the next big thing in the Capital Region too. With frequent visits to the area, including recent high octane rock performances at Putnam Place and the Rye Bread Music Festival (RFB), the fun-loving psychedelic prog-funk quintet is quickly and consistently earning high praise from high people in high places.
Fungkshui performing at Lark Hall in Albany 1/25/2024.
Whether Fungkshui (pronounced funk shway) are playing to packed clubs along the boardwalks of New Jersey, or randomly stopping in for an unannounced happy hour improv set at The Eleven, it seems the band has found their ‘home away from home’ at Albany’s Lark Hall. As friendly with their staff as they are with their fans, Fungkshui originally made a good first impression at the hall last March while opening for acclaimed avant-garde jazz trio LaMP. Later returning for “Funk Night” with the E-Block in September, NYS Music was there for the for their most recent throwdown on Thursday, January 25th.
Teaming up with sonic astrological improv jammers Quantum Cosmic, a new experimental side project featuring members of Annie in the Water, Raisinhead and The Switch, the dynamic pairing of bands proved to be the perfect combination of good vibes and good times. On a night full of other-worldly jams, technical proficiency, soaring and sublime guitar solos, guest sit-ins, and enough funk to make you want to float around the room and dance with total strangers, both bands turned in peak performances that you ‘outta be kicking yourself for missing.
Blasting off a little later than the advertised 8pm start, Quantum Cosmic quickly made up for lost time by inviting the audience to help telepathically guide them through their all-improvised set. Encouraging listeners to share their positive and creative thoughts as well as birthday wishes to drummer Joshua West, “Just hopefully you’re not a dick about it, ” joked guitarist Michael Lashomb, who also plays with the ever-busy West in Annie in the Water.
Along with Matt Richards on keys, Raisinhead guitarist Ted Grey and bassist James Woods, the band who hasn’t played the same show twice and gambles on “making it up as they go along’ would surprise everyone by also inviting up fellow Annie in the Water/Space Carnival bassist Chris Meier for a memorable trippy dip on the AITW OG staple “The River,” in which the birthday boy West hilariously changed (forgot?) some of the lyrics. After coming back down to earth for a brief intermission, things at the hall were about to get even more Fungky.
Chris Meier sits in with Quantum Cosmic at Lark Hall 1/25/2024.
Barreling their way towards Nectars in Burlington, VT, the road to get there saw Fungkshui work their way through New York by way of gigs at Snug Harbor in New Paltz, an unannounced acoustic set at The Eleven and finally, their fiery headlining set in Albany. Kicking things into gear with a technically proficient and impressive “Meat Salad” >“Ready To Go” > “Power Out” jam sandwich, it was immediately evident what all the fuss over this band is about. Part punk, part prog and overflowing with all kinds of primal groove, there is no denying the twin ax attack and chemistry of guitarists Jack Reed and Max Vitale. Along with the luscious locks of Jon Scheps on the low end, drummer Bobby Reilly and the band’s most recent addition of Dan Hogan on keys, Fungkshui took the Lark Hall stage by sheer force.
Fungkshui performing at Lark Hall in Albany 1/25/2024.
Feeling confident and comfortable in the surroundings, Fungkshui would take the opportunity to debut a new song called “Run It” before getting down and dirty on “Barefoot Blues” and the playful “Dan Dan The Waterman.” One of the true highlights of the night came when the band invited Annie in the Water/Quantum Cosmic keyboardist Matt Richards out for some dueling piano action on Dan Hogan’s well-lit rig. Catharsis through collaboration shining through disco ball lights and huge smiles beaming from the faces of everyone on stage, it was the kind of magic musical moment that makes Lark Hall such a special place to see a show.
Matt Richards sits in with Fungkshui in Albany 1/25/2024.
An unexpected guilty pleasure came next in the form of Alice DeeJay’s “Better Off Alone,” which had the whole room dancing around each other in circles. After successfully showing their hand, Fungkshui would then “Ante Up” and “Fade Away” before going deep into the night with one last party jam, “That’ll Do.”
Matt Richards sits in with Fungkshui in Albany 1/25/2024.
With such a formidable relationship already forming between the band and the venue, you almost can’t help but feel optimistic there will be many more magical Fungkshui moments on Lark for years to come. Fresh off the release of their first full length album “Ready to Go,” it’s clear this band is just that. Buckle up in 2024, Fungkshui is about to blast off, and what can I say, I’m totally here for it.
Watch fan shot footage of Fungkshui performing “That’ll Do” in the video clip below:
Fungkshui | January 25, 2024 | Lark Hall | Albany
Setlist: Meat Salad > Ready To Go > Power Out, Run it•, Barefoot Blues > Dan Dan The Water Man, Didn’t Know Anything, Better Off Alone*, Ante Up, Fades Away, That’ll Do
*= Alice DeeJay Cover •= Original Song Debut
Quantum Cosmic | January 25, 2024 | Lark Hall | Albany, NY
PEAK has dropped the third installment in their ongoing live series, with Hot Clips Volume 3, released on January 5.
Culled from performances in 2023, Hot Clips Volume 3 features some of the band’s favorite recent performances. Specifically, this album shows what the band – Jeremy Hilliard (guitar and vocals), Johnny Young (keys and vocals), Josh T. Carter (bass and vocals), Kito Bovenschulte (drums), Nate Searing (drums on “Idyllwild Flower”) – are looking for in a jam of group interaction, transcendent moments that come naturally and without force, and happen organically.
Mixed and Mastered by Johnny Young and Jeremy Hilliard and engineered by Michelle Young, the songs range from older PEAK staples to unreleased tracks appearing on the next studio album. Covers on the album include a reimagined version of Woody Guthrie’s “Pastures of Plenty,” and a stretched-out take on the Led Zeppelin classic “The Song Remains the Same.”
Hot Clips Volume 3 Tracklist:
Vanishing Skies, 5.17.23, Nectar’s, Burlington, VT One Lifetime Isn’t Enough, 9.8.23, The Wescott Theatre, Syracuse, NY Little Miss Mary Merry-Go-Round, 5.17.23, Nectar’s, Burlington, VT It’s Easy To Give Up (Don’t Give Up Too Easy), 7.16.23, Park City Music Hall, Bridgeport, CT Run Me Down, 9.8.23, The Wescott Theatre, Syracuse, NY Pastures Of Plenty, 5.17.23, Nectar’s, Burlington, VT The Song Remains the Same, 9.8.23, The Wescott Theatre, Syracuse, NY Idyllwild Flower, 8.11.23, Yasgur Road Reunion, Bethel, NY It Ain’t Over ’til the Credits Roll, 9.8.23, The Wescott Theatre, Syracuse, NY
PEAK Spring 2024 Tour Dates
1.28.24 Amherst, MA, The Drake, supporting Midnight North TICKETS
2.1.24 Hartford, CT, Infinity Hall, supporting Midnight North TICKETS
2.2.24 Fairfield, CT, Stage One at FTC, supporting Midnight North TICKETS
2.29.24 Burlington, VT, Nectar’s, supporting Midnight North TICKETS
3.8.24 Baltimore, MD, 8 x10, supporting Unkle Kunkel’s Big Gram Band
4.4.24 Syracuse, NY, Funk and Waffles, w/ Spunj and Small Batch
Today marks the anniversary of the final show of one of the earliest Grateful Dead side projects. Lead guitarist Jerry Garcia along with Howard Wales delivered one last live interpretation of their jazz-rock fusion album Hooteroll to an audience at the University of Buffalo on this day in 1972. Wales, an avant-garde keyboard player, helped compose all songs on the album which was released the previous year.
The Buffalo gig ended a string of shows played at smaller venues in the Northeast, including one at Syracuse University the week before. While Jerry Garcia may have been the main draw, this tour is also renowned for introducing many to The Mahavishnu Orchestra for the first time, a burgeoning live act with the great Jon McLaughlin on guitar who opened the shows and, according to some bystanders, blew the main act off the stage sometimes.
But Garcia and Wales would get the final word each night with extended takes on Hooteroll, playing alongside Jerry Love on drums, Jimmy Vincent on guitar, and Roger Troy (aka Jellyroll) on bass and vocals, with the group announced as “Howard Wales and Friends.” Unfortunately, no known recordings of tonight’s performance exist, but this excellent one from the show three nights before in Boston paints a clear picture of what transpired at these shows, with the band immediately launching into the frenzied, organ-driven jam “Southside Strut,” the first track of the album, then going off from there.
The music never comes to a complete stop as the band weaves in and out of different tempos and arrangements, although mixing up the songs from the order in which they appear on the album. A section called “Outer Space Regions” completely lives up to its billing before a soul-heavy “Carry Me Back” with Jellyroll on vocals re-energizes everything. Another selection from the album, “DC 502” surrounds a verified “Drums” section as well later on. See Youtube for a full setlist. The entire show is essentially a long, enjoyable 90-minute jam that covers all of Hooteroll and then some.
Photo: Gordon James
Before being played in Buffalo and the Northeast, the seeds of Hooteroll were planted in San Francisco, as Garcia and Wales wound up performing at Monday night jam sessions at The Matrix. This would also be where Jerry met bassist John Kahn for the first time, marking the beginning of their long time partnership. For Jerry, the appeal of this outfit was the ability to play in a more relaxed context than Dead shows. Wales was a serious musician, and Jerry had to work hard to keep up with him, which he would say did more for his ear than anyone else he played with.
Howard didn’t have tunings or anything, he just played. Sometimes he would do these things that were so outside that you just couldn’t – unless you knew where it was going, you had no idea where to start. Sometimes they’d turn out to be just these things like four-bar blues turnarounds, relatively simple musical things, but they were so extended the way he’d play them – ‘God, what is this?’
~ Jerry Garcia, 1991 Interview
With the Hooteroll tour now concluded, Garcia would next turn his attention to a string of shows with another longtime collaborator, Merl Saunders, back home in the San Francisco area.
The Town Ballroom in Buffalo was set ablaze with raw energy and pulsating rhythms on January 23, as four powerhouse bands – Avoid, Counterparts, The Devil Wears Prada, and Fit For A King – took to the stage for a sold-out show on a rainy Tuesday night. Fans from across the city gathered in anticipation of a night that promised to be nothing short of epic, and they were not disappointed.
Fit For a King
Kicking off the evening with a relentless onslaught of hardcore energy, Avoid, got to work getting the crowd but the first thing that stood out before the music got underwear was the singer repping a local city hero, #17, Josh Allen from the Buffalo Bills with his Jersey.
Avoid
Going up next with a relentless onslaught of hardcore energy, Counterparts wasted no time in setting the tone for the night. Hailing from Ontario, Canada, the band delivered a blistering set that had the crowd moshing and screaming along to every word. With their signature blend of melodic hooks and ferocious breakdowns, Counterparts proved why they are considered one of the most exciting acts in the hardcore scene today.
Next up was metalcore stalwarts The Devil Wears Prada, who took the stage by storm with their electrifying stage presence and infectious energy. Drawing from their extensive catalog of hits spanning over a decade, the band treated fans to a set filled with fan favorites and new material alike. From the haunting melodies of “Sacrifice” to the crushing heaviness of “Danger: Wildman,” The Devil Wears Prada delivered a performance that left the crowd in awe.
The Devil Wears Prada
Closing out the night at Town Ballroom were metalcore juggernauts Fit For A King, who wasted no time in unleashing a sonic assault that left the audience reeling. With their bone-crushing riffs and anthemic choruses, the band commanded the stage with authority, inciting mass sing-alongs and frenzied circle pits throughout their set. Tracks “Tower of Pain” and “When Everything Means Nothing” hit with visceral intensity, showcasing the band’s undeniable skill and musicianship.
But beyond just the music, what truly made the night special was the palpable sense of camaraderie between the bands and their fans. From the shared shouts of the famous Buffalo chant “Let’s go Buffalo!” to the sweaty embraces in the pit, it was clear that this was more than just a concert – it was a community coming together to celebrate the power of music.
For the second episode of Saturday Night Live in 2024, Studio 8H welcomed back Madame Web actress Dakota Johnson, along with musical guest and SNL Five-Timer Club member, Justin Timberlake.
The opening sketch this evening through was a bit more of a cold and dry open, making light of the NFL season coming to an end this weekend (short of the Super Bowl), and draining the last comedic bits of Taylor Swift’s influence, out of the football and SNL seasons.
During Johnson’s monologue where she reminisced about her last stint as host, and brought up The Social Network co-star Justin Timberlake, who showed up to casually remind Johnson that he’s available for sketches, given his Five-Timer Club status.
During the “Waiters” sketch, Sarah Sherman displayed equal parts Gilda Radner and Kristin Wiig with her unique quirk worked in.
“The Barry Gibb Talkshow” returned for the first time since 2013, taking a look at the 2024 election, with Jimmy Fallon making a special appearance as Barry Gibb and Timberlake as Robin Gibb. Bringing this back was a no-brainer with Timberlake on the show this week, even if Fallon has gotten a little tiring as of late.
“Home Videos” would be the highlight of the episode, with Andrew Dismukes as a son who learns his parents were on a Maury Povich-style talk show, where his father (Mikey Day) learned he was the father.
An always a welcome short from Please Don’t Destroy kept their hot streak going, even if Dakota Johnson did knock the trio down a peg, referring to Ben Marshall, John Higgins, and Martin Herlihy as ‘The Lonelier Island’ in a roast-filled segment.
Timberlake performed “Sanctified” for his first song, the second single from his upcoming sixth solo album, Everything I Thought It Was, due out on March 15. JT was joined by Houston rapper Tobe Nwigwe for the rock/rap/R&B number, walking in from stage left, flanked by dancers clad in flowing white dresses, an appearance that was teased last week on Nwigwe’s Instagram.
https://www.youtube.com/watch?v=zLC8XiBxV1k
Timberlake’s second song was the first single from Everything I Thought It Was, “Selfish,” the same title as a 2011 release from his ex, Britney Spears. Surrounded by white neon lines along cascading walls, stripped down with just a drummer and keyboardist, Timberlake sang softly in contrast to “Sanctified,” a more passionate and smooth pop hit in “Selfish.”
SNL returns on Saturday, February 3 with host Ayo Edebiri and musical guest Jennifer Lopez.
Indie-folk artist Alec Duckart, known professionally as Searows, played a sold-out show January 25 at New York City’s Mercury Lounge as part of his first headline tour.
Alec Duckart – Photo by Molly Higgins
The show was the last of the tour’s U.S. leg and his second in the NYC area, having played Brooklyn venue Baby’s All Right the day before. The intimate, 250-capacity Mercury Lounge proved to be a cozy home for Duckart’s serene sound.
The crowd of fans, mostly in their teens and twenties, cheered and shouted “I love you”s while Duckart tuned his guitar, before opening with his 2023 single “Older.” The room was hushed as Duckart captivated his audience—the crowd swayed and sang along quietly, but many were silently transfixed by Duckart’s blissful acoustic guitar and poetic lyrics.
Duckart wrote, recorded, and produced his own debut album Guard Dog, which was released in September 2022. In 2023, Duckart released the single “House Song,” which has amassed nearly 20 million streams on Spotify. By the end of that year, Duckart signed to Matt Maltese’s record label, Last Recordings on Earth, and released his six-track EP End Of The World, which his ongoing tour is promoting.
Now that the U.S. leg of the tour is complete, Duckart will make stops in London and Paris. Duckart previously toured as a supporting act for artists including Maltese, Gracie Abrams, and Leith Ross.
Searows Setlist: Older, End of the World, Coming Clean, Collector, Keep the Rain, Roadkill, Used to be Friends, I Have More Than Enough, I Can and I Will, House Song
The music and art scenes in Brooklyn hold a rich and diverse history that plays a fundamental role in shaping American music culture. Music and art cohesively work together to display emotion, purpose and influence one medium on the other, with the ability to connect communities of people from different backgrounds and cultures through audio and visual languages. Brooklyn’s music and art scenes bring unify the borough with diversity, a melting pot and continually at the forefront of American culture.
The West Indie Day Parade
Now, and in decades prior, music and art have become a way of life to the rhythm of Brooklyn, one that is kept alive and running by successive generations of immigrants and transplants from across the world and nation. The power of creativity is not just about entertainment, but about sparking a community to create change, awareness, freedom and unity, becoming a culture that exists as a city’s heartbeat.
The culture of art exploded in the early 1980s from street art, which put the spotlight on local talent, including TAKI 183 who entangled the graffiti movement, highlighting the power of making a statement and pushing extensive boundaries. In the 2000’s, the Brooklyn art scene got hotter with the digital age and the use of technology as a tool to present digital born art, increasing our understanding of unique characteristic features. Artists began collaborating and the rise of art hubs allowed for universal creativity. Today, art in Brooklyn is accessible and continually celebrated.
Music records the collective and diverse history of Brooklyn, spanning across genres and generations. In the 1920‘s, jazz became the central sound, evolving and influencing numerous genres to this day. By the 1960s and 70s, the borough became a hub for soul, funk and R&B, and by the 1990’s, the growth of hip hop culture continues national influence today. By the 21st century, the rise of music festivals including BRIC, Afropunk, Brooklyn Folk and Brooklyn Hip-Hop festivals – as well as dozens of cultural and smaller music festivals, parades and events – continuing to bring the borough together through all walks of life.
The West Indie Day Parade
The West Indian Day parade has become one of New York’s major cultural celebrations and takes place on Labor Day to parade down the eastern parkway. West Indian culture trace their ancestors back to the Caribbean, where the island takes pride in multifaceted colorful dances, parties, and annual carnival celebrations.
With vibrant sequins and feathers, the parade highlights an extraordinary range of people and places that show all walks of life and the importance of unity. Caribbean art has become a diverse reflection of culture, seen in their costumes and elaborate face masks in a wide variety of styles inspired by natural and spiritual cohesive elements. The colorful traditions of Carnival and rich presentation of cultural identity has a boundless impact on the art that emerges through the historical parade that showcases pride, heritage, culture and the importance of identity.
Cultural identity has served as a catalyst for artistic expression, defined by music and art, allowing artists to explore their roots and traditions that serve as an intertwined visual language, creating a narrative that speaks to people of all ethnicities, religions and backgrounds. Not only does the West Indian Day parade attract a community for the annual celebration, it celebrates a bigger purpose of honor, respect, and support from the borough.
The Brooklyn Record and Arts Fair
The Brooklyn Flea Record and Art Fair – held on Saturday, September 30, 2023 at the Marsha P. Johnson State Park – celebrated 12 years of vinyl treasures with over 40 labels, record stores and collectors. The impact and resurgence of vinyl records on the music industry has revolutionized the creation of music, distribution, consumption, and ultimately helped acknowledge the value of the music community. Vinyl allowed music to become more accessible, enabling a visually captivating and engaging representation that highlights a deeper appreciation for the overall experience of music.
The record fair celebrates the unity of both mediums, a way for people of all ages to come together to see vendors that also value the evolution of music over the ages. Including alternative, indie, rock, metal, jazz, classical, pop, blues and much more. Artists and music enthusiasts come together to appreciate the tangible experience of holding a physical record that connects them to the roots of music, enhancing the auditory experience that keeps the love for music alive.
Art and music go hand in hand, sharing a relationship that evokes an emotional response and involves elements of rhythm, harmony and texture that coexist with one another. Music and art are tools for communication, ingrained into the fabric of our society, our relationships and can be understood universally beyond culture and language.
The harmony between the two share narrative moments, they inspire and influence one another, that create a unique dynamic that allows music and art to become part of the culture. Art and music share an intertwining relationship that cohesively evokes emotions, community and promote creativity. Building a culture as seen in Brooklyn permits an exploration of identity, communication and reflects symbiosis between the two art forms.
Between gamblers playing slot machines and Black Jack, fans crowded into the sold-out Great Cedar Showroom at Foxwoods Casino for the veteran rock band Extreme. The band is on the Thicker Than Blood Tour, supporting their new record, Six. This is the second show for the band after the tour kicked off at the Bergan Performing Arts Center in Englewood, New Jersey.
Extreme was founded in 1985 in Malden, Massachusetts and is made up of Gary Cherone on lead vocals, Nuno Bettencourt on guitar, Pat Badger on the bass guitar and Kevin Figueiredo on the drums.
Prior to Extreme taking the stage, the New York City native band, Living Colour warmed up the crowd for a 45-minute set. Like Extreme, Living Colour was founded in the mid-1980s and has produced classic hits like “Cult of Personality,” and “Glamour Boys.”
Living Colour is comprised of guitarist Vernon Reid, Doug Wimbish on the bass guitar, and Will Calhoun from the Bronx, on drums with fellow New Yorker, Corey Glover on lead vocals.
For the entire 45 minutes, Living Colour produced a powerful and memorable set that included eight songs. During the last song of the band’s performance, as they blasted into the aforementioned “Cult of Personality,” Glover hopped off the stage and walked into the crowd while belting out the lyrics to the song. The crowd erupted as Glover walked up and down each section of the theater, stopping for photos with fans and high-fiving concertgoers. Living Colour did a phenomenal job getting the crowd ready for Extreme.
As the clock ticked to 9 p.m., the houselights dimmed as the Extreme banner raised behind Figueiredo’s drum kit. With the blue spotlights on them, the band jumped right into “It (‘s a Monster)” off of the band’s most successful record, 1990’s Extreme II: Pornograffitti.
Throughout the entirety of the band’s set, they incorporated music from their entire discography starting with their self-titled debut record up until their most recent record. While storming through each song, Figueiredo was a man possessed on the drums. His kit didn’t stand a chance as he belted away throughout each song providing chest-thumping beats.
Fans who came to the show on the chilly Friday night were certainly in for a treat as Extreme played for two whole hours. At one point of the set, Figueiredo brought out a mini drum kit as the band embarked on a mini, two-song acoustic set that featured the beautiful ballads “Other Side of the Rainbow,” and “Hole Hearted.”
Even during the band’s acoustic set, there was still so much energy. Throughout the night Cherone slithered and stretched his way around the stage as Badger plucked at his bass guitar during Bettencourt’s shredding solos. It’s widely known that one of Bettencourt’s heroes was the late Eddie Van Halen and Bettencourt paid homage by playing the intro to Van Halen’s “Women In Love…” while saying “Happy Birthday Eddie.”
It was extremely impressive how each band member was able to work off one another and how they each complimented the other. The band’s stage presence and their comradery were visible from the stage and the smiles they had and the laughs they shared were heartwarming.
Each song that Extreme played was magical in its own way and it felt like the band was taking you on a career-spanning journey throughout the show. In between songs the band interacted with fans, joked around and overall gave the fans their money’s worth.
As the doors flew up at the end of the show and the sound of chips hitting poker tables and slot machines rang in the halls, fans left happy and smiles were shared all around as one of the most hard-working bands in rock and roll right now performed another mind-blowing show.
Living Colour Setlist: Middle Man, Leave It Alone, Ignorance Is Bliss, Open Letter (to a Landlord), White Lines (Don’t Do It)/Apache/The Message, Glamour Boys, Love Rears Its Ugly Head, Cult of Personality
ExtremeSetlist: It (‘s a Monster), Decadence Dance, #Rebel, Rest In Peace, Hip Today, Teacher’s Pet/Flesh ‘n’ Blood/Wind Me Up/Kid Ego, Play With Me, Other Side of the Rainbow, Hole Hearted, Drum Solo/Money Maker, Cupid’s Dead, Am I Ever Gonna Change, Thicker Than Blood, Midnight Express, Hurrican, More Than Words, Banshee, Take Us Alive/That’s All Right, Flight of the Bumblebee, Women In Love… (intro) Get The Funk Out, Small Town Beautiful/Song for Love, Rise
Irish reels and jigs vibrated throughout Symphony Space as WFUV’s Irish music program, Ceol na nGael, celebrated its 50th anniversary. For half a century, Ceol na nGael has provided over 40,000 listeners nationwide with the best in Irish music every Sunday from 12-4pm on 90.7 FM. To celebrate the milestone, the Rogue Diplomats, Celtic Cross, Cillian Vallely and Kevin Crawford of the band Lúnasa, Patrick Mangan, Alan Murray, Séamus Egan of Solas, and Jenna Moynihan performed at Symphony Space located in the Upper West Side on Saturday, January 26.
Also present at the anniversary concert was Ceol na nGael’s co-founder Mary Maguire. Maguire was a student at Fordham University in January of 1974 when she and fellow student Gerry Murphy suggested a traditional Irish music segment during one of WFUV’s fundraisers. Murphy and Maguire believed they would have an audience with New York’s expansive Irish community. The two convinced WFUV (Fordham University’s radio station) to give them one hour of airtime. Little did they know that one singular hour on a winter afternoon would turn into a four hour weekly show.
“We were totally unprepared for how the phones exploded during the first program,” founder Maguire recalled. The one hour of airtime quickly turned into four hours. Eventually, Maguire had to leave the station, or she’d be late to work. Maguire recalled mentioning her workplace on air. She said, “When I got to my waitressing job, the owners came up to me frantically asking ‘What’s going on?! People have been calling and asking why Mary Maguire had to leave some radio station!’”
Due to the high demand of listeners across the tristate area for Irish music, Maguire and Murphy were asked to return next week to the station with more Irish tunes. With that, Ceol na nGael, which is Irish Gaelic for “the music of the Irish,” became a staple of WFUV, airing every Sunday from 12-4pm.
From left: Ceol na nGael hosts Deirdre McGuinness (01-04) with producer Jen Croke (99-02). Also pictured is Joanie Madden, leader of the group Cherish the Ladies, and host Frank McCaughey (00-01).
Not only was the show a staple of WFUV, but it quickly cemented itself as a staple within the Irish community. It could be heard from every corner of the house. Former co-host Dierdre Hogan, FCRH ‘98, said, “As I brought laundry in or out, my father was listening from a small radio in the garage. My mom would have it on again upstairs in the kitchen as she tidied and cooked.”
Ceol na nGael became a household name in the tristate area due to its human touch. “Anyone can go to YouTube or Spotify and search for a good mix of Irish music,” former host Kevin Quinn, FCRH ‘09, said. “But Ceol na nGael has that very, very important human element that makes it endure for as long as it has.”
This human element is seen in the numerous dedications the show takes each and every week. Hosts interact with the listeners on a weekly basis, reading out dedications wishing loved ones happy birthdays or sending out a song in their memory.
Former host Elizabeth Flanagan, FCRH ‘05, noted just how important these dedications are, especially when she hosted in the days that followed 9/11. Her co-host Deirdre McGuiness, FCRH ‘04, recalled playing Irish ballads along with the dedications going out to lost loved ones to provide “hope and healing” to all those affected. Flanagan said, “It goes to show how profound our music is, and how it’s there for us on the happiest and the saddest days of our lives.”
The music bonded together the tristate’s Irish community, which soon became much more than just a community. It was a family. Family is an essential aspect of Ceol na nGael as the music acts as a gateway for one to connect with their roots. Former host Maggie Dolan, FCRH ‘07, said, “Both my grandparents on my father’s side came from Ireland, Cavan and Mayo. I unfortunately did not get to meet my grandparents. However, through music, and its connection with Irish history, I felt that listening to Ceol nGael brought me a bit closer to my grandparents.”
From left: Ceol na nGael producer Liz Noonan with former hosts Colleen Taylor (09-12) and Tara Cuzzi (11-14).
The music continues to connect listeners to their families, their homeland, and their culture. The music’s lyrics depict various political figures and historic events that shaped Ireland’s cultural and political landscape. Ballads like “The Foggy Dew” depict Ireland’s 1916 Easter Rising; while “The Town I Loved So Well” depicts songwriter Phil Coulter’s experience during the Troubles.
This history doesn’t just stay in the past. Listeners can stay up to date with Ireland’s current news every Sunday at 2:00 pm during the show. Reporting straight from Ireland, Louise Williams and Brendan Tier give a seven minute report each on Ireland’s latest news and sports. Every hour, there’s also weekly community bulletin boards to keep listeners informed of local Irish events.
Since Ceol na nGael’s start in January of 1974, it has pushed the boundaries to be an active part of the Irish community. The show never just stayed in the studio. It was alive and breathing on the streets of New York and across the nation as the show is now available to stream on wfuv.org. Ceol na nGael has been broadcasted live from Mary O’Dowd’s in Manhattan. Former hosts have introduced bands at concerts, such as Cherish the Ladies at their annual Tarrytown Christmas concert and to multiple bands on the main stage at the Guinness Fleadh at Randall’s Island. Former hosts have also been guest judges for New York’s Rose of Tralee concert, and just this past week on January 20, Ceol na nGael was at the Symphony Space, celebrating its 50th anniversary.
Former Ceol na nGael host Eileen Byrne (89-94) conducting interviews on site.
Ceol na Gael’s 50th anniversary concert started off with a set by the Rogue Diplomats. The Pennsylvania-based band kicked off the show with their rendition of “South Australia” followed by “Step It Out Mary.” The Rogue Diplomats allowed the audience to ease into the show during these first two songs, but by their third song, they decided to grab hold of the audience and up the craic. Bodhrán player Matthew Cullen Breiner sang a witty introduction to “The Star of the County Down,” mentioning all the intricacies of the New York Irish community and even taking a jab at the New York Giants, all of which caused the crowd to erupt in laughter.
The Rogue Diplomats continued to add bits of dry humor throughout their performance, as heard in their next song, “The Galway Hooker.” Not even half-way through the first verse of the song, guitarist Patrick Marran laughed and said, “Don’t worry, it’s about a boat! Not what you think it is.” Laughter echoed throughout the crowd. Smiles were etched upon the audience’s faces as they were captivated by the Rogue Diplomats’ comedic and musical talent.
The fun of the night carried over into the next act, New York based band Celtic Cross. The band honored Ceol na nGael’s mission to “keep the tradition alive” with their song, “Who I Am.” The song’s lyrics – “I’ll not forget from where we came as I carry on their name” – speaks to remembering one’s roots and honoring one’s history. The song encapsulates what Ceol na nGael stands for and explains why it’s continued for half a century.
Celtic Cross continued to honor Ceol na nGael, dedicating their song “Those Were The Days” to all who helped make Ceol na nGael what it is today. It was a perfect song to dedicate as the song gives a direct shoutout to the show. “Ceol na nGael on FUV taught the words to you and me.” The crowd sang along to a song that captures at least one part, if not more, that they can relate to of growing up in New York’s Irish community. Celtic Cross rode the audience’s high-energy and continued with a fast-paced reel, titled “Mason’s Apron,” before concluding the concert’s first act.
From left: Former hosts Ryan Slattery (17-20), Allie Small (23-present), Maggie Peknic (20-23), and Patrick Breen (19-22).
There was a short intermission before the second half. The second act started with welcoming past hosts from 1974 to 2024 onto the stage. Out of the 40 past hosts, over 30 were able to make the concert. Seeing all the hosts on stage was truly like taking a screenshot of history. They represented 50 years of dedication to the preservation of traditional Irish music. It’s a feat not easily accomplished, especially when considering all of Ceol na nGael’s hosts were former Fordham students, and let’s just say, getting up early on a Sunday morning in college isn’t as easy as it seems.
The music then resumed with lovely tunes from Cillian Vallely and Kevin Crawford of Lúnasa, Patrick Mangan, and Alan Murray. Their melodic tunes created an otherworldly escape. A highlight was a tune titled “Sinead Maire’s,” which Vallely wrote for his daughter. The tune’s tin whistle starts off leisurely, slowly picking up pace before being joined by the uilleann pipes and fiddle.
Before the last act performed, short videos by Joanie Madden of Cherish the Ladies and Brian Warfield of the Wolfe Tones were played. Both musicians expressed their regrets of not being able to make the concert but wanted to make sure Ceol na nGael and its listeners knew just how vital the station was to their lives and their music. A live version of the Wolfe Tones’ “Streets of New York” was then played. Not a week goes by on Ceol na nGael without this song being played. It’s a fan favorite, and the audience confirmed that fact. They sang along to the song, waltzing up and down the aisles as if the Wolfe Tones were truly there in-person performing live.
The night then concluded with a beautiful set by Seamus Egan of Solas, who was accompanied by Alan Murray and Jenna Moynihan. Throughout the set, Egan told stories of his journeys before playing tunes from his 2020 album Early Bright.
At the end of his set, Egan was joined on stage by all of the acts. The stage became packed with various instruments as the opening notes to “Dirty Old Town” were played. The audience got up, sang, danced, and clapped along. And like all good Irish sessions, the concert ended with a fast-paced reel.
But the celebrations didn’t end with the last note. They continued into the next day in the studio. Previous hosts were invited back to the Fordham campus in WFUV’s studio to help host the show. Each host got to play one of their favorite Irish songs or tunes and share stories of their time on air. To listen to Ceol na nGael’s special 50th anniversary show that aired on January 21, head to WFUV’s archives by clicking here.
The celebrations then concluded with a big cheers, or as one would say in Irish Gaelic, a big sláinte to Ceol na nGael’s 50 anniversary with wishes for it to continue for 50 more years! Over the next 50 years, new hosts will take over the show. They’ll bring their own musical tastes and stories. They’ll teach the next generation and continue to keep the tradition alive, just as current hosts Allie Small and Matt Cuzzi do. To listen to Ceol na nGael, tune into 90.7 FM or WFUV.org every Sunday from 12-4pm for the best in Irish music.
