Saturday, July 27 saw Andrew Hozier-Byrne, better known as Hozier, play a sold out show at the historic Bethel Woods Center for the Arts. Hozier is currently touring across North America with opener Allison Russell to celebrate the release of his Unreal Unearth album.
Hozier, photographed by Sarah Hyun
Hozier, born in Ireland but popular worldwide for his songs, “Take Me to Church” and “Too Sweet,” has made many stops in NY while on tour. He recently played four nights at Forest Hills Stadium in June. Hozier is well known for his powerful voice and honest songwriting, touching on themes of heartbreak, abuse, love, and humanity through his deeply personal and self-aware lyrics.
Hozier, photographed by Sarah Hyun
Fans flocked to the concert in the early afternoon, tailgating with friends and family in white skirts, floral tank tops, and Hozier merchandise. While the majority of people sat on the lawn, those who were lucky enough to snag good seats in the 20 minute period before completely selling out the show sat under the pavilion, with a clear view of Hozier and the stage. During the concert, friends, family, and couples danced freely, truly taking in the night. Hardly any phones were present—people were truly living in the moment.
Hozier, photographed by Sarah Hyun
During his song, “Like Real People Do,” Hozier experienced a guitar malfunction and quickly moved on to the next song on his setlist. He stated, “This is how you know I’m playing live,” followed by a few laughs from him and the crowd. He recognized a familiar face and shared a sweet interaction with the fan, stating, “Is that you? Yeah, yeah! Good to see you again… I love you too.”
Hozier, photographed by Sarah Hyun
Finally, he wrapped up the night with a surprisingly long, yet beautiful encore. He left the stage after “Take Me to Church” and snuck off to a separate makeshift area closer to the people in the nosebleeds, and performed a beautiful rendition of his song, “Cherry Wine.” Fans waved their phone flashlights in the air, looking up in awe, crying, and swaying peacefully to the eclectic music as Hozier entranced the crowd with his gentle vocals and intricate guitar playing.
Crowd, photographed by Sarah Hyun
Finally, to finish off the encore, he stopped to talk to the audience about the current social and political issues affecting the world. Hozier has always been vocal about his support of the LGBTQ+ community and in the importance of voting, protesting, and recognizing the violence that is happening in other countries. He stated, “I’d only like to see Palestine free from occupation, free from violence,” before leading into song, “Nina Cried Power.” Although Hozier does not have any more New York dates scheduled for the rest of his tour, he is sure to return in the future.
Hozier – Bethel Woods Center for the Arts – Saturday, July 27, 2024
Setlist: De Selby (Part 1), De Selby (Part 2), Jackie and Wilson, From Eden, Angel of Small Death and the Codeine Scene, Dinner & Diatribes, Francesca, It Will Come Back; I, Carrion (Icarian); Abstract (Psychopomp), Like Real People Do, Wildflower and Barley (with Allison Russell), Would that I, Too Sweet, Almost (Sweet Music), Eat Your Young, Movement, Take Me to Church
Encore: Cherry Wine, Unknown / Nth, Nina Cried Power, Work Song (with Allison Russell)
On Sunday, July 28, The Liverpool Shuffle made history with their free concert, “Beatles on the Balcony,” at the Long Island Music and Entertainment Hall of Fame (LIMEHOF). It was a landmark event, being the first-ever concert held on the Hall of Fame’s balcony. The event was a resounding success, drawing in fans of all ages and celebrating the timeless music of The Beatles.
LIMEHOF Chairman Ernie Canadeo shared his excitement about the event, noting the Beatles’ significant connections to Long Island. “The Beatles have multiple ties to Long Island, from their concerts at Forest Hills Tennis Stadium (1964) and Shea Stadium (1966), to John Lennon’s residency in Cold Spring Harbor in 1979, Paul McCartney’s current home in the Hamptons, and Paul and Ringo’s continued performances at venues across Long Island. We are excited that the first concert held on our balcony follows in the tradition of the Beatles’ legendary last live concert for the ‘Let It Be’ sessions, held on the rooftop of Apple Corps.”
Ernie Canadeo
The Liverpool Shuffle, a band with a rich history of its own, consists of Joe Refano (vocals, guitars, bass), Jamie Bateman (vocals, guitars), Brian James (vocals, drums), Andrew Lubman (vocals, bass, keyboards), and Dave Clark (vocals, bass) when they expand to a five-man group. Formed in 2003 by Joe Refano, the band has seen several reformations in 2008, 2014, and 2021. Over the years, many talented musicians have been part of The Liverpool Shuffle’s journey.
The current lineup brings together a wealth of experience and unique connections to The Beatles. Joe Refano, who saw The Beatles at Shea Stadium in August 1966, has toured with Peter Noone and Herman’s Hermits, performed with Micky Dolenz of the Monkees, and served as musical director for British Invasion icon Billy J. Kramer. Andrew Lubman, a Berklee College of Music graduate who received his diploma from Sir George Martin, has performed with Tony Kishman’s Paul McCartney show and Wondersous Stories. Jamie Bateman, with family roots in Liverpool and a fifth cousin to Ringo Starr, has subbed as George Harrison with Strawberry Fields. Brian James has provided his distinctive drumming and vocals for numerous Beatles tribute bands over the years.
The LIMEHOF concert, which lasted two hours, was a comprehensive journey through The Beatles’ career. The setlist included early hits like “All My Loving,” “Roll Over Beethoven,” and “Rock and Roll Music.” As the evening progressed, the band delved into later classics such as “In My Life,” “Lady Madonna,” and “Day Tripper.” The show culminated with an energetic finale featuring “Strawberry Fields,” “Penny Lane,” “Get Back,” “Revolution,” and an electrifying rendition of “I Saw Her Standing There.”
The event’s success has set a promising precedent for future outdoor concerts at LIMEHOF. Fans are already looking forward to more balcony performances, hoping to experience the magic of live music in such a unique and historic setting.
Setlist: All My Lovin, Boys, Roll Over Beethoven, Do You Want to Know a Secret, From Me To You, She’s A Woman, I Feel Fine, Please Please Me, I Want to Hold Your Hand, She Loves You, Hard Days Night, Happy Just to Dance With You, Can’t Buy Me Love, Help!, In My Life, Lady Madonna, We Can Work It Out, Act Naturally, Day Tripper, Strawberry Fields, Penny Lane, Sgt Pepper/Little Help, Get Back, One After 909, Revolution, Back in the USSR, Hey Jude, I Saw Her Standing There
Billie Marten played a surprise show at Union Pool on Wednesday, July 24. The British indie/folk singer-songwriter announced the show in a handwritten note on Instagram teasing “mostly new stuff” to be played. Marten began her set with an announcement of a new record that she had just spent ten days recording down the street from Union Pool. She didn’t give a solid idea of when this new album might be coming out, but Marten’s last album, Drop Cherries, released just over a year ago on April 7, 2023.
Opening for Billie Marten was writer and musician Jana Horn. If you like Big Thief and Adrianne Lenker, you might also enjoy Jana Horn’s work. Intimate, interpersonal talk singing poetry over folksy drums and unique bass lines. She rode the line between banter and awkwardness perfectly, and the crowd had a great time. Marten then came out quietly onto the stage in Union Pool’s back room, which has the vibe of a Christmassy saloon. One pink light drenched Marten onstage with her acoustic guitar in her spaghetti strap top, light wash jeans, and red converse.
The show was very low-key. Marten’s pickup came loose and the sound engineer scrambled down from his spot up on the balcony as the crowd parted around him. Billie Marten told the audience to talk amongst themselves, and the room filled with a buzz until she was ready to play again. There was plenty of audience banter as Marten changed tunings between each song. We only got to hear four or five new songs, so there is definitely more to come down the road. Hopefully, Billie Marten will be able to put the finishing touches on her album soon, as we are all eagerly awaiting her next show in NY.
According to Webster’s Dictionary, a spectacle can be defined as “A visually striking performance or display.” If one were to add an addendum to this, they could add “The Flaming Lips in concert” and anyone would be hard pressed to dispute this.
The Flaming Lips brought their 2024 tour to Beak & Skiff in LaFayette on Tuesday, July 23. The psychedelic rockers from Oklahoma City were continuing a tour which has seen them play the 2002 album Yoshimi Battles the Pink Robotsin full, each night. most recently at Lewiston’s ArtPark. The album, one of 16 in The Flaming Lips catalog, brought the band their biggest commercial success, and has long been the centerpiece of the Lips’ highly regarded live performances.
As the 7:30pm start time drew close, a palpable energy set in across the apple orchard’s concert field. Front-man and equally skilled hype-man Wayne Coyne did his part to energize and excite the crowd as he sat side stage. Once the clock struck half past seven, Coyne moved to center stage and the band wasted no time getting the spectacle started. With the acoustic opening strums of Yoshimi’s “Fight Test”, and a large bust of confetti from the multiple confetti canons placed around the stage, the evening’s festivities were underway. As Coyne sang the song’s opening lyrics, giant pink robots inflated around the stage, dwarfing Coyne and his bandmates.
The spectacle would continue to take new heights as the band worked their way through the 2002 album. Dramatic lights draped the stage and the audience. Coyne shot copious amounts of confetti into the crowd, and tossed giant inflatable beach balls (again, filled with confetti) into the pit. He sang under a giant inflatable rainbow during “Do You Realize”, a song about cherishing the time you have with your loved ones.
Following the performance of Yoshimi Battles the Pink Robots (and a short intermission), the band returned for a second set, which paid homage to the many other stand out tracks through out their career. The band returned to the stage and launched into their 1993 hit “She Don’t Use Jelly”. Other highlights of the second set included “Flowers of Neptune”, “The Spark that Bled”, “Yeah Yeah Yeah Song”, and “Race for the Price”.
It would be easy to anticipate musicians merely going through the motions after 40 years of performances. The Flaming Lips did anything but this. Coyne donned a giant smile between each song, and regularly summoned more and more energy from the crowd. He told stories of the inspirations behind the music, and urged a message of peace and love. In all, the band seemed to take great pride in delivering their spectacle to the audience at Beak & Skiff.
From the moment I hit play on Hot Freaks’ new album Hot Freaks Forever, I was instantly transported into a nostalgic time warp, addictingly reliving the raw angst and bittersweet memories of my high school days. With 10 funky synth-pop and disco tracks, Minneapolis indie pop-rock band Hot Freaks resurrected from an almost decade long hiatus and infectiously captured all of our hearts at the Mercury Lounge on July 19.
Photo by Alisha Goel
“We had already been talking about reuniting,” said frontman Leo Vondracek. “I could tell that our Spotify streams had been creeping up, which was weird because we weren’t doing anything about it at all.”
After years of inactivity from the band, the song “Puppy Princess” from their debut album Hot Freaks went viral and became an overnight hit. “I didn’t really think it was that big of a deal, but then later that week we were getting emails from record labels. It was very surreal,” Vondracek recounted.
Photo by Alisha Goel
Opening their set with “Let’s Start a Country” from their new album, the night started with everyone chanting unisonally “One, two, three, let’s start a country,” perfectly encapsulating the feeling of wanting to move away from modern civilization and disappear into a vacuum.
They then transitioned to some of their more personal and intimate songs like “Write Me Letters” and “Heartache” from their previous album. When asked if their songs are generally autobiographical, Vondracek replied, “The songs that have worked are the ones that have this vulnerability and intrigue. They’re mostly, I guess, autobiographical, and even if it’s not like the whole story, they have a nugget of truth in them.”
Photo by Alisha Goel
Comparing their latest album to their debut album, Vondracek commented, “I feel like maybe compared to the first record, the second one is a little less vulnerable or more hiding behind metaphors.” Keyboardist Celeste Heule seemed to agree with this, and shared her thoughts on it: “I do feel like the second album has a lot of secret vulnerabilities in every song, but that could also because I read into lyrics and have my own vivid imagination. I don’t even know what they’re about or what Leo is thinking, but I feel like I’m reading into his soul. It’s stuff he doesn’t want me to know.”
One of my favorites of the night was “Stuart Little Vibes,” a quirky song with a soothing bridge that made me feel sublimely elevated from the venue. While Vondracek described this song as “a bit cartoonish,” he also felt the song was very postmodern. “It was like an idea of a thing, it wasn’t an actual thing. We wanted to try making something funky and weird in a fun way,” explained Vondracek.
Photo by Alisha Goel
Diving into their songwriting process, Vondracek commented, “It’s like writing a diary entry and making yourself find a balance. If you’re feeling low, vent it, and if you can put it into a fun pop song that has a self-contained arc to it – that’s like really fun.” Vondracek also talked about finding courage in the process: “It’s kind of like skydiving. You have to get ready to bolster yourself up to jump out of that plane. It’s really similar – the courage to get up there and be vulnerable.”
The band also performed “What Can I Do?” from their latest album. While a lot of their music is about love and yearning for unrequited crushes, this song thematically stood out to me from their other music – painting an introspective picture on the struggles of moving on with melancholically upbeat instrumentals in the background. “It felt like a very first thing that popped into my mind. I thought that it was really fun because it was kind of a straight shooting, simple lyric and a sad vulnerable thing,” said Vondracek. Bassist Sarah Darnall added, “It’s like you did a really hard yoga class and you get to do your Savasana at the end.”
Photo by Alisha Goel
When asked about finality and completion of a song, Vondracek interestingly remarked: “A lot of time it feels like archaeology, like thrusting the dirt off and uncovering. Sometimes there is this intrinsic feeling, but more and more, I barely have that magic feeling. I think we all seek that feeling of completion, but if you don’t feel that, it doesn’t mean it’s bad. Sometimes you just have to take that leap of faith and believe that’s good.”
The night ended with their two most popular songs “Puppy Princess” and “I Wanna be your Boyfriend.” The crowd went absolutely crazy, and people were jumping, screaming their guts out and hugging their friends. The atmosphere was intoxicatingly electric, and the intensity made it feel like a massive block party where people were busting out their best dance moves. It was chaotic, unhinged and just the right amount of freaky.
Photo by Alisha Goel
Hot Freaks – Mercury Lounge, NYC – July 19, 2024
Setlist: Let’s Start a Country, Together Above, Write Me Letters, Heartache, End of the Night, Stuart Little Vibes, Boyfriend, Outset, Not Concerned with Everything, Girlfriend, I Want You To Be My Daddy, Baby Boy, What Can I Do, Puppy Princess, I Wanna Be Your Boyfriend
Photo by Alisha GoelPhoto by Alisha GoelPhoto by Alisha GoelPhoto by Alisha Goel
Beck’s deep decades-long catalog was on full display to a packed Koussevitzky Music Shed at Tanglewood on Tuesday, July 23.
With Edwin Outwater conducting another installment of Tanglewood’s Popular Artist Series, the Rock and Roll Hall of Famer performed songs from albums Sea Change and Morning Phase, two albums designed for performance with a full orchestra, having kicked off with shows in Washington state and California earlier in July.
The show featured not just songs from the two GRAMMY nominated albums – with Morning Phase winning Album of the Year in 2015 – but also deeper cuts from Mutations, Odelay, and more, with fan favorites mixed in, as Beck presented a well-rounded view of his three-decade spanning catalog.
Beginning at 7:21pm with Outwater walking out to join the Boston Pops, Beck followed behind as “Cycle” was played, moving into “Golden Age,” with Beck introducing his ‘new’ band to the crowd. Presenting his rock star cool – shades, an open-button white shirt with french cuffs, black blazer and pants, all despite having his luggage lost by an airline and even borrowing a pair of shoes – Beck strode about the stage, leading the show alongside Outwater’s conducting.
Beck recalled how he had visited Tanglewood once prior, just to see the place, and cited that he was jealous of the picknickers on the lawn. Cheers followed as he introduced “Wave,” off Morning Phase. Showing a versatility of songwriting influences, Beck shifted south to Brazil, playing “Tropicali,” suggesting that one day he might make a full album of Brazilian music.
With an upgraded sound thanks to the 80 or so members of the Boston Pops (making for quite the tour bus, Beck later quipped), a fresh orchestra intro to “New Pollution” stood out in the first radio-friendly song of the night, with Beck’s band taking the lead on guitar and bass for the first time this evening.
Giving a shout out to his mom who was in attendance this evening, the mellow vibe of the show (save “New Pollution”) was discussed as he moved into “Missing” off Guero, with strings arranged by his father, David Chapman. This Mortal Coil’s “Tarantula” was dedicated to the goths in attendance this evening, with Beck saying “I know you’re out there, beyond the trees.”
Beck noted that he sought to perform music that inspired him, including that of Frank Sinatra and Scott Walker, the latter of whom two songs were performed this evening – “It’s Raining Today” and “Montague Terrace (in Blue)” – songs that Beck himself wanted to hear played by an orchestra.
“We Live Again” was dedicated to French singer Françoise Hardy, who passed away earlier this summer. “Phase,” “Morning” and “Waking Light,” rounded out the orchestral performances this evening, with one more surprise in store – Beck’s 1996 hit “Where It’s At” – played with depth and panache from all musicians on stage.
Beck took time to thank the Boston Pops, specifically thanking each individual section of the orchestra – strings, woodwinds, brass and the rest – before they slowly departed the stage.
With a core band remaining, each of whom had been on the recording of Sea Change and Morning Phase – Justin Meldal-Johnsen (bass), Roger Joseph Manning Jr. (keys), Jason Faulkner (guitar), and Joey Waronker (drums) – Beck playfully asked ‘Where’s my orchestra?,’ before wandering the stage to get a perspective from the musicians view, sitting in the harpist’s seat, playing the vibraphone and gong, and finally breaking out a harmonica for a solo number, “One Foot in the Grave,” off Stereopathetic Soulmanure (as well as the title of another Beck album).
The feedback friendly “Devil’s Haircut” followed as energetic as ever, with breakout single “Loser” – a song Beck has now been playing for more than 30 years – closing the night.
While you could look at the setlist and see that some hits (including all of 2017’s Colors) were left unplayed, there were no complaints to be heard as Beck’s catalog runs deep. Given his excitement over the show and praise for Tanglewood and the Boston Pops, it feels we might see him back soon in the future.
Beck with the Boston Pops – Tanglewood, Lenox, MA – Tuesday, July 23, 2024
Setlist: Cycle, The Golden Age, Everybody’s Got to Learn Sometime, Lonesome Tears, It’s Raining Today, Wave, Tropicalia, Blue Moon, Lost Cause, The New Pollution, Missing, Tarantula, Round the Bend, Paper Tiger, We Live Again, Montague Terrace (in Blue), Phase, Morning, Waking Light, Where It’s At
Encore (Beck and his band): One Foot in the Grave, Devils Haircut, Mixed Bizness, Loser
Beck 2024 Tour Dates: 7/25 – Philadelphia, PA – Mann Center (w/ The Philadelphia Orchestra) 7/27 – Vienna, VA – Wolftrap (w/ The National Symphony Orchestra) 7/29-30 – New York, NY – Perelman Stage at Carnegie Hall (w/ The Orchestra Of St. Luke’s) 9/19-22 – Louisville, KY – Bourbon & Beyond 9/28 – St. Louis, MO – Evolution Festival 9/29 – Huntsville, AL – South Star Music Festival
The Crane Wives, a four-piece indie band hailing from Grand Rapids, Michigan, took the stage at Lark Hall in Albany, for a sold-out show that resonated with energy, uniqueness and charm.
Opening for The Crane wives was American performer, composer and guitarist, Yasmin Williams from northern Virginia who landed on the Billboard Heatseekers chart with her debut album, 2018’s Unwind and released her second album, Urban Driftwood, to widespread critical acclaim in 2021.
Yasmin Williams
Founded in 2010, The Crane Wives,composed of Emilee Petersmark (guitar/vocals), Kate Pillsbury (guitar/vocals), Dan Rickabus (drums/vocals), and Ben Zito (bass), has been weaving their unique sound through the fabric of the indie music scene, which makes their ever-growing popularity compelling to witness live.
From the moment the lights dimmed and the opening notes of “Queen of Nothing” filled the room, it was clear that the audience was in for a night to remember. The Crane Wives’ upbeat sound is infectious; they expertly blend folk influences with catchy melodies, creating an atmosphere that had even the most reserved attendees mesmerized and dancing to the rhythm. The use of three-part harmonies is particularly noteworthy, allowing them to create a textured sound that sets them apart from the myriad of other indie rock outfits. Songs like “Queen of Nothing” set the tone for the evening, transitioning seamlessly into the rest of their impressive 17-song setlist which was finished up with an encore of “Scars” and “The Hand That Feeds.”
The lyrics penned by the band are often deeply introspective, tackling themes that many of their dedicated listeners can relate to, yet they are always delivered with an upbeat musicality that defies the weight of the words. This juxtaposition between lyrical depth and energetic rhythm is what makes The Crane Wives so captivating; it’s a celebration of life, even in the face of hardships that connects their music to their ever growing fan base.
Throughout the concert, it was evident that The Crane Wives prioritize creating a sense of community within their fans. Their engagement with the audience was sincere and heartfelt. Between songs, the brief banter flowed effortlessly, allowing for moments of connection. This warm approach made the sold-out venue feel intimate and welcoming, as if you were sharing the experience with friends rather than watching a performance from a distance.
As the night unfolded, the crowd danced, sang along, and echoed the bandâs harmonies, creating an exhilarating sense of unity. With the anticipation of their upcoming album, Beyond Beyond Beyond, set to release on September 6.
The Crane Wives at Lark Hall was not just a concert; it was an immersive experience that combined exceptional musicianship with a passionate connection with their fans. If their performance is any indication, the band’s trajectory is set to rise even higher.
With their ability to captivate audiences and create a vibrant community around them, The Crane Wives are poised for an even brighter future, and one can only hope there will be more opportunities to enjoy their lively and poignant music in concert.
Country-folk power couple Chaparelle gave an exciting performance on July 20 for the Woodstock community at Levon Helm Studios.
Chaparelle, fronted by singer and songwriters Zella Day and Jesse Woods, are currently on their first tour together. The two started writing music together a year and a half ago and invited producer Beau Bedford to their early sessions and announced nine tour dates on April 26. They released their first Chaparelle single, “Bleeding Hearts” on June 28.
The song reflects the classic country, slow, cowpoke sound of their homebase, Austin, Texas. The whole band is made up of Texans aside from Day who was born in Arizona, but spent most of her solo career in Los Angeles.
Levon Helm Studios was the perfect intimate venue for Chaparelle’s musical introduction to the Hudson Valley. Day and Woods are used to playing in Texas dance halls so the venue allowed them to have a closer connection with audience members. With only one single out, they performed almost all unreleased songs. “I can’t think of a more magical way to share this music,” Day remarked. The couple had eclectic chemistry on stage and their two voices melted together with impeccable harmony.
Chaparelle gave a sultry Woodstock performance of an unreleased song “Sex and Rage” and even added choreography with an iconic Austin dance move, the cuddle dip. Day sang her song “Girls” from her Sunday in Heaven album. With her iconic tambourine and entrancing vocals, Day has a captivating performance style that sucked her audience in.
One cover that had people singing along was their slowed, folky version of Whitney Houston’s “I Wanna Dance With Somebody.” Chaparelle ended their set with another cover during the encore. “Video Games” by Lana Del Rey was a song that inspired their own writing. Day has previously worked with Del Rey, opening for her a number of times and being featured on her Joni Mitchell cover, “For Free.”
Chaparelle has confirmed they will release an album in the future with the release date to be determined. With 19 dates still left on their U.S. tour, you don’t want to miss this classic country revival duo.
Remaining Chaparelle Tour Dates
JUL 27, 2024: NEWPORT FOLK FESTIVAL NEWPORT, RI
SEP 7, 2024: EVANSTON FOLK FESTIVAL EVANSTON, IL
SEP 26, 2024: BLUE CANOE TUPELO, MS
SEP 28, 2024: EVOLUTION FESTIVAL ST. LOUIS, MO
SEP 29, 2024: RECORDBAR KANSAS CITY, MO
OCT 1, 2024: MERCURY LOUNGE TULSA, OK
OCT 2, 2024: HOUSE OF BLUES DALLAS – CAMBRIDGE ROOM DALLAS, TX
OCT 4, 2024 – OCT 6, 2024: AUSTIN CITY LIMITS MUSIC FESTIVAL AUSTIN, TX
OCT 9, 2024: HOLLYWOOD THEATRE VANCOUVER, BC
OCT 11, 2024: TRACTOR TAVERN SEATTLE, WA
OCT 12, 2024: THE SHOWDOWN PORTLAND, OR
OCT 13, 2024: DOMINO ROOM BEND, OR
OCT 24, 2024: MIDDLE EAST UPSTAIRS BOSTON, MA
OCT 25, 2024: THE SULTAN ROOM BROOKLYN, NY
OCT 26, 2024: SONGBYRD WASHINGTON, DC
OCT 27, 2024: CAT’S CRADLE BACK ROOM CARRBORO, NC
OCT 29, 2024: THE EARL ATLANTA, GA
OCT 30, 2024: BLUE ROOM AT THIRD MAN RECORDS NASHVILLE, TN
Armed with an acoustic guitar, a natural gift for telling stories, and a charismatic way of connecting with people, Langhorne Slim’s sold-out performance at Levon Helm Studios on July 18th, 2024 was nothing short of superb. Drenched in emotion and musical authenticity, it was the type of show that’s both intimidating to write about and impossible to forget.
One that made you feel like you were having a brief brush with greatness and that you were witnessing one of the best performers of our time. Interactive and spontaneous, vulnerable yet hilarious and thought-provoking, anyone who was there will tell you this was about as good as a night of live folk music gets. Complete with a surprise sit-in from Sawyer Fredericks, an impromptu fan-led duet and a veritable reunion with the extended Siegal family, you could simply feel the love inside the cozy confines of Levon’s barn – and it was pure magic.
Langhorne Slim had them hanging from the rafters at Levon Helm Studios on 7/18/24.
Before things officially got started, the house announcer took a moment to reflect on the recent passing of Woodstock folk icon Happy Traum. Noting his longtime connection with the area, both as a frequent participant in the venue’s legendary Midnight Ramble series, as well as collaborations with his famous friends Bob Dylan and Pete Seeger, the entire evening was dedicated to him.
From there we were treated to a short-but-lovely set by the husband-and-wife folk duo of Zach Schmidt and Jackie Berkley, collectively known as Golden Everything. Built on the interplay between Jackie’s uplifting voice and Zach’s seasoned pipes, songs like “No One But You,” and “Remedy” captivated the crowd. Making the most of their allotted time, the couple was also happy to announce they are soon-to-be-parents, while also making a point of thanking their friend, Langhorne Slim, for including them on this run of shows.
Golden Everything opened the show for Langhorne Slim in Woodstock, NY 7/18/24.
Posting on social media prior to kicking off his ‘Politics of Love Summertime Shows,” Langhorne Slim would boldly declare “Take a stand, f*ck the man, explode yer television and go see yer favorite bands.” With his intentions clear, Levon Helm Studios was sold out weeks in advance. Taking the carpeted portion of the floor to a rousing ovation, Langhorne Slim would take a second to adjust to his surroundings. Somehow appearing to make eye contact with just about everyone in the barn before playing a single note, you were drawn to him almost instantly.
Noticing a couple empty seats in the front row, he would joke with the crowd and ask “if we should wait for them?” before starting off with his song “Better Now.” Born Sean Scolnick in Langhorne, Pennsylvania in 1980, he adopted the stage name of Langhorne Slim to keep close to his roots, despite now living in Nashville. Now with seven full-length albums under his belt, Slim would take a moment between songs to talk about his writing process. Mentioning how he typically tries not to use foul language on the records for various reasons, it was a little funny that the last two songs he’s written are laced with “F” bombs. One that particularly struck a chord was called “WTF Is Going On.”
Tell me someone what the fuck is going on, because were living in some fucked up times. We all know we’ve been had and I mean really bad and we all keep coming back for more. Everyone seems sure, but I ain’t sure and I don’t know what the hell is going on anymore. Tell me someone what the fuck is going on, because were living in some fucked up times.
-Langhorne Slim
While it was likely the first time hearing this song for many in the sold-out crowd, nearly everyone knew the next one, “Changes.” Settled in and feeling relaxed, Langhorne Slim would continue peeling back the layers of his life, sharing personal anecdotes and reflections, creating a space that felt less like a concert and more like a gathering of friends. This level of engagement transformed the performance into a shared experience, making every person in the room feel seen and heard.
Speaking off-the-cuff and recounting tales of life on the road and a series of paranormal occurrences at one particular Airbnb, Slim would have the crowd in stiches just by being himself and talking about his journey to get to this moment. After “House of My Soul (You Light the Rooms), Slim would invite his old friend Sawyer Fredericks to the stage for help on the next song, “On the Attack.” A familiar face for many, Fredericks first made a name for himself on the popular NBC hit show The Voice by covering this same song. Coming full circle and performing it together in this Woodstock atmosphere felt special, while Slim would exude after that “the boy still has it!”
Surprise Sit-In: Langhorne Slim (left) was joined by Sawyer Fredericks (right) at Levon Helm Studios on 7/18.
Throughout the set, Langhorne Slim laid bare his soul. In a performance full of tender moments, a pair of tunes that stuck out as particularly moving were “Song For Silver,” a new one describing how the clichés of becoming a Dad are actually real and “Song for Sid,” about his own beloved father. Noting that “I will play this one any chance I get,” the room felt particularly gripped as Slim’s gravelly and heartfelt voice reverberated through the storied barn with gusto and passion. The perfect acoustics even allowing him to step away from the microphone and still be heard while dancing about the stage.
I called a healthcare professional Wanna speak to someone confidentially Don’t know just how I’m feelin’ But I’m feelin’ feelings exponentially
Calm voice started asking questions Said, “Ma’am I was hoping for advice I’m feelin’ lots of feelings Not a single one of ’em feels nice”
She said, “Do you ever think about dying” Said, “No but sometimes I lie”
-Lyrics from ‘Panic Attack’
Another moment that stuck out was Slim’s introduction to the song “Panic Attack.” Written during a bleak time when he found himself alone at age 40 with only his cat, Mr. Beautiful, by his side, Slim talked openly about seeking professional counseling, getting sober, relapsing and the gift of getting sober for a second time. Captured brilliantly on his 2021 album Strawberry Mansion, Slim would also play the albums opening track, “Mighty Soul” before telling a story about meeting a lovely couple in the parking lot earlier that day who claimed they were about to walk the aisle to one of his songs, “Sea of Love.”
Langhorne Slim performing at Levon Helm Studios in Woodstock, NY 7/18/24.
So touched by this, and knowing how expensive weddings can be these days, Slim suggested we use this occasion to be the ‘real’ celebration. Then inviting Becca, the bride to be, up to the stage, the two would duet on a beautiful rendition of “Sea of Love.” The shock and smile on her face saying it all, it was surely a moment the young lady will never forget. Slim would joke, “When you invite a stranger up to the stage, you never know if they can actually sing.” Luckily for us, Becca nailed it. Afterwards another couple would speak up and say “Sea of Love” was also their wedding song.
Sea of Love: Langhorne Slim invited super-fan Becca up to sing her ‘soon-to-be’ wedding song with him on 7/18/24.
It was around this time Langhorne Slim took the pulse of the room once again and asked if there was anything people were hoping to hear that he hadn’t played yet. With seven records of material to choose from, there was still plenty on the table and the requests instantly started raining down from the balcony in waves. A bit overwhelmed by the response, Slim would do his best to please everyone. Working his way through staples like “Wolves,” “Never Break,” and “Past Lives,” Slim would teach the audience the call and response chorus to “Cinderella,” from 2009’s Be Set Free album which had the whole barn howling with delight to the lyrics of “Do you feel good (I feel alight) / That makes me feel good (outta sight).
Langhorne Slim performing at Levon Helm Studios in Woodstock, NY 7/18/24.
After commenting on how silly it would be to walk off stage just to come right back for an obligatory encore, Slim had one more surprise up his sleeve. Inviting some very special guests up to join him instead, Slim welcomed local Grammy nominated record producer and multi-instrumentalist Kenny Siegal, along with his extended family, to the stage.
The history here running deep, as Langhorne Slim’s breakthrough album, 2012’s The Way We Move was recorded just down the road at Siegal’s Old Soul Studio in Catskill, a 100-year-old Greek Revival house retooled for recording. Co-produced by Siegal, an astonishing 26 songs were completed in just four days. With the album now considered by many to be a modern masterpiece, it was another magical, full-circle moment when the Siegal’s joined Slim for the cathartic show closer and title track from that album, “The Way We Move.”
All in the Family: The family of producer Kenny Siegal joins Langhorne Slim on stage for “The Way We Move” in Woodstock, NY 7/18/24.
So caught up in the moment, Slim would unplug his guitar and dance around with the youngest member of the Siegal family before wandering all the way up into the balcony to sing along with the ‘standing room only’ crowd. Going out of his way to make sure everyone had a special moment of connection with him, there wasn’t a person there who didn’t walk away from the concert smiling about their brush with greatness.
Langhorne Slim performing at Levon Helm Studios in Woodstock, NY 7/18/24.
The evening at Levon Helm Studios was more than just a musical performance; it was an intimate exchange of stories and emotions. Delivering both classic hits and new tracks with a fervor that revealed his deep commitment to his craft along with the personal struggles and triumphs that fuel it, when he told the crowd that “he didn’t come all this way to lie to them,” you believed it. Slim’s ability to connect so deeply with people, coupled with his passionate delivery, powerful and distinct voice and thought-provoking lyrics created the perfect recipe for an unforgettable night of music and soul-searching.
Made even more special by the surprise sit-ins and the venue’s rich history, it’s easy to see why Langhorne Slim considers Woodstock one of his favorite places to play. Standing at the door on the way out, I wasn’t quite sure what to say to the man. After shaking hands and sheepishly thanking him for all the great music over the years, I think he knew where I was coming from and he went in for a big ‘ol bear hug. Trading compliments and sweat on a hot summer night at Levon’s barn; the perfect ending to a night I won’t soon forget.
Langhorne Slim | July 18, 2024 | Levon Helm Studios | Woodstock, NY
Setlist: (partial) Better Now, WTF Is Going On, Stealin’ Time, Changes, House of My Soul (You Light the Rooms), On The Attack , Sugar Plum, Song for Silver, Wolves, Panic Attack, Song for Sidney, Long Live Time, Never Break, Mighty Soul, Sea of Love, Get My Kicks, Cinderella, Past Lives.
Encore: The Way We Move (featuring the Siegal Family).
The 2024 Pleasantville Music Festival was held on Saturday, July 13, marking its 18th anniversary. The festival presented eighteen performers on three stages, all within the boundaryof one day.
Affectionately referred to as “New York’s Backyard Jam” because of its proximity to NYC, the festival takes the approach of blending up-and-coming, established, and national touring acts. A cornerstone of the festival’s success is its strategy of not repeating performers, offering returning attendees something new each year.
When The Wailers took to the stage, they transformed Pleasantville into Kingston
2024 was the second year that The Garage at Lucy’s in Pleasantville was a gatewayfor local acts to perform at the festival. Through a series of battle-of-the-band competitions held at the club, three acts were selected to open the multiple musical stages at the festival.
The Collection / Pamnation Party Stage
The battle-of-the-band winners were comprised of: Gavin Mitchell & Lauren Mian who performed on the Chill Tent Stage, Mainline who played on the Pamnation Party Stage, and all-around winner Blue Moon Band who shared their music on the Main Stage. These opening acts set a high standard for future performers, demonstrating they are more than capable of sharing the stage with major acts.
… opening acts set a high standard for future performers, demonstrating they are more than capable of sharing the stage with major acts.
Situated in the heart of Westchester, the festival is also a family-friendly affair. Attendees brought chairs and blankets to enjoy a relaxing day out. This year, Kenny Green gave a special children’s performance at the Chili Tent. Alongside the musical performances bounce houses, kid-friendly activities as well as food and other vendors lined the festival’s perimeter.
2024 saw Northwell Health joining as a sponsor of the festival. In conjunction with Northwell Health, the band N.E.D. performed. The band is comprised of gynecological oncologists, including Dr. Gizelka David-West of Northwell’s Northern Westchester and Phelps Hospitals. Their band name is derived from the medical acronym for “no evidence of disease.” After their set, N.E.D. gave everyone a clean bill of health and prescribed a daily dose of rock ’n’ roll for all.
The Wailers / Main Stage
With three stages, the festival offered a mixture of musical styles. The stages and act performance times were aligned in such a way that you could experience all eighteen acts if so desired.
The Chill Tent, situated at the far end of the park, offered an open-air big top where you could sit in chairs with large fans circulating the air. This stage hosted singer/songwriter, blues, and jazz performances featuring Jesse Terry and headliner Jill Sobule.
Better Than Ezra / Main Stage
The Pamnation Party Stage served as the place to dance till you dropped. Talon, an all-girl band fromBrooklyn and Armonk tore up the stage, while Dead Tooth from Queens added fuel to the musical fire. Jersey City’s Widely Grown (who also hosted the after-party at Lucy’s) and The Collection (from North Carolina) closed out the stage in fine fashion.
The Main Stage featured national performing acts. Indie rockerMargaret Glaspy, with her haunting raspy vocal tones, shared songs from her 2023 release “Echo The Diamond.” When The Wailers took to the stage, they transformed Pleasantville into Kingston. Performing hit after hit, lead singer Mitchell Brunings led the crowd in sing-alongs throughout their set.
…the ‘burbs can rock
Grammy Award winner The Record Company followed with their straightforward rock ’n’ roll. New Orleans-based headlinerBetter Than Ezra wrapped up the night delighting the audience with a surprise abridged performance of David Bowie’s “Space Oddity” during their set.
Jill Sobule / Chill Tent
With eighteen years under its belt, the Pleasantville Music Festival continues to put its mark on the music scene, proving that the ‘burbs can rock.
Main Stage
Better Than EzraThe Record CompanyThe WailersMargaret GlaspyN.E.D.Blue Moon Band
Pamnation Party Stage
The CollectionWidely GrownDead ToothMojo & The Mayhem TalonMainline
Chill Tent Stage
Jill SobuleJesse TerryThe Robert Hill Band w/Rae SimonePlane StationGavon Mitchell & Lauren MianKids Music w/Kenny Green