On August 16, Jim Andralis, known for hosting the country music variety show Grand Ole Pubry at Joeâs Pub in downtown Manhattan, released his fifth LP, Ghosts.
The 11-song collection is a stark reflection on life, death, and what it means to be human. The raw emotion behind Ghosts inspires the listener to reflect on the interactions taken for granted set to the tune of soothing country guitars and Andralis’ harmonies.
Ghosts starts with “The Worst Thing,” a somber introduction to the concept of grief. The track gives us a different perspective on human emotion. It may not be the worst thing to let yourself feel your emotions and process them completely before moving on. It may not be the worst thing for things to not work out the way we expect them to. It’s a lesson that everyone could use; life isn’t very fair, after all.
The following two tracks, “5 Minutes” and “You,” are both exemplary of the album’s themes of grief and loss. “5 Minutes” is a testament to the loss of Andralis’ dog, Nikko. “You” is a poignant elegy for Barbara Maier Gustern, Andralis’ vocal coach and cherished friend. Both tracks reflect on his experiences with these adored loved ones, the time spent with both, and how love transcends romantic feelings. It is clear that these losses deeply affected Andralis and inspired him to put these feelings to music, a coping mechanism that brings him, and by proxy, his listeners, a sense of peace.
Songs like “Manhattanhenge” and “Brooklyn” bring another theme into light: the haunting of New York City. In a duet with his husband Larry Krone, “Manhattanhenge” explores the idea of an afterlife in a city loved by millions. What will happen when they’re gone, and how will New York play a part in their afterlife? Will they haunt the city they fell in love with, or move on to somewhere new? Andralis and Krone’s voices blend together in an almost perfect fashion, and it leaves listeners hoping that if there is an afterlife, they get the chance to spend it together.
Jim Andralis’ fifth album, Ghosts, gives fans an opportunity to explore some of life’s darkest themes. However, there is a comforting feeling in knowing that we are not alone when it comes to these emotions. Andralis’s country guitars provide a soothing feeling to those who are suffering from the hardships of grief and losing a loved one.
Fans can find more information and music on Jim Andralis’ website, including work with the NYC-based queer punk band The Isotoners and duets with his husband, Larry Krone.
On Saturday, August 31, Porter Robinson took the stage at Forest Hills Stadium for the New York stop on his worldwide SMILE! 😀 tour.
Hot off the release of his latest album, SMILE! :D, Robinson was joined by an incredible four-piece band consisting of keys, drums, guitar, and a dual bassist and backup vocalist. Regardless of whether the band was propped up on the mini stage behind him, or if they joined him on top of the enormous LED screen center stage, they were a stellar support system for Robinson’s infectious energy.
The seats of Forest Hills Stadium were filled with an endearing and incredibly excited crowd, with many dressed in the pink and black motifs of the album. The rest were adorned in bright, colorful gear resembling his other two albums. Others held signs, fans, or sparklers, occasionally bringing the party out of the pit and into the stands. No matter what album Robinson was playing from, the crowd sang along as they danced and jumped around together in disjointed harmony.
Robinson opened the tour with a full rendition of his latest album, which, unlike his previous work, resembled that of a rock band. The rest of his show went along in his own Eras-Tour-style fashion, dedicating sections of the evening to his albums with special announcements before each one.
When Robinson was wrapped up with SMILE! 😀, the enormous LED screen adorned with colorful graphics and lyrics in bright, sparkly fonts would transform into a billboard, with each album’s title and years stretching across the screen.
After the announcements, Porter Robinson played each of his albums in their entirety. It was endearing to see him look back on all of his work with such passion and admiration but also to see his evolution as an artist. His mixing of music styles from alternative and electronic genres had definitely changed over the years, and it was clear that he intends to continue this steady growth in the future. It was refreshing to see, not only because artists with his acclaim and style tend to be stagnant, but because the passion and thought put into his work is clear.
The show’s energy seemed neverending, with a crowd that wanted to keep the party going long after the concert’s end. During his set, he brought out special guest Frost Children, who collaborated with him on his song “Mona Lisa,” and even invited his bassist to perform vocals on his older tracks, particularly from Nurture and Worlds.
Porter Robinson ended the show with an encore of “Shelter” and “Cheerleader,” two of his biggest hits and the most explosive performances of the night. The crowd welcomed him back on stage with resounding cheers and applause, chanting, “One more time!” as he walked off stage. With the end of “Cheerleader” came flashing pink lights and an explosion of paper confetti, blowing away in the wind and getting in the crowd’s hair as they made their exit.
The rest of Porter Robinson’s tour continues through the end of 2024 and into 2025, spanning across five continents and over 20 countries. Robinson’s next show will take him to Atlanta, Georgia, on September 5. More dates in South America are yet to be announced.
For the full list of tour dates, merchandise, and music, fans can visit here.
Setlist:
(SMILE! :D) Knock Yourself Out XD, Perfect Pinterest Garden, Kitsune Maison Freestyle, Year of the Cup, Easier to Love You, Is There Really No Happiness?, Mona Lisa (with Frost Children), Everything To Me, Russian Rouhttps://www.youtube.com/watch?v=lzMkFIw8ETMlette.
(Nurture) Wind Tempos, Musician, Something Comforting, Everything Goes On, Unfold, Get Your Wish, Trying to Feel Alive / Look at the Sky
(Worlds) Sea of Voices / Sad Machine, Divinity, Fresh Static Snow, Hollowheart, Language, Goodbye to a World, Sad Machine
Some early evening power outages on night two of Tedeschi Trucks Band (TTB) at Saratoga Performing Arts Center (SPAC) were no match for the electrifying blues of Susan Tedeschi’s voice and her husband Derek Trucks’ nuclear-in-scale slide guitar talents.
The lights went out in the middle of rootsy singer songwriter Margo Price’s set and briefly delayed the start of boogie-rock legends Little Feat, but the Tedeschi Trucks Band’s two hour-plus set, which ran the gamut of American musical traditions, went off without the slightest technical difficulty on Saturday, August 31.
This, the second of two SPAC shows on the Deuces Wild Tour, leaned heavily on the blues with a good measure of going-to-church gospel as well. TTB’s 14-song set, which showcased each of its 12 members’ musical personalities, kicked off with a trio of originals: “High & Mighty” set the tone for the evening featuring Tedeschi’s whiskey-smooth vocals and the first helping of a Derek Trucks slide solo. “Ain’t That Something”, a standout cut off of 2022’s epic “I Am The Moon” put keyboardist/vocalist Gabe Dixon and his blue-eyed soul vocals into the spotlight, but it was Tedeschi who stole the moment with an incredible overdriven solo.
“Hear My Dear” reached a rocking crescendo when Tedeschi and a trio of background vocalists continued to sing the chorus as Trucks lit into a fiery solo that imitated the human voice, lifting the sound of the three singing voices exponentially until it sounded every bit as strong as a massive choir.
In their cover of Bob Dylan’s “Meet Me In The Morning”, Trucks channeled the slide guitar sound of Elmore James and then he ditched the slide for more traditional fingerstyle playing, and B.B. King’s tone in “Part of Me”, reminding the audience that he’s far more than just a “slide guitarist”. Kebbi Williams’ ska-inspired sax solo also indicated that in TTB, you might well start a song in one genre and end in another depending on who has the next solo.
Vocalist extraordinaire Mike Mattison has long been a foil for the fretwork of Derek Trucks, dating back to the Derek Trucks Band days. His star turn on a gospelized Prince’s “1999” (almost unrecognizable to these ears until I caught the iconic lyrics) was a perfect tune for the last day in August – summer concert season is winding down, but TTB is still partying like it’s 1999.
On “Idle Wind”, Trucks transformed yet again. On his most inventive slide solo of the night he was in turn John Coltrane and Ali Akhbar Khan, alternating lines that sounded like the cry of a horn with runs that are far more often heard in Indian ragas than amphitheater blues rock.
A friend and I were recently discussing the incredible ability Trucks has of “interrupting the narrative” in TTB’s relatively conventional original songs. In what could almost pass as an adult contemporary number, the band builds dynamic energy behind Trucks and he launches into a litany of dirty blues, free jazz, a child crying, a saxophone wailing, a bird in flight – sometimes all within a few measures.
While it can sometimes feel like the songwriting is merely a vehicle for one of the finest touring live bands on the planet to launch into a succession of solos, TTB’s greatest gift may be in choosing its cover songs. They have it down to a science. Coming out of a lengthy drum solo, the band played five covers dovetailed incredibly well together. Powerhouse vocalist Alecia Chakour channeled her inner Aretha for “Ain’t Fair”. Then, The Allman Brothers Band’s “Dreams” featured excellent vocals by Dixon and Tedeschi and was a chance for a card-carrying former Allman Brothers Band member in Trucks to channel his childhood idol Duane Allman in yet another attack of the guitar tone clone.
Trucks exited the stage and his wife led a stripped down TTB in a bluesy mashup of John Prine’s “Angel From Montgomery” into the Garcia/Hunter classic “Sugaree”. A friend in the crowd made a valid point – is there any Upstate New York music fan who doesn’t like the songs “Dreams”, “Angel From Montgomery”, and “Sugaree”? We certainly like our Allmans, Prine, and Dead in these parts, so credit to TTBs setlist researchers for the construction of that portion of the set.
With Joe Tex’s 1967 soul hit “Show Me” the horn section was finally turned loose, as was vocalist Mark Rivers, who, had he been a musician in the 1960s, may well have been a Stax legend. At this point, TTB was in full soul revue mode, a-la the great Ray Charles bands of the 50s and 60s.
Perhaps in a nod to the whole “Mad Dogs and Englishmen” Joe Cocker tour similarities, TTB encored with Leon Russell’s “Stranger In A Strange Land”. Joined on stage by Margo Price & The Price Tags, Tedeschi and Price alternated verses triumphantly as the night came to a close and I found myself wandering through the relatively empty, but beautiful park, hoping TTB and company had indeed put me back “on the human track”.
Living legends Little Feat wasted no time firing off a succession of stone cold classics in their set, even if they were delayed by short power outage. Keyboardist Bill Payne lit into the familiar riff of “Fat Man In The Bathtub” as though he was firing a starter’s pistol, and the hits kept on coming. The atmospherically spooky “Spanish Moon” established Lowell George stand-in Scott Sharrard as a remarkable talent. Sharrard nails both George’s unusual vocal cadence and his thin slide guitar tone. A member since 2020, Sharrard’s youth seems to buoy the veterans of the band in the same way Mayer and Oteil inject life into Bobby and Mickey.
“Willin’” was a wave your lighter singalong of the first order, and while that was the moment a lot of the crowd was waiting for it was a new tune, “Mellow Down Easy” that brought down the house in what was the biggest audience reaction to anything all night.
The song is off of Little Feat’s new record Sam’s Place which is named both for percussionist Sam Clayton (who sings all the songs on the record) and Sam Phillips, the famous owner of Sun Studios in Memphis, where the Feat recorded the LP. Clayton’s Howlin’ Wolf-inspired vocals encouraged the crowd, but it was the incendiary harmonica playing of special guest Michael LoBue that worked the crowd into a frenzy and out of their seats.
Just when you thought it couldn’t get much better, Tedeschi and Trucks walked out on stage and the band kicked off “Dixie Chicken”. Hearing Trucks play such an iconic riff was all a music nerd such as myself could ask for – I could have left right after it and gone home a happy man. I deserved nothing more. But hearing Susan Tedeschi sing a verse of “Dixie Chicken” was icing on the…chicken, I guess. Fred Tackett’s chunky sounding Fender was a nice pairing with Sharrard’s smooth-as-butter Gibson sound. The guitar feast was bountiful and I was thankful the group served up “Feats Don’t Fail Me Now” in supergroup formation as well. There’s always something special about watching legends and torchbearers working together to make a crowd of thousands boogie.
Margo Price kicked off the music marathon with an 11-song set that ran the gamut in styles from Americana to bluesy psychedelia, outlaw country to Nashville honky tonk.
Price broke news early in the set that she and her band The Price Tags are set to return to Saratoga Springs as they will be joining the Farm Aid lineup on September 21. Until Saturday, Price had not officially been announced as part of the lineup, even though she has a history as a Farm Aid board member and has worked as a collaborator with Willie Nelson.
Price is an excellent frontwoman with a powerful voice that reminds me at times of both Loretta Lynn and Emmylou Harris. She’s joined by a crack band of Nashville talent, particularly her husband Jeremy Ivey who plays rhythm guitar and harmonica, keyboardist Micah Hulscher who had some of the finest B3 playing of the night, and Telecaster-master Jamie Davis.
“Been to the Mountain” from her album Strays and “Four Years of Chances” from Midwest Farmer’s Daughter were early set highlights for both the musicianship of the tight band and for the clever wordplay in Price’s lyrics.
An excellent take on the Grateful Dead-influenced “Tennessee Song” gave way to the very bluesy “Don’t Wake Up”, but the highlight of the set was a rousing “Change of Heart” into the traditional “God’s Gonna Cut You Down”. Just as Davis ripped into his solo, the power went out, making this writer wonder just what kind of God would choose guitaris-interruptus as a way to go all Old Testament on us? It got a little spooky Unsolved Mysteries at SPAC for a few minutes there. The lights came back on, but Price’s mic kept going in and out. Instead of getting frustrated, she hopped into the first row and led the crowd in a tambourine clap-along until the scurrying sound dudes fixed the problem and Price and company finished their fine opening set.
The 5 pm rain, and probably the whole end of summer Labor Day weekend thing, certainly seemed to limit the attendance on Saturday, but those that showed up saw the very best value menu you’re going to get at SPAC. And when I left my seat to go out to the lawn, it was crowded, but not oversold. It was comfortable and people were having fun. Nearly five hours of bluesy music was the perfect way to end August.
And since a new school year is just around the corner, it has me hopeful that new generations will keep hearing the music of The Allman Brothers, or Little Feat, or Susan Tedeschi and Margo Price. The crowd skewed a bit older for sure, with one man a few rows ahead of me raising his cane in the air and swaying it during the TTB encore like a baton.
But, what gives me hope is that TTB hasn’t taken a contract as The Late Show band (they certainly would be a great one). They’re a touring unit of the first order and they hit the road hard, proselytizing the blues and the American rock n’ soul standard songbook at every show. They’re using their powers for good and I sincerely hope they keep coming back to SPAC every summer to spread the gospel.
Saturday August 31 Tedeschi Trucks Band Setlist: High & Mighty, Ain’t That Something, Hear My Dear, Meet Me In the Morning (Bob Dylan cover), Part of Me, 1999 (Prince Cover), Idle Wind, Ain’t Fair (Aretha Franklin Cover), Dreams (Allman Brothers Cover), Angel From Montgomery (John Prine Cover) > Sugaree,(Grateful Dead Cover), Show Me (Joe Tex Cover), Just Won’t Burn, Made Up Mind Encore: Stranger In A Strange Land (Leon Russell cover w/ Margo Price & The Price Tags)
Little Feat Setlist: Fat Man In The Bathtub, All That You Dream, Spanish Moon, Willin’, Mellow Down Easy (w/ Michael “The Bull” LoBue on harmonica), Dixie Chicken (w/ Susan Tedeschi and Derek Trucks), Feats Don’t Fail Me Now (w/Susan Tedeschi and Derek Trucks)
Saturday August 31Margo Price & The Price Tags Setlist: All The Tired Horses (Bob Dylan Cover), Been To The Mountain, About To Find Out, Four Years of Chances, Never Say Die, Tennessee Song, Don’t Wake Me Up, Change of Heart > God’s Gonna Cut You Down (cut short by power outage), County Road, Do Right By Me, A Little Pain
Friday August 30 Tedeschi Trucks Band Setlist: Anyhow, I’ve Got a Feeling (The Beatles cover), Circles ‘Round the Sun, Let Me Get By, Tangled Up in Blue (Bob Dylan cover, TTB live debut), Do I Look Worried, I Feel So Bad (Chuck Willis cover), Smoke Ring Halo (The Wood Brothers cover), I Want More > Beck’s Bolero (Jeff Beck cover), I Walked on Guilded Splinters (Dr. John cover), Keep On Growing (Derek and the Dominos cover, with Anders Beck) > That Did It (Bobby “Blue” Bland cover), Bound for Glory Encore: Don’t Think Twice, It’s All Right (Bob Dylan cover, with Margo Price), Let’s Go Get Stoned (The Coasters cover, with Margo Price)
Labor Day weekend, a noteable bootleg and a weird ramble about women’s rights. What connection do these three things have? They’re all elements of the one and only time Frank Zappa performed at Saratoga Performing Arts Center (SPAC), on Saturday, September 1, 1984.
Zappa’s lone performance at SPAC was the final show of the first leg of the band’s North American tour before heading to Europe a week later for 28 shows stretching into mid-October. Just over a week after returning home, the band picked back up in the Northeast at Worcester Palladium in Massachusetts, with shows in NYC on Halloween at Felt Forum (now the Theater at Madison Square Garden) and the SUNY Stony Brook gym a few days later.
Snaking through the mid-Atlantic, this tour returned again to New York, with a November 16 show at SUNY Buffalo’s Alumni Arena, a whopping eight shows for Zappa heads across the Empire State, and a monster tour altogether with more than 100 shows in the calendar year.
Starting the tour on July 17, 1984 with six consecutive nights at the Palace Theater in Los Angeles, Zappa and his band would play four more shows in California that month, then head east through Arizona, New Mexico, Colorado and the Midwest, arriving in the Eastern Time Zone on August 12 in Cuyahoga Falls, OH. After a day off and show in Toronto at Canadian National Exhibition Grandstand, the band played Jones Beach on August 16.
Now if you were really into Zappa at the time, you could have caught multiple shows in New York this month, starting at Jones Beach, then The Pier in NYC, the NYS Fair in Syracuse and the Mid-Hudson Civic Center in Poughkeepsie, all in a 13-day span, with time to rinse and rest before the tour closer at SPAC on September 1. Not to mention the shows later that fall downstate and in Buffalo.
Among Zappa fans is a bootleg known as Kreega Bondola, which features a recording of Frank Zappa on September 1, 1984 at SPAC is one of the more widely circulated Zappa shows. This is thanks to the supposed soundboard source and first generation copy the recording stemmed from.
The name of the bootleg refers to a call from Tarzan, “kreeg-ah bundolo” which translates to “Beware! Kill!,” which would be the 1984 alternate name of “Let’s Move to Cleveland,” which also had pen names of “Canard du Jour,” and “(So) Young and Monde.” There is also a 14-minute version of “Kreega Bondola” which may explain how it became the title of the bootleg.
Additionally, songs from the SPAC performance, as well as the band’s December 23, 1984 show at Universal Amphitheater in Universal City (Los Angeles), California, were featured on the unofficial bootleg, All You Need is Glove, released in 1985.
With a lineup that was only found in the North America tour of 1984, the band included Frank Zappa (guitar, vocals), Ike Willis (guitar, vocals), Ray White (guitar, vocals), Scott Thunes (bass, vocals), Chad Wackerman (drums), Alan Zavod (keyboards) and Bobby Martin (keyboards, sax). Napoleon Murphy Brock had been on tour with the band from mid July until August 1, but was sidelined with stomach flu and missed the remainder of the US tour.
photo by Steve Schapiro
As a bootleg, Kreega Bondola was an entry level Zappa live performance for many of the day, offering a little something for everyone.
If you’re a casual Zappa fan or looking to wade into the waters, you’ll find “Carolina Hard-Core Ecstasy,” “I’m The Slime,” “Keep It Greasey,” and “Muffin Man” spread throughout the two hour concert. Add in Zappa’s guitar going toe-to-toe-to-toe with Ray White and Ike Willis on a shredding version of “Let’s Move to Cleveland” and you’re waist deep in live Zappa.
For the serious Zappa heads out there, there are 24 songs spread across the show and encore, pulled from no less than 13 Zappa studio albums and records, a wide net cast across an audience that would only see Frank this one time at SPAC.
Opening with “Heavy Duty Judy” and “Carolina Hard-Core Ecstasy” – a pair of Zappa and Captain Beefheart tunes – a seven minute “Advance Romance” followed, along “I’m The Slime” and the anti-MTV message that went along with it. Highlights include a short “What’s New in Baltimore?,” “Lucille,” “Teenage Wind” and “Sharleena,” and the stellar aforementioned version of “Let’s Move to Clevland.”
A pair of songs, “Cocaine Decisions” and “Nig Biz,” which were often played in succession, offered a message that outweighed the music. The first was Frank’s critical take on cocaine use/abuse and the decisions that come from those who use the drug, which also highlighted drummer Chad Wackerman’s use of electronic drums for toms (at Frank’s suggestion) along with standard snare, bass drum and cymbals. The latter is a hot take on the music industry, with the protagonist, a musician under contract with a record company, being made to feel like a slave, turning to drugs in order to be accepted. Both songs were critical of the music industry and factored in Frank’s sharp wit and words as he channeled personal views and experience into the message.
Then there is the encore break. Before closing the night, Frank received a letter on stage from a fan, reading it aloud for what is labeled as “Women’s Movement Rap” on the Kreega Bondola bootleg. The note made light of Frank’s attitudes towards women, to which Frank replied “Let me tell you something about women’s movement, there is only one good women’s movement,” leading to Frank referencing sex as the women’s movement which he is most deeply involved. And it doesn’t get less ‘weird’ by today’s standards as he keeps on going. (listen here)
The “Women’s Movement Rap” has been described by others as “possibly the dumbest thing Frank ever said on stage,” and that is likely true for the outspoken musician, but with songs “He’s So Gay,” “Bobby Brown,” “Crew Slut” and “Be In My Video” all part of this evening’s show, let alone live rotation, it was par for the course in 1984.
Closing the show post-‘rap’ were a smooth segue between “Camarillo Brillo,” “Muffin Man” and “Illinois Enema Bandit,” the latter of which stretches out for more than eight minutes, bringing the only Frank Zappa show at SPAC to a triumphant close. A unique show for sure in a heavy touring year for the workhorse composer and his band. Download the show here or listen below.
Frank Zappa – Saratoga Performing Arts Center (SPAC), Saratoga Springs, NY Saturday, September 1, 1984
Setlist: Heavy Duty Judy, Carolina Hard-Core Ecstasy, Advance Romance, I’m The Slime, Be In My Video, What’s New In Baltimore?, Lucille Has Messed My Mind Up, Ride My Face To Chicago, Teenage Wind, Truck Driver Divorce, Cocaine Decisions, Nig Biz, Sharleena, Keep It Greasey, Honey Don’t You Want A Man Like Me?, Carol You Fool, Chana In De Bushwop, Let’s Move To Cleveland, He’s So Gay, Bobby Brown, Crew Slut Encore: (women’s movement rap), Camarillo Brillo, Muffin Man, The Illinois Enema Bandit
Nigerian star Asake roared into New York Friday night for his debut at Madison Square Garden with a show in support of third and latest album, “Lungu Boy.” Asake is promoting his third album, titled Lungu Boy which is out now via EMPIRE/YBNL Nation and features appearances from Central Cee, Ludmilla, Stormzy, Travis Scott, and Wizkid.
In the lead-up to the release of ‘Lungu Boy,’ a lot of the chatter around the project hinted at Asake introducing the world to Lagos Island and the quirks of its subculture, in order to contextualize his stunning rise and his stage design and presence did just that. The evening started with a narrating explaining the experience that the crowd was going to set on with none other than Asake himself. The show opened in spectacular fashion as Asake ascended from beneath the depths of Madison Square Garden. The performance had everything from pyrotechnics to choreographed dances and visual effects.
His set Friday night at New York’s Mecca, Madison Square Garden — his debut MSG performance— saw him backed by a full band, street dancers, DJ and MC, including horns, to bring his jazz-influenced sound into a live setting. Clad in between two outfits show off his unique wardrobe style, he performed cuts from the entire album such as “Active” featuring Travis Scott, “Wave” featuring Central Cee, “Skating” which saw an elaborate display of skating and BMX biking tricks and more from the album.
In addition to performing songs from his new album on the Lungu Boy tour, Asake also performs tracks from his 2022 studio debut, Mr. Money With The Vibe(“Terminator,” “Peace Be Unto You,” “Muse,” “Joha,” “Sungba”), and its 2023 follow-up Work Of Art (“Amapiano,” “Basquiat,” “Lonely At The Top,” “Remember” and “2:30”).
In the end, it was hard for the crowd to fathom the electric show ending and even harder for Asake himself.
In true Asake fashion, he left the New York crowd with a night that they will never forget, the Lungu Boy from Lagos Island.
Women’s Day at the New York State Fair had a local flair this year, as Rochester native Danielle Ponder performed on the Chevy Court Stage. Ponder had been scheduled to perform at the fair last year, however illness forced a cancellation.
Few in the music industry have the inspirational story Danielle Ponder has. Formerly an attorney with the Monroe County Public Defender’s Office, Ponder quit her position one week sky of turning 40 years old to pursue a career in music, full time. The soul/R&B singer-songwriter has toured with George Clinton, Leon Bridges, and Marcus Mumford, performed on numerous late night television programs, and even performed at the historic Newport Folk Festival in 2023. She is currently touring in support of her 2023 release, Some Of Us Are Brave.
It was hard not to notice the grin on Danielle Ponder’s face as she took the stage at Chevy Court on Wednesday at the New York State Fair. Ponder was greeted with a roar from the crowd, many of whom had made the trek from nearby Rochester for the performance. Ponder launched into “Some Of Us Are Brave” and quickly showcased her talents to those unfamiliar with her music. Ponder’s vocals soared through out the fairgrounds, as she displayed her dynamic vocal range.
Between songs, Ponder joked with the audience regarding the serious nature of her music. “Here comes another break up song”, she joked. She told the tale of her inspirational journey to performing music full time, adding “Begin to walk and the path will appear”. And she paid homage to the local venues who supported her rise to stardum, including Funk & Waffles and The Westcott Theater.
Ponder would close the sixty minute set with a stunning rendition of Radiohead’s “Creep”. Ponder’s vocals soared through out the fairgrounds one last time, as she delivered her on take on the classic track.
The New York State Fair continues through Monday. See the remainder of the concert schedule here.
On Thursday, August 29, Brooklyn fans of the psychedelic rock genre were treated to a priceless exhibition. The heat was strong, but so was the enthusiasm of the evenings attendees. Two trio bands from different corners of the world – Balthvs and Free Whenever – were paired together so remarkably that it made one think to compliment whomever was responsible for the matter.
Free Whenever, a Brooklyn based psychedelic rock band, took the stage at 8pm sharp to a size-able crowd, nothing to sneeze at for an opening act on a Wednesday evening. The band consists of Neil Guleria on Guitar, Trevor LaVecchia on Bass, and Brendan Steuart on drums. This is not the first time the trio finds themselves opening for a big name in Brooklyn, having opened for Karina Rykman at Babies All Right late last year.
The chemistry between the gentleman is palpable both in the auditory and visual sense, and it pays off in a huge way. Playing through their entire new self-titled album, they ventured into both old and new songs that demonstrate the essence of their signature sound of psychedelic groove music. Notable highlights were “Camino“, “Sicily“, and “Jonas the Shaman” a song whom they claimed was based off the very man running their merch table in the back. With the unreleased track, “Horizons”, they went out with a thunderous hurrah, the palate was cleansed, and the stage was set.
Balthvs, a psychedelic funk triad from Columbia, graced the stage just after 9pm. Their stop on this leg of their tour not only marks their first performance in New York, but the first time the group has been on the east coast entirely. Touring to promote their new album, “Harvest“, the band consists of Johanna Mercuriana on Bass/Vocals, Santiago Lizano on Drums/Vocals, and Balthazar Aguirre on Guitar/Vocals. Balthvs, with the v pronounced like a u, made their New York debut quite memorable, guiding the evening through a lens the likes of which are quite rare.
The band boasts an impressive catalog of music for just having officially formed less than 5 years ago. 3 full length albums under their belt and 40 singles, many of which have millions of streams. The crowd was fully behind the headliners as dancing was the assignment. Balthazar mentioned in between songs that they were dining at the venues restaurant before showtime, and he saw a “Joe Russos Almost Dead Burger”. Laughs emerged amongst the audience. “I dont know if we have any heads here..hope we dont screw this up!” which was followed by a truly wonderful rendition of Grateful Dead‘s, “Bird Song”, a first for them on this tour.
One could say that their set was a masterclass in defining the root definition of what modern psychedelic music is. A myriad of global influences and style, a kaleidoscope of sound. Funk, Disco, Middle Eastern, Cumbia, Rock and Roll and so much more. The evening concluded with a final encore, long lines at the merch stand could be found for both acts. Free Whenever continues to build momentum locally. Balthvs will go on to play Austin City Limits, and then abroad to Europe and The Middle East continuing support of their new album, Harvest.
Wallows, the Los Angeles-based indie rock trio, has been captivating audiences since their formation in 2017. Made of Braeden Lemasters, Dylan Minnette, and Cole Preston, Wallows boasts a signature blend of nostalgic 90s alt-rock and modern indie-pop. Over time, they’ve consistently delivered infectious hits that have earned them both critical acclaim and a dedicated fanbase.
Their live performances are where Wallows truly shine. Known for their electric energy and dynamic stage presence, each member of the band brings something unique to the table. Their individual contributions combine to create a show that is both sonically and visually captivating. Their shows are more than just concerts—they are experiences that leave fans with lasting memories.
The Show
Wallows’ show at The Mann in Philadelphia was spectacular, showcasing the band’s growth and their connection with their audience. They created memorable moments throughout the evening, making it a night that Philly fans won’t forget.
As the show kicked off, Wallows took to the main stage with “Do Not Wait,” immediately drawing the crowd in. Braeden kept the crowd engaged throughout the night, seamlessly transitioning from talking about Philly’s national treasures to introducing “Quarterback” by joking, “If Benjamin Franklin was alive right now, I think he’d be into football. Speaking of football…” Cole then took over on vocals, and the crowd was loving every minute.
The Mann, with its expansive and almost boat-like feel (as noted by Cole), provided the perfect backdrop for Wallows’ dynamic setlist. From fan favorites like “Scrawny” and “These Days” to deeper cuts like “Drunk on Halloween,” the band delivered a performance that had the audience singing along and dancing throughout the night. One of the standout moments of the night was when Dylan made his way through the crowd during “She’s an Actress,” holding hands with fans and bringing an extra layer of intimacy to the show.
The guys surprised the crowd on the B-Stage by performing “Ground,” a song they hadn’t played on the Model Tour until now. They followed this with a haunting rendition of “Drunk on Halloween,” which further cemented the band’s ability to captivate their audience with both their sound and their presence.
As the band transitioned back to the main stage, they brought the night to a close with a powerful sequence of songs, including “Worlds Apart,” during which Braeden made his way back through the crowd, and the crowd-favorite “Are You Bored Yet?” The energy in the venue was palpable, with fans singing every word and savoring every moment.
Looking Forward
If you missed Wallows on this tour , don’t worry—you can catch them when they’re in New York. Their live shows are an unforgettable experience, and this band is only getting better with time. Catch them live, and be prepared for a night full of incredible music, memorable interactions, and an atmosphere that will stay with you long after the last note has been played.
Setlist:
Main Stage Do Not Wait, Your Apartment, [Anytime, Always], Scrawny, Don’t You Think It’s Strange, Quarterback, Bad Dream, These Days, You (Show Me Where My Days Went), At the End of the Day, Just Like a Movie, A Warning, Uncomfortable, She’s an Actress
B Stage Pictures of Girls, Ground (Tour debut), Drunk on Halloween Main Stage Worlds Apart, Pleaser, Calling After Me, Remember When, I Don’t Want to Talk, Are You Bored Yet?
Article photos by Emma Wannie, Gallery photos by Chloe Dugord
On Saturday, August 24th, the LIMEHOF celebrated the induction of three iconic DJs: Davy DMX, DJ Hurricane, and DJ Jazzy Jay. The event was a tribute to their contributions to hip-hop and the music industry, filled with heartfelt speeches, special performances, and an outpouring of admiration from peers and fans alike.
Davy DMX, Kurtis Blow and DJ Hurricane at the LIMEHOF
Before the induction ceremony, I had the opportunity to ask them a few questions about their careers and perspectives on hip-hop. Kurtis Blow, who was present to induct Davy DMX, also shared his thoughts.
DJ Hurricane, known for his pivotal role in shaping the Beastie Boys’ sound, reflected on his contributions. He described his style as “b-boyish” and “hip-hop,” explaining that he brought a swag and attitude that complemented the group, especially since MCA was the only member from Brooklyn. Hurricane reminisced about the early days, recalling their first meeting at the Def Jam office, although it felt like they had known each other forever. He also discussed the evolution of hip-hop, pointing out that today’s shorter verses and lack of recognition for DJs mark a significant shift from the past.
Kurtis Blow at LIMEHOF
Kurtis Blow, one of hip-hop’s pioneers, expressed his love for the genre, which has been his life for the past 50 years. He encouraged young artists to stay positive and continue to inspire change, emphasizing the importance of returning to hip-hop’s roots of peace, unity, love, and fun. His message was one of hope, urging the new generation to use hip-hop as a tool for global change.
Davy DMX, reflecting on his role as a DJ and producer, stressed the importance of keeping the art of scratching alive. He acknowledged the incredible heights that DJing has reached but emphasized that DJs must remain a central part of hip-hop culture.
DJ Johnny Juice at LIMEHOF
The night kicked off with DJ Johnny Juice taking the stage alongside the honorees, showcasing the skills that have made him a respected figure in the DJ community. Although DJ Jazzy Jay couldn’t attend due to a personal emergency, DJ Johnny Juice graciously accepted the award on his behalf, honoring the legacy of the pioneering DJ.
Davy DMX and Kurtis Blow at LIMEHOF
One of the highlights of the evening was Kurtis Blow’s appearance to induct his longtime friend and collaborator, Davy DMX. In his speech, Kurtis Blow delivered a heartfelt tribute, reminiscing about their early days in Hollis, Queens, and their unforgettable performances, including a legendary night at the Apollo. He credited Davy DMX as a crucial part of his success, particularly for stepping in as his DJ on tour after Run-DMCâs Joey broke his arm. Kurtis praised Daveyâs skills on the turntables and expressed deep gratitude for his unwavering support throughout their global travels. The speech culminated in a powerful moment as Kurtis Blow performed his classic hit, “The Breaks,” to the delight of the audience.
DJ Hurricane and Wife Dawn at LIMEHOF
DJ Hurricane’s induction was equally touching, with his wife, Dawn, taking the stage to honor her husband. She spoke passionately about his impressive career, which began in 1977 and saw him collaborate with legends like Run-DMC, The Beastie Boys, and Davy DMX. Dawn highlighted the challenges Hurricane faced, particularly as a DJ for an all-white group during the early days of hip-hop, and expressed her admiration for his resilience and contributions to the genre. Her words resonated with the crowd, underscoring the impact Hurricane has had on hip-hop culture.
The evening was a powerful reminder of the lasting influence of these legendary DJs, who have shaped the sound and spirit of hip-hop for decades. The LIMEHOF induction ceremony was not only a celebration of their achievements but also a recognition of their contributions to the music world and beyond).
On Friday, August 23, Woodstock-based Americana musician Eddy Lee Ryder released her debut album, Sweet Delusions. The album is a testament to Ryder’s storytelling ability, ironically recounting one of the worst parts of life through playfully catchy tunes that still bring out hers, and our own, deepest emotions.
After releasing a collection of singles and EPs, Ryder amassed a decent following through her emotional storytelling and unique, nostalgic musical style. With the help of musicians like producer Father John Misty, drummer/musical director Dan Bailey, multi-instrumentalist Daniel Chae (Zach Bryan, Kacey Musgraves), and keyboardists Todd Caldwell (Crosby, Stills & Nash, James Taylor) and Dave Shephard, along with harmonies and other help from NYC friends like Rebecca Haviland and pianist Abby Payne, Sweet Delusions is an opus two years in the making.
Throughout the entirety of the album, Ryder wears her heart on her sleeve, showing her anger, bitterness, and frustration in a failed relationship. Yet, even through all those negative feelings, there is a deep sense of romanticism behind the music, as if she’s looking back on these particular events and trying to decide whether they were positive or negative. Despite the ending of the album resembling the end of a relationship, the conflicts presented in the music leave the audience wishing they could be a fly on a wall during any one of these recording sessions.
“I want my music to carry multiple emotions, just like every experience,” Ryder says. “Nostalgia, absurdity, humor, and sorrow.”
Sweet Delusions is no exception. At its core, it is a quintessential breakup album with all the turmoil and heartbreak dripping from each track. With this album, Ryder goes back to the folky sounds of the 70s, with a slight southern twang that she herself admitted was purely accidental. Ironically, it feels like the perfect genre to express those emotions of heartbreak, sadness, and the emotional turmoil of a relationship heading in the wrong direction.
Through tracks like “Highwaymen” and “Only Real Cowboy,” Ryder perfectly depicts a toxic relationship. In the lead single, “Highwaymen,” she compares her relationship to that of Thelma and Louise, knowing something would lead to disaster and terrible consequences but eagerly doing it anyway out of sheer excitement and adrenaline. Through “Only Real Cowboy,” her sense of romanticism comes back full circle, singing about a completely bipolar relationship. Ryder depicts this secretive recluse and the emotional turmoil that comes with that type of relationship in an almost Lana Del Rey-like fashion.
However, leading single “Bad Decisions” expresses the complete opposite. While the romanticization of Ryder’s past relationship is definitely present in other singles, “Bad Decisions” brings us back to reality. The track reminds the audience to be angry at everything that happened, repeating, “Don’t say you love me if you’re here for a good time.” While “Highwaymen” tells us of the excitement of something new and potentially toxic, tracks like “Bad Decisions” and “Joke is on Me” bring us back to those dreadful feelings where the rose-tinted glasses come off and reality sinks in. By “County Fair,” the depression with realizing a relationship must end comes in full swing, and the listener gets to see the path of growth and healing it takes to come to that decision.
Regardless of whether the country music vibes were “accidental”, Eddy Lee Ryder definitely uses it to her advantage. The end of this relationship brought forth plenty of anxiety, anger, and depression that is depicted in a perfect way. As a whole, the intimate nature of country music gives us a deeper understanding of Ryder’s feelings. The intimacy definitely pays off throughout the entirety of the album, and she depicts the whirlwind of emotions in a perfect way.
It’s safe to say that Eddy Lee Ryder’s debut album was a surmounting success. Her goal of carrying multiple emotions was definitely met, and it was almost whiplash-inducing to go back and forth between her emotions. After the release of Sweet Delusions, it’s exciting to see what will come next from Eddy Lee Ryder.
Sweet Delusions is out now on all streaming platforms and fans can visit Ryder’s website for any updates and new releases.
