If there’s one thing musicians should have in order to appeal to a large audience, it is musical diversity. Elephant Back maintains their own unique sounds whilst having dynamic, ranging styles. The two latest albums by the duo showcase exactly that. The Black Album and The White Album have their own categories of sound, and one is not like the other.
Dave and Sarah of Elephant Back in 2023
Starting with The White Album, the initial track “Home,” is reminiscent of an Appalachian Folk song, mixed with Lumineers-esque soaring indie vocals. The opening track sets the tone and vibe of this album, preparing the listener for folky, indie, emotional odes to love and life-changes. The song “W.T.F.I.C.??” has a spunky indie-pop feel, but simultaneously shows clear Beatles influence in the chords and bass licks.
A great way to describe some of the songs on The White Album would be campfire-song. Songs you can gather around with your friends. Songs where you can pull out a guitar and sing, sitting on some grass just vibing together. The album’s closing track, “Move Me” is quite touching and did, in fact, move me to tears. With the album consisting of six main tracks and one hidden track, the record comes out to less than a half hour of music, yet in these 25 minutes, the band achieves great range and emotional depth.
Continuing onto Elephant Back’s The Black Album, it is a blatantly stark contrast from The White Album. This album’s opening track, “A Lot To Do” immediately grasps the listener with its 60s-style surf rock. The next song, “Bad Love” rings with clear indie-rock/alternative sound, reminiscent of bands like The White Stripes or Arctic Monkeys.
Each track on the album has its own distinct sound, while still tying in a common style. With elements of grunge, indie-rock, surf-rock, and pop-punk, this album is dynamic in its sound and its influences. Upon listening, you can really hear specific influences in each song. For some, Nirvana or Soundgarden can be heard, for others you can hear The Smashing Pumpkins or Blink-182.
On January 19th, Anastazja touched down in Manhattan to perform, as she calls it, “her favorite mix” at SOB’s. Having been a firsthand witness to this event, the crowd’s energy was expected. As their favorite tunes resonated, it motivated some individuals to leap onto the stage and break into dance.
DJ Anastazja 1.19 at SOBS – photographed Jordyn Britt
I had the privilege of securing a brief interview with this talented young artist, who currently resides in LA. She attends the University of Southern California where she will be earning with a Bachelors in Media Arts and Practice
Anastazja was born and raised in the Northwest Suburbs of Chicago, her father is from Los Angeles and her mother is a Polish immigrant. Her initial inspiration to pursue a career as a DJ stemmed from an underground EDM event. It was a go-to spot for college students and was known for being grimey. Anastazjarecalls one of those wild nights:
I witnessed a guy climb onto the DJ table, surrounded by a group of men. The men and everyone within the crowd became so excited. In that surreal moment, I felt a strong desire to experience the joy of sharing music, especially as one of the few women in the music industry. I vividly recall a distinct high school memory, driving through the school parking lot, thinking of the idea of being a DJ despite my limited knowledge. The universe and timing aligned, leading me to USC which completely altered my course.
Anastazja
DJ Anastazja 1.19 at SOBS – photographed by Jordyn Britt
DJ Anastazja 1.19 at SOBS – photographed by Jordyn Britt
Anastazja continues to gain her inspiration from all around her and within. From other DJs, Pinterest, her friends that send her music, simply walking in a grocery store and hearing a classic. Grandparents playing music from their own memories, and the resonance it carries, adds a unique and distinct touch to the experience.
One thing that Anastazja hopes to gain from being a DJ is the experience. “I look forward to being able to travel the world and explore music from different backgrounds. While DJing may appear mostly social to many, for me, it’s about chasing this specific feeling in my stomach when I witness the profound impact music has on people. Experiencing music from various parts of the world has the potential to change the way I perceive sound and life. In a sense, that would be my “gain” – the wealth of diverse musical experience.”
The highlights that make up these experiences start in those first few minutes of Anastazja’s sets, when she can get a sense of the crowd catching the groove. “When I play that one song everyone wants to sing along to, it becomes a moment of pure joy and peace – dancing and singing with a group of strangers. It’s truly incredible to witness how music can move and bond people, bringing emotions that are visible in this type of setting, ultimately bringing everyone together.”
As for her favorite mix to date, that honor goes to a recent NYC show at SOB’s on January 19. “While my boiler room experience was great, there was still a small sense of catering to the space. At SOB’s I had true creative freedom to explore anything I wanted – literally ANYTHING. I took my sound in various directions, and it resonated the best. The addition of live saxophone made the performance even more incredible, shout out to Kobie Dozier!”
Check out Anastazja Soundcloud below, and discover more here.
On January 18, night one of John Vincent III’s sold out double-header at the Bowery Ballroom, family, friends, and loyal fans who’ve waited nearly five years for a performance from Vincent packed the 600 occupant venue. John Vincent III and his band opened their mini-tour of five stops in New York City in celebration of their newest record, Songs For The Canyon.
Photograph by Shauna Hilferty
Celebrating the close-knit musical nature of New York, he sourced two local performers to open the evening: AYLA and Noah Pope, two impressive lyricists and advocates of acoustic simplicity. AYLA is an East Village native who pulled in a crowd of her own. With her teal guitar and dream-state poetry, she was the warmest icebreaker. Noah Pope, fresh to the city from Nashville, followed suit with a kind demeanor and unique vocal offering. His soft and cloudy voice designed for folk music and a knack for the harmonica proved him a surefire crowd favorite.
Photograph by Shauna Hilferty
In between sets, the audience conversed quietly and showed off their new merchandise emulating Vincent’s newest record, Songs For The Canyon (2023). Their excitement for John Vincent III was genuine, like that of a supportive friend. The tight quarters enabled friendships to form, strangers packed shoulder to shoulder spoke to one another, their smiles lingering.
When the Bowery lights dimmed, John Vinent III made his way onto stage solo to take a seat in front of the rustic piano. On the finger-stained keys he played the show into motion. Following his intro, his band made their way on stage to take their places behind their respective instruments. A drumset, an electric guitar, an acoustic guitar, and a bass.
Photograph by Shauna Hilferty
John Vincent III’s stage presence was calm. No amount of high energy compensation was needed to enhance his performance. The poetry did all the heavy lifting. Each song would be introduced by title, maybe a slight anecdote was given of its origin, and the band would deliver folk-brilliance. Second song on the setlist, “City Rain,” third song “Lover of Mine,” an audience safehold.
Photograph by Shauna Hilferty
“I don’t really know what this song is about… I guess getting excited about the unknown I suppose.” Vincent introduced his fourth song of the evening, “Slow Song.” It’s one of the wonders of music when a song’s “meaning” is not dependent on the literacy of lyrics, but can be tangibly understood through the direction of a melody and the culmination of instrumental sounds.
Photograph by Shauna Hilferty
The audience absorbed everything Vincent had to say, studying up at him eager to know more about his writing, his stories. While his music didn’t warrant an explosion of energetic dance, it offered a more reflective service. Crowd members gently swayed, held themselves and others, and listened with their noses tipped upwards towards the stage trying to hear and uncover the sheet draped over each lyric.
The set turned acoustic, and the band sat back as John Vincent strummed solo on his guitar etched with a hummingbird design. The crowd yewed and softly sang along.
Photograph by Shauna Hilferty
After an earnest ode to New York City, Vincent thanked his friends and family who made it to night one of their Bowery double-header. The Ohio born and raised, Texas and Los Angeles living traveler pulled in people from all across the country.
Songs For The Canyon, their newest release, is an excellent revival record. Vincent’s lyricism remains tethered to the idea of transience. Each song offers the experience of leaving and coming back while meditating on the people, presence, and life collected along the way. While physical travel is a large player in Vincent’s modality of storytelling, equally is severe isolation. How one can be isolated in time and space through the disablement of thought and attachment – his lyrics break down this paradoxical phenomenon.
Photograph by Shauna Hilferty
The stage lights hued a warm golden orange, like that of a sunset afterglow. This energy perfectly matched the soulful, fire crackle, smoked ambiance of their sound. As the stretch of the show came towards its close, John Vincent III exchanged I love you’s with fans who tossed the words up to him on stage from all corners of the venue.
He closed out the set with one of his most socially acclaimed songs “Next To You,”, with Vincent saying “This is a song I am very grateful for, and without it I don’t think some of you would be here.” The audience harmonized with him, and the ballroom hummed.
After the band left the stage, it wasn’t long before they returned for an encore – the modern day icing on the cake for concerts. People just can’t get enough, and artists never want the plate to clear. The three song finale was intimate. The band brought out stools and played each song acoustically, raw. Their hit, “In My Sheets” warranted a gutty singalong, and a memorable lyric change.
monarch’s If You Ask Me is unapologetically raw, with a refreshing theme of self-ownership. The clear-cut language adds intensity to the song’s powerful message- stressing the resistance to give in to outside influence or control.
Photo by, @pawprints777 on Instagram
Lyrically, the song takes us to the aftermath of boundary-pushing chaos in a compelling way. The relationship between the lyrical skill and instrumental intensity elevates the overall experience that the song brings.
Based in Brooklyn, rock group monarch formed in 2021. This spirited band has always gone beyond the limits of musical expression, captivating audiences with their powerful performances. With a reputation for powerful live performances, this group is a noteworthy act that will leave a mark on the local music scene. Monarch has plans to take the stage all over NYC in 2024 and amaze a wide range of audiences with their electrifying energy.
Sarah hopes the song lyrics and feel can bring comfort to those who can, regrettably, relate to this kind of circumstance. The song should also let listeners know that “they’re not alone in the feeling of feeling taken advantage of”. Sarah adds, “I had trouble writing a song of this essence, our music isn’t typically ‘angry’ in this sense, so I had trouble at first going into that headspace. Although it is part of my story, we created a powerful song out of it.”
“I wrote the lyrics for this song after the countless times someone has crossed my boundaries, made me uncomfortable, someone being too touchy etc. On the other hand you shouldn’t have to teach someone how to respect people and their space.”
-Sarah Michelle Lee (Vocalist)
If You Ask Me is more than just a song; it’s an experience that guides listeners to a place where chaos and order clash.
Wednesday, January 24, intimate Brooklyn venue Baby’s All Right turned into a wild, fun, vibrant showcase of rap, R&B and Jersey club music. Serving as the first New York stop of her Sexploration Tour, Baby Tate pulled out all the stops to make sure this was one of her best shows yet.
Cookie Kawaii’s infectious beats at 10 PM set the perfect tone, as the crowd danced and sang along, creating an electric atmosphere that intensified throughout the night.
At 10:45 PM, DJ Sky Jetta took over the turntables, smoothly transitioning energy between acts. The venue transformed into a pulsating dance floor, with attendees fully immersed in the music.
The long-awaited moment unfolded at 11 PM when Baby Tate graced the stage, treating the audience to hits like “Hey Mickey!”, “Grip,” and “I Am.” Her vibrant performance showcased undeniable talent, and the room surged with energy as fans showered her with appreciation.
In a surprising and delightful twist, Baby Tate brought out drag performers during intermissions, adding an extra layer of glamour and entertainment. The synergy between the performers and the crowd was magical, creating an inclusive space for everyone to express themselves freely.
As the night unfolded, the venue metamorphosed into a glittering wonderland, the audience enthusiastically embracing the interactive elements of the show. Excitement filled the air, and the atmosphere exuded pure joy and celebration.
Baby Tate’s Baby Tate’s Sexploration Tour at Baby’s All Right was a triumph of music, self-expression, and community. Energetic performances and drag interludes etched unforgettable moments into the memories of attendees. Brooklyn pulsated with the spirit of Baby Tate, embodying her bold, vibrant artistry.
Visit Baby Tate’s official website for more details about her ongoing tour.
On January 23, 2024, the famous 92nd Street Y (92Y) was buzzing with excitement as Annette Insdorf led a lively talk with legendary filmmaker Martin Scorsese. The main focus of the event was a close look at Scorsese’s latest film, “Killers of the Flower Moon.” The audience enjoyed insights into the movie, and with Scorsese having earned an Oscar nomination, he now surpasses Steven Spielberg in directorial acclaim.
Adding to the historic moment, Lily Gladstone, who stars in the film, made history herself by becoming the first Native American actress to be Oscar-nominated. Her groundbreaking achievement is a testament to the film’s commitment to diversity and authenticity.
During the on-stage conversation, Scorsese delved into the intricacies of the filmmaking process, shedding light on the chemistry between the actors that brought his vision to life. One of the key elements discussed was the musical score, composed by Robbie Robertson. Scorsese shared insights into the collaborative process of creating the film’s music. This soundtrack, became Robertson’s last film score before he passed away in August 2023. The film is dedicated to his memory. Robertson’s musical talent earned him a posthumous nomination for the Academy Award for Best Original Score in 2024, showcasing the impact of his contribution to the movie’s emotional atmosphere.
Another standout point in the conversation was Scorsese’s commitment to authenticity in depicting the Osage Nation, a Native American tribe central to the film’s narrative. The director and his team actively engaged with members of the Osage Nation, meeting with them on multiple occasions to ensure accurate and respectful portrayals of their people and culture. This collaborative effort added a layer of depth to the film, making it a more immersive and genuine cinematic experience.
To sum it up, the night at 92Y showed us Martin Scorsese’s creative thinking and how he made “Killers of the Flower Moon.” This event celebrated not just his successes but also the diverse magic that makes movies special. It’s a noteworthy moment in his impressive journey in the film world.
“All of them will encompass the idea of revolutionary joy,” Michael Farrow tells me when describing Farrow, and their vision of where their music’s been and where their music’s going. It shows and it shines of course, since Farrow has been a staple here in Western NY for the last several years, taking the music scene here by storm, opening for national acts like Portugal the Man.
For the last couple of years, Farrow has also been putting out a series of interconnected EPs, Agitate, Educate, and the third EP of that series, Organize. The latter of which has a release show at the Town Ballroom set for this Friday, the 26th. The release show will not only feature ever-rising acts such as, Sunday Reign and Grosh, but will also be a tribute to their supremely-talented drummer, Tim Webb, who recently passed away.
With fingers unsteady enough to deny me a career as a lead guitarist myself, and enough caffeine to send a bull elephant into a jolt of their own, I was excited, and honored to chat through a labyrinth of DMs with Farrow’s founding member, chief songwriter and vocal lead, Michael Farrow, also known by their stage name, MYQ F, and vocalist for the band, Danielle Johnson, whose also the founding member, and vocal lead of the new Buffalo outfit, Diyené.
Of course I started out trying to get an origin story out of Danielle whose vocals and lyrics on the stage are as a dynamic and standout as her personality off the stage. Her addition to Farrow’s sound is vital, and transcends more from the point of backup vocalist, and has only added to the intense, soulful stylings that comprise Farrow’s vocal thunderstorm.
JB: So before we get into existential deep cuts, I think it would be a good to see how the band brought you in Danielle, as you seem to be an integral member of the band. So how’d this come to be?
DJ: Okay, so maybe about 2 years ago I got a message on Facebook from Michael Farrow asking if i wanted to do background vocals for him in their band. I think at the time I knew that they had a band but I hadn’t heard the music or seen them live. All of my experience knowing Mike was directly in relation to seeing him at karaoke over the course of two or three years and sometimes seeing him in relation to Eve at poetry events. I came to a rehearsal on Andre Pilette’s porch and started just harmonizing to the best of my ability to the songs they were playing and that was kind of that. We start prepping me for the show they were about to do which was at The Tralf and from there I was the background vocalist. My role as background started with me being featured on maybe 5 or 6 songs but the more gigs I was doing the more inconvenient it was to go up and down and up and down off the stage so I started teaching myself other songs that we would perform often, so now after two years I am a co-lead which is great, but I am really just happy to be up there vibing and hanging out.
JB: Are there any personal faves you have? Any songs you particularly love performing live, maybe ones you love recording with the band?
DJ: For me, “Love Me For Me,” and “Steal My Joy” are big message songs that make me feel great. I really attached myself to “Love Me for Me” when I first joined the band.
JB: That’s great! “Love Me for Me,” is also a personal favorite of mine as well. Speaking of co-leads, I see you’re leading your own band now as well of your own, Diyené. Would love to know a little bit more about that project too.
Photo Credit: Curtis Kreutter
DJ: So Diyené is really interesting, I started writing a song called “Better” very shortly after calling off my engagement in May and I tossed it around to a lot of different musicians and didn’t really focus on it because I couldn’t think of how to finish it or make it sound the way I wanted it to because I don’t play very many instruments or any at all. In early December of 2022 I met Nick Myers in passing who was with me at Snow Jam and he offered to be my bassist and let me know that he was game to make original music and from that moment the ball was rolling. I found Nick in early December, our first meeting we wrote two songs. I already knew I wanted to work with Armani from when I met him at a rehearsal for David Jonathan and the Inner City Bedlam, together we nailed down “Better.” I met Mike Delano right before New Years and together we wrote two songs. And on January 11th I met with the tentative three members of my band just to see if we vibed and Armani brought Isaiah and we all got along so well.
JB: Interesting. Are there any comparisons you have between Diyené’s sound & Farrow’s?
DJ: I think in terms of creating music that lyrically says something strong I think there are similarities, and that even though Farrow’s genre differs, the music continually crosses genres, Diyené does that as well.
I then reached out to Michael, whose been an absolute stalwart to Buffalo’s music community, and spoke to him about Farrow’s sound, the journey of it all, how they are redefining their own influences in order to find their own place beyond the rustbelt, beyond the Niagara frontier, beyond the entire Western NY region.
JB: I must ask about your previous albums listening to it there is a such an interconnection to the lyrical themes bridging the personal and political? You speak about revolutionary joy, and the interconnectedness throughout your current discography. What do these ideals mean to you?
MF: For me, it’s all a feeling that everything seems to be an extension of each other. An example of that personal-to-political bridge “Run Away” is a break up song, but it’s really an expression of my relationship with this country. If any person treated me like this country had, you’d tell them to break up.
Photo Credit: John Raczynski Photography
JB: Love that song of course, and I can definitely see the political comparison there.
MF: “I know I’ve got a problem trying to figure you out,” which in that translation for I spend way too much time trying to figure out this place when I think I really need to run away. For the song writing process it means that I can’t just stop at the frustration, I have to find a place of interconnectedness which is the central aspect of joy. The thing is, joy isn’t just about happiness, but it’s about connection. Joy is in connection.Joy in nature is connection to nature. So I try and write with communication and connective love in mind. On a different, but still interconnected note, but I have a feeling much of this comes from your own experiences of course, and the tragedies befallen in the Black community, especially in the past few years, but were there also any artists that come to mind as well? I have read many revolutionary texts and examined various revolutionary lives like Huey P. Newton, Paul Robeson, and James Baldwin. Because the topic of systemic social change is heavy and important, there tends to be the overwhelming sense of reverence sadness and anger, rarely joy peace and laughter. Emma Goldman said “I did not believe that a cause which stood for a beautiful ideal, for anarchism, for release and freedom from conventions and prejudice, should demand the denial of life and joy.“ I wanted to have a collection of joyful music that still spoke to the revolutionary spirit. Something I can listen to while I’m going about my day, not intrusive, but a comfort.
JB: Beautiful words spoken by such remarkable voices, especially Emma Goldman, who has her own infamous history here in Buffalo. When looking at the spheres of influence, are there any particular songwriters, or bands, local/national/international that you would say your inspiration draws from? I know this is sort of trite, and overdone question, but I think it’s still an important one in maybe adding to the already powerful context in your music.
MF: So usually when I talk about inspiration I talk about Buffalo native Ani DiFranco, but specifically within the Black community you’re asking a very nuanced and therefore gonna get a “get me in trouble” kind of answer. To begin with, I don’t believe that there is a single monolithic Black community in any given city. The intersectionality of the various identities that we all carry can result in contradictions within our communities, which is why I draw inspiration from a multitude of sources. When it comes to the response of the church-going Black community in the face of tragedy, there is no universal approach. Some may say that “God has a plan,” while others express frustration and lamentation, as seen in the psalms of the Bible. I was surprised to hear a lot of WE PRAISE YOU LORD music at the interfaith service I attended after the 5/14 tragedy. What inspires me the most is the idea of being honest and upfront with God, the community, and authority about how we’ve been wronged. The Bible has plenty of examples of this, and I believe it’s crucial to acknowledge and express our frustrations and sorrow. One important observation I’ve made is that we don’t seem to have a collective secular mourning ritual within the diverse Black American experience. Instead of mourning, many of us tend to distract ourselves with partying and other activities. If we were to truly let our tears flow, the river of injustice would be unceasing, and we would all drown. So, I strive to create a space for mourning and reflection in my work, even if it’s not always comfortable or easy.
JB: That is definitely a concept worth living up to. Saying that, there’s another concept we’ve spoken about in previous conversations on the genre you and the rest of the band classify themselves as, and I’ve been really fascinated by it as of late: neo-classic rock. Could you elaborate on that for me?
MF: Neo-classic rock is something that’s close to my heart because it’s something we’ve kind of been making up. We realize whenever we were asked about what type of music we played the answer was rock, but for us it was from the 60s and 70s and early 80s and the sound we’re making sort of envelopes all of these groups that sound like music from the past but also brought into the present. When I speak of our influence, when I think of the things that revolutionize and shape our sound I think of the revolutionary rockers of the 60s and 70s, such as Creedence Clearwater Revival, also blends of black and white groups like Sly & The Family Stone, The Band, etc… A lot of those bands that were singing about things that were a little more revolutionary, a little more political. There’s also the Black influence of rock there too from church and Gospel music which have always played a role in rock music uniting both the secular and religious in music like soul. But were not making soul music were making music that utilizes the sounds of soul. So inventing a genre is beautiful, because of its roots, really the music is a giant family tree where they’re all connected in very strange ways and double back and realign to each other. With neo-classic rock, the sound is really about finding the essence of the old rock music in a new generation of thought. When old rock music using that example with metal.
As Friday approaches, and the release date of Farrow’s third EP draws closer and closer, it seems even more important that the concepts Farrow brings to their music, make their way through the smokescreen of struggle and megaphone the ideals of what it means to turn music into a form of protest, whether that is through addressing a landscape of sound, or one of political unrest. From redefining concepts such as joy, or redefining genre, or scribing lyrics that unapologetically challenge the status quo, Farrow embodies the heartbeat of a generation looking for change. There’s the hard-hitting percussions of Michel Ruopoli and the late great Tim Webb. There’s Corey Clancy’s acid-tongued guitar licks, Andre Pilette’s funkified basslines. There’s the diverse flurry of piano rolls and keyboard strokes from Rufus “Breezy” Cole Jr. There’s, of course, Danielle Johnson, and Michael Farrow, whose vocals are powerful enough to make the angels themselves jealous.
Although with Tim’s recent passing, the release party that is set will be run on more somber terms, the connection Mike speaks of, the comradery Danielle speaks of, the way joy is not just a celebration, but a connection to community. A connection that no amount of death can derail, and no amount of life can overwhelm. Farrow offers in their music something much deeper than hope: truth, which in such essence is a gospel all its own.
Grace Potter performed at the Capitol Theatre in Port Chester on January 18, in support of her 2023 release, Mother Road. This performance marked the third stop on a tour extending through August. Backed by a dynamic four-piece band, Potter delivered a two-hour rock exhibition, captivating and thrilling her fans at The Cap.
Grace Potter
As the house lights dimmed, a stage metamorphosis evoked the sensation of traveling down Route 66 in the 1960s. Enveloped in the simulated radiance of tour bus headlights, a silhouette materialized, and Potter took center stage, kicking off the show with “Lady Vagabound” from Mother Road.
The night was a musical inferno, igniting the stage from the instant Grace made her entrance. Throughout the night, Potter embodied a kaleidoscope of personas. In the early moments, she became a tornado, swirling dynamically around the stage. The song “Your Girl” from Midnight saw Potter confidently striding across the stage, and when “Good Time” hit, it nearly lifted the roof off the house with its electrifying energy.
Grace Potter
The evening resonated with an array of new songs. Nearly half of the Mother Road recording found its place in the setlist. “Ready Set Go,” from Mother Road, showcased Grace’s raw and textured voice, infusing the song with the necessary vigor. Long time GP & The Nocturnalfans were not left by the wayside. Tunes like “Medicine” and “Ah Mary” made their way to the night’s set list.
In the latter part of the evening, Potter graced the stage alone, accompanied only by her guitar. During this intimate moment, she presented a heartfelt interpretation of Etta James‘ “I’d Rather Go Blind.” Her minimal guitar accompaniment, combined with a deep haunting vocal, emerged as the focal point of the night. While this change in vibe deviated from the earlier energy, it introduced another layer to Grace’s seasoned rock ‘n’ roll expertise.
Grace Potter
This was also an evening of musical milestones. Brittney Spencer, the opening act, was releasing her debut album, My Stupid Life, at the stroke of midnight. Moreover, this was her first time opening for Grace Potter marking another significant first in her burgeoning career.
Recognized recently by Rolling Stone as one of the “25 Artists to Watch,” Spencer demonstrated why she earned such acclaim. Commanding the stage with a powerful presence and a voice of sultry richness, she allowed her self-penned tunes to resonate not only within the theater but also in the hearts of those who listened.
Brittney Spencer
Spencer collaborated with Potter for two duets during the show. She joined Grace in an acoustic rendition of “Little Hitchhiker” from Mother Road, and later during the encore, they united their voices for a cover of Bob Dylan’s “I Shall Be Released.” In each instance, their voices harmonized seamlessly, crafting a singular and exquisite sound.
Potter wrapped up the evening with a four-song encore, starting with a rocking version of “Paris (Ohh La La).” To bring the night to a close and with the audience illuminating the space with their phone lights, Grace concluded with “Stars.” The harmonious glow enveloping the hall against the backdrop of darkness orchestrated a melodic moment that transported everyone into a symphonic realm beyond.
Grace Potter
The tour takes Potter and crew to The Paramount in Huntington on January 24th, The Count Basie Center for the Arts in Red Bank, NJ on January 25th, and The Filmore in Philadelphia on January 26th, with Brittney Spencer opening all three shows.
Grace Potter – Capitol Theatre, Port Chester – January 18, 2024
Setlist: Lady Vagabond, Medicine, Ah Mary, Empty Heart, Mother Road, Ready Set Go, Something That I Want, Your Girl, Good Time, I’d Rather Go Blind, Little Hitchhiker, Nothing but the Water, The Lion the Beast the Beat Encore: Paris (Ooh La La), You and Tequila, I Shall Be Released, Stars
The Disco Biscuits have announced an upcoming album release show for Revolution in Motion at New York City’s famous Webster Hall. The much anticipated gig is set to take place on March 29, coinciding with the release date of the band’s first new studio project in more than nine years. It comes in the midst of an already expansive 2024 winter tour, right in between performances scheduled for Wilkes Barre, Pa and Buffalo. It also marks the return of The Disco Biscuits to Webster Hall for the first time in nearly 25 years.
Revolution in Motion is already being touted by the Biscuits’ fanbase as the bands latest rock opera, following in the footsteps of Hot Air Balloon and Chemical Warfare Brigade. This latest one was originally conceptualized by guitarist Jon Gutwillig and collaborator Joey Friedman in 2021 before they brought Biscuits keyboardist Aron Magner in to help write the following year. The songs, which tell the tale of an alien interstellar journey, have all made their way into the band’s live repertoire one by one upon completion and are now ready for their official release in album form.
“With a large part of the space opera taking place in New York City, we thought it was only appropriate to play a show there on the day of its release,” noted Magner. “After our late-night rager at the Palladium over our New Year’s run in 2023, we can’t wait to get back to NYC and tell this story from start to finish.”
The Album Release Show at Webster Hall will go on sale to the public on Friday, January 26 at noon E.T. An Artist Presale will begin on Wednesday, January 24 at noon E.T. with the password: RevolutionInMotion. Visit www.discobiscuits.com for more information.
Rhythmic powerhouse Long Island band Bad Mary has released a new single “The Floor is Lava” accompanied by an imposing live video from their November show at New York’s Bowery Electric.
The New York-based Bad Mary are known for playing loud, fast, aggressive, and fun live shows. Drawing influences from the likes of The Ramones and Blondie, the band is known for constantly refining their sound and making waves in the rock music scene while having fun. The band recently performed at New York’s Bowery Electric where they performed “The Floor is Lava” and released a live music video of the performance.
Made up of their lead vocalist Amanda Mac, her husband Mike on bass, her dad Bill on drums, and her professor David on guitar, the NY-based rock band has seen a steady growth in both their local and fan bases. The band has continued to perform at prominent venues like The Knitting Factory and recently at the Bowery Electric.
The new live music video is off Bad Mary’s 2023 EP Trash & Glamour. The self-written and performed punchy yet melodic EP is available to stream on all major streaming services.
The band will also release a re-recorded mix of their song “Forget About It” to begin the celebration of the 10th Anniversary of their first album Better Days with re-recorded and remixed versions of the songs is expected to be released this spring.
