Category: Reviews

Tyler Childers Scintillates in Sold Out SPAC Performance

Crossover country music sensation Tyler Childers showed his hand in Saratoga Springs Wednesday night, July 3, selling out SPAC to the tune of an estimated 25,000 concert goers.

Tyler Childers performing in Saratoga Springs on 7/3/24.

Armed with a distinct voice, thought-provoking lyrics, an unassuming confidence and maturity beyond his years, the Grammy nominated Childers delivered the type of well-rounded performance that turned skeptics into believers and left long-time fans wishing the night could last forever. Singing through his career spanning catalog of hits, the complex Kentucky-based crooner left it all on the stage, creating a unique atmosphere of optimism and excitement despite the melancholy nature behind much of the music. The concert, part of his “Mule Pull ‘24” tour, was a testament to Childers meteoric rise in popularity and his deep connection to the audience.

With the Broadview stage at SPAC elegantly decorated in old furniture, plants, odd antiques, and a vintage television set, the show started with a surreal countdown that featured various clips of Childers formative years. Accented by the roar of the sold-out crowd as he finally walked out, it was enough to give you goosebumps before anyone played a single note. From the opening tune “Her and the Banks” and the foot stomping “Percheron Mules,” the 33-year-old Childers captivated the audience from the start. Bolstered by the power of his incredibly tight backing band, The Food Stamps, his signature raw and unique voice was strong and mesmerizing.

Tyler Childers plays to a sold-out Saratoga Performing Arts Center 7/3/24.

Bringing a gritty yet soulful and authentic Kentucky touch to each number, Childers would play a total of 23 songs on the night, including six from his massive 2017 breakthrough album, Purgatory. After working their way through “Born Again,” fans were treated to a pair of sing-alongs from the 2019’s Country Squire, including the title track and the grade school confessional “Bus Route.” Following that up with “I Swear (To God) and the beautifully subdued “Shake the Frost,” the crowd was soon throwing their fists in the air in unison for the rollicking “Rustlin’ In the Rain,” before one of Childers most popular songs, “All Your’n” had them howling with delight. Busting out a Kris Kristofferson cover next, “Help Me Make It Through the Night” gave way to a far more traditional country burner in “Cluck Ol Hen.”

The Food Stamps performing with Tyler Childers at SPAC on 7/3/24.

At this point of the show, The Food Stamps would disappear into the shadows leaving Tyler alone in the spotlight for some of his most heartfelt lyrics and soulful melodies of the night, delivering powerful performances of “Lady May,” “Nose on the Grindstone,” and “Follow You to Virgie,” with each delivering poignant messages about love, perseverance, and life’s hardships. When the Food Stamps reemerged, the full band was in all their glory on the massive “In Your Love” that saw fans waving their cell phones in the sky to create a spectacle similar to swimming in a sea of fireflies.

Tyler Childers performing in Saratoga Springs on 7/3/24.

Entering the Can I Take My Hounds to Heaven portion of the show, Childers would pay homage to one of his biggest influences, Hank Williams, with a stellar cover of “Old Country Church” that made SPAC feel like exactly that. Following fan favorites “Whitehouse Road” and “Honkey Tonk Flame,” opening act S.G. Goodman was then invited to the stage for a scintillating duet on “Way of the Triune God.” Building up the momentum, “House Fire” would have fans stomping their feet and set us up for one final singalong, the anthemic “Universal Sound,” bringing the epic and cathartic evening to a close.

Tyler Childers performing in Saratoga Springs on 7/3/24.

The Broadview Stage at SPAC proved to be an excellent venue for the concert, offering great acoustics and a spacious setting that enhanced the overall experience. The crowd’s enthusiastic response throughout the night highlighted the deep connection Childers has with his fans, making it clear why he continues to sell out shows across the country. Blurring the lines of what it means to be a country music superstar, this was a night to remember – filled with powerful music, heartfelt moments, and an undeniable sense of community.

Tyler Childers | 7-3-2024 | Saratoga Springs, NY | SPAC

Setlist: Her and the Banks, Percheron Mules, Born Again, Country Squire, Bus Route, I Swear (To God), Shake the Frost, Rustin’ in the Rain, All Your’n, Help Me Make It Through the Night, Cluck Ol Hen, Lady May, Nose on the Grindstone, Follow You to Virgie, In Your Love, old Country Church, Can I Take My Hounds to Heaven, Whitehouse Road, Two Coats, Honky Tonk Flame, Way of the Triune God, House Fire, Universal Sound.

July 6, 2024
Biscuits and Eggs: The Brownstein Family Band Serve up the Jams in Albany

It was fun for the whole family as members of The Disco Biscuits and Eggy, along with up-and-coming jammers Dysfunktone, converged at in Albany to bring the party to the people on Friday, June 28. Playing the third gig of the Brownstein Family Band’s first multi-show run, it didn’t take long before the bona fide family reunion escalated into an all-out dance party.

Featuring familiar tunes, choice covers and a whole lot of smiles and sweat, it was the kind of night that made you feel lucky to be alive and that you were in the right place at the right time.

Marc, Jake and Zach Brownstein performing as The Brownstein Family Band in Albany on 6/28/24.

Conceived almost by accident when someone backstage at Biscoland 2023 suggested the idea of getting everyone named ‘Brownstein’ together to form a supergroup, less than a year later, that pipe dream has become a full-fledged reality. Consisting of the Disco Biscuits bassist Marc Brownstein and his son Zach Brownstein on drums, the band also features Eggy bandmates Jake Brownstein on guitar and Dani Battat on keyboards.

Now collectively known as The Brownstein Family Band, the high-profile side project blazed a trail over the Northeast with four shows that will have people talking for years to come.

Dysfunktone kicked things off at Lark Hall on 6/28/24.

Opening the night at Lark Hall with an energetic set full of groove-based improv was Long Island rockers Dysfunktone. Commanding your attention from the opening riffs, the impressive young quartet dazzled with proficiency and technicality. Made up of Rob Meza on guitar and keys, Alex Gallina on bass, Brandon Hanna on guitar, and Dakota Henry on drums, the band wasted no time going dank and deep.

After kicking off with a 14-minute rendition of “Strawberry Cough,” Dysfunktone easily won the crowd over with stellar versions of “Medusa’s Myth,” “Circadian Rhythms,” and an epic 18 minute ride through “Feelin’ Time” that contained clear Aqueous teases throughout. A band that is destined to become a force in the Northeast jam scene for years to come, be sure to keep an eye out for them and thank us later. After a brief intermission, the Brownstein Family Band soon assembled on stage around 9:30pm.

The Brownstein Family Band performing at Lark Hall on 6/28/24.

Properly paying homage to a mutual musical hero, Jerry Garcia, the Brownstein Family Band opened their set with colorful cover of “Let It Rock.” Setting the tone for the exciting evening to come, Steve Miller Band’s “Take the Money and Run” would give way to the first original song of the set in Eggy’s “One Stop Shop.” Pausing for a moment to address the audience, Marc Brownstein (AKA Brownie) would claim the Lark Hall crowd was the most welcoming and energetic so far on this run. Peering at them through a pair of gnarly green shades, he’d go on to say that because “they were having so much fun, they’re going to ditch the set break and keep the jams flowing.”

Marc Brownstein of The Disco Biscuits performing with The Brownstein Family Band on 6/28/24.

Dropping back into the music with the beloved Disco Biscuits original “M.E.M.P.H.I.S.” the band seamlessly dithered into the psychedelic territory of the Beatles classic “Tomorrow Never Know” with vocals courtesy of keyboardist Dani (pronounced Donny) Battat. The crowd got extra excited for its follow up, another cherished Jerry Garcia tune, “Cats Under the Stars.”

Providing a perfect platform for Eggy’s axe-man Jake to show off his incredible chops, the song effortlessly segued into the timeless “Tangled Up in Blue” which had everyone singing along in unison.

Eggy’s Jake Brownstein performing with The Brownstein Family Band on 6/28/24.

Another Eggy original tune was up next in the form of “All Wheel’s Turnin’,” before the Brownstein Family Band surprised us all with a cover of Donovan’s “Barabajagal.” Pausing once again for a few words, Brownie would speak from the heart, commenting how great it was to be playing with these young and hungry lions, while also acknowledging just how great of songwriters Jake and Dani really are.

Like any proud dad, he would also give major props to his son, Zach, for holding it down on the drum kit, watching him not only grow into a great drummer, but a professional one and noting that it’s “a true joy to be sharing the stage with him.” The sappy sentiment continued next with an emotional rendition of the Grateful Dead’s “They Love Each Other” that had all the feels and was perhaps the overall highlight of the night. After “Confrontation” left Lark Hall begging for more, the band would return to the stage for one final tune.

Zach Brownstein performing with The Brownstein Family Band on 6/28/24.

With things going so well, Dani would joke about how their still trying to figure out a way to have some Brownstein family drama. Marc would quickly interject and say, “We’re only 4 show in. It’s coming. Believe me, I’ve been around for a long time. The drama is coming and this song is our redemption.” The Brownstein Family Band would then close the show with an emphatic and euphoric rendition of the Eggy original “Golden Gate Dancer,” bringing another stellar night of music at Lark Hall to a memorable close.

Eggy’s Dani Battat performing with The Brownstein Family Band in Albany on 6/28/24.

After wrapping up this brief run of shows the following night in Bridgeport, CT, it’s unknown when the Brownstein Family Band will perform their next gig.

With The Disco Biscuits set to host their second annual Biscoland in LaFayette’s Wonderland Forest over the 4th of July holiday and Eggy heading west to make their Red Rocks debut and play a handful of high profile festivals through the month of July, it’s shaping up to be a busy summer ahead for both of these talented and charismatic bands. What we do know for certain is that when this fun loving collaboration happens again, you don’t want to miss it.

Brownstein Family Band | June 6, 2024 | Lark Hall | Albany, NY

Setlist: Let It Rock, Take the Money and Run, One Stop Shop, M.E,M.P.H.I.S. > Tomorrow Never Knows, Cats Under The Stars > Tangled Up In Blue, All Wheels Turning, Barabajagal, They Love Each Other, Confrontation

Encore: Golden Gate Dancer Redemption

Dysfunktone | June 6, 2024 | Lark Hall | Albany, NY

Setlist: Strawberry Cough, Siren’s Song > Medusa’s Myth, Circadian Rhythms, Feelin’ Time.

July 5, 2024
2024 Caramoor American Roots Festival

The 2024 Caramoor American Roots Festival was held on Saturday, June 29, 2024. The festival featured blues, Americana, folk, and bluegrass music with a stellar lineup featuring Lizzie No, Solomon Hicks, Fantastic Cat, Poor Monroe, Hopalong Andrew, and headliner Madison Cunningham.  Attendees were treated to a day of entertainment in a distinctive setting.

Milton opening the festival

Nestled in a secluded part of northern Westchester County, the Caramoor Center for Music and the Arts welcomes its visitors as they pass through a gate which reveals the sprawling 90-acre property. This welcoming gesture sets the tone for the immersive Caramoor experience.

Hopalong Andrew entertaining children in the Sunken Garden

The festival was divided into two sessions: daytime and nighttime.  During the day, performances were spread across multiple locations within the center, while the evening session culminated with Madison Cunningham’s performance in the Venetian Theater.

Friends Field

Daytime performers had the chance to showcase their talents twice by performing in two of the four distinct show spaces throughout the day.  This two-set format allowed attendees to catch every act without having to choose who to listen to.  A map is provided to guide you through the vast expanse of the Caramoor Center.  Each show location is sufficiently distant from the other and offers a unique listening experience.

Lizzie No with a young fan enjoying her performance

The Sunken Garden presented the most intimate setting, as it is nestled in a clearing among the trees.  This charming location allowed the music to resonate in its purest form.  Many at the festival brought their children.  The garden proved to be an ideal spot for Hopalong Andr e w’s family-oriented set, which encouraged interaction with the children in a tranquil setting.  Poor Monroe, a bluegrass band that followed Andrew, equated the location to the origins of their musical genre and the natural materials of their instruments.

Fantastic Cat performing in the Spanish Courtyard

The Spanish Courtyard is situated inside the Rosen House, a Mediterranean-style stucco villa built in the 1930s.  Originally the summer home of the Rosen family, the property was donated and converted into a center for the arts and music after the death of their son in World War II.

The Spanish Courtyard is described by Caramoor as “Spanish under the influence of the Italian Renaissance.”  The picturesque courtyard with its arched walkways and central fountain, provided an unusual yet enchanting setting for a rock show.  Fantastic Cat embraced this unique space with, as they dubbed it, a âspayed and neuteredâ acoustic set, before delivering a full-on electric performance later in the day at the Venetian Theater.

WFUV’s John Platt introducing performers

The third location, Friends Field, offered a spacious environment.  Visitors could relax on blankets or chairs and enjoy great sightlines to the large stage.  The grassy field also served as a soft dance floor for those so inclined.  Singer-songwriter Milton opened this stage, and was followed by Lizzie No and Poor Monroe, with Harlem blues aficionado Solomon Hicks closing out the daytime session.

After the conclusion of the day session, Grammy Award winner Madison Cunningham and her band closed out the evening with a heartfelt performance in the open-air Venetian Theater, leaving the audience thoroughly appreciative.

Bluesman Solomon Hicks closing the day session

Festivals bring to mind crowds, long lines, and tight spaces.  Caramoor Center for Music and the Arts started presenting music in 1945. They have learned the best use of the 90 acres offering space for the attendees, performances that do not compete against each other, as well as providing a special place for everyone to enjoy the arts.

Headliner Madison Cunningham / Photo : Gabe Palacio

The American Roots Music Festival is just one of the many curated musical events that take place at Caramoor.  Caramoor has a full lineup of musical happenings throughout the year.  Check their website for more details.

Milton

Hopalong Andrew

Lizzie No

Fantastic Cat

Poor Monroe

Solomon Hicks

Madison Cunningham

July 4, 2024
Watch Trey Anastasio and the Boston Pops Unite at Tanglewood

On a long anticipated day for musicians and fans alike, Trey Anastasio performed for the first time at Tanglewood Music Center, joined by the Boston Pops, conducted by Edwin Outwater.

photo by Hilary Scott

Initially scheduled to perform in June 2020, Anastasio beamed with joy as he took the stage following the orchestra for this long-awaited evening of music.

For the June 29 crowd, the day was full of gray skies and rain that was tolerable, but not terrible, as fans were well prepared for the misty weather of the Berkshires that accompanies any passing storm system. Newcomers to Tanglewood were amazed by the sprawling grounds, the ability to bring in everything from food and drink to portable chairs and tables, all making for a relaxing pre-show that led into an evening of unforgettable music.

photo by Hilary Scott

Opening up the night with “First Tube”, this more staid by comparison, yet intricate, version of the classic Phish arena rocker elicited early erupts of cheers from fans, especially the uninitiated to Anastasio’s body of orchestral work. Following Thank You’s to the crowd, Anastasio shifted into the appropriate “Water in Sky” donning his acoustic guitar for the relaxing string-led number that evoked the orchestration of Disney’s early Silly Symphony cartoon series.

Following was “Evolve,” which saw its orchestral debut a few nights earlier in Vienna, VA. The pandemic-era song, turned Phish single, now sits prominently in Anastasio’s arsenal of compositions for orchestras.

photo by Hilary Scott

A 17-minute “Divided Sky” was the closest to a Phish performance this evening, as the composition itself has been ideally suited for orchestra performance since it was written, and allows Anastasio to shine on guitar more than any other song this evening. The ‘open space’ was divinely orchestrated in the lead up to the ‘moment’, with cheers welcomed by the Bad Lieutenant, and the second half textbook early Phish orchestration, with a tremendous ending lead to roars of cheers from the crowd spread across the lawn and inside the Koussevitzky Music Shed.

After introductions of conductor Edwin Outwater and the Boston Pops, “Mercy,” also a Vienna debut, followed for a soft breather that paired well with “Divided Sky.”

photo by Hilary Scott

Closing the set was “Stash,” a more complicated song for the orchestra, but offered a samba beat thanks to the horn section, the percussion and clave driving the mellow tempo forward with a ‘cha cha cha’ beat.

Following a short setbreak (and an appreciated heads up given to the audience five minutes prior to showtime), “Harry Hood” saw its second ever performance (following Vienna), with the orchestra joining in to say “Thank You, Mister Minor” and featuring a unique ending compared to the Phish standard.

“Petrichor” was a perfect fit following the excitement prompted by “Hood,” as well as with light sprinkles coming down as the song started.

A short acoustic version of “More” followed, with “What’s The Use?” surprising the audience as it is wont to do at many a Phish show.

Harpist Jessica Zhou was the MVP in the ‘quiet spot’ of “WTU?,” building the strings in gentle, rising to the occasion and giving this meditative song deeper resonance with the audience.

In September 2009, “You Enjoy Myself” saw its debut at Carnegie Hall, and the moment saw the audience sitting in silent awe, with occasional laughs during the ‘vocals.’ On this evening at Tanglewood, for the unenlightened, “You Enjoy Myself” would draw out more than laughs and silence, but also dancers in the aisles of the lawn (yes, there are aisles on the lawn, sort of) and back of the shed.

Trombonists Toby Oft and Stephen Lange, along with the percussion section combined for a memorable ‘vocal jam’ that led into the boisterous ending that Trey Anastasio and Phish have been performing since 1986.

After a performance like this, Anastasio kept the new orchestrations flowing with acoustic guitar in hand for “The Inlaw Josie Wales.” Now a Phish rarity (last played in 2000), “Inlaw” is welcome at any performance from Anastasio and an orchestra moving forward.

And to cap off an incredible day at Tanglewood and evening of music, fan favorite “The Lizards” closed the show, the tale of Rutherford the Brave as seen through the eyes of Colonel Forbin bringing fans to their feet once again.

Trey Anastasio and the Boston Pops – Koussevitzky Music Shed at Tanglewood – Saturday, June 29, 2024 – setlist via Phish.net

Set 1: First Tube, Water in the Sky*, Evolve, Divided Sky, Mercy, Stash
Set 2: Harry Hood, Petrichor, More*, What’s the Use, You Enjoy Myself
Encore: The Inlaw Josie Wales*, The Lizards
* Trey on acoustic guitar

Trey Anastasio at Tanglewood photos by Hilary Scott

photo by Hilary Scott

photo by Hilary Scott

photo by Hilary Scott

photo by Hilary Scott

photo by Hilary Scott

photo by Hilary Scott

photo by Hilary Scott

July 3, 2024
In Focus: Jason Isbell and the 400 Unit at Beak & Skiff

Day long winds and heavy rain, along with a gloomy evening forecast did not deter the strong contingent of Jason Isbell fans from turning out to Beak & Skiff in LaFayette on Saturday June 29, as Jason Isbell and the 400 Unit made their return to Central New York.

Isbell, the critically acclaimed singer, songwriter, and guitarist has been touring endlessly in support of 2023’s acclaimed release, Weathervanes. The album showcases Isbell at his finest, with a package of songs focused on heavy topics like love and loss, addiction, and nostalgia, backed by powerful guitars and haunting melodies. Isbell, an Alabama native, formed with the 400 Unit in 2009 after he departed the Drive By Truckers. The 400 Unit, which consists of Sadler Vaden (guitars), Chad Gamble (drums), Anna Butterss (bass guitar), Derry deBorja (keyboards), and Will Johnson (percussion), have become an integral piece to both Isbell’s studio albums and live tours.

Heavy winds and rains started early and often on Saturday and continued until one final rain shower blew through the outdoor concert field shortly before 6pm. The tumultuous weather forced the cancelling of opener Courtney Marie Andrews’ set and led to a restructured timeline for the music events on this evening. That did not deter music fans from turning out in near capacity, and shortly before 7pm they were rewarded with a sun which had finally broke free of the heavy cloud cover that had dressed the fields through out the day.

Just after 7pm Isbell stepped on stage with his bandmates, flashing a smile and delivering praise to those in attendance for riding out the weather. The band launched into the gritty rocker “When We Were Close” which immediately had fans out of their chairs and making way close to the stage. Isbell wasted no time showing off tracks from his 2023 release, opening the concert with four consecutive tracks off the album. The third song this evening, “King of Oklahoma” which features a powerful, stadium-anthem like chorus, saw the first of several epic guitar-solo duals between Isbell and Vaden.

Through out the evening it became abundantly clear why Isbell has received such high praises as a songwriter. Few artists have the ability to place the listener into the scene with their lyrics quite like Isbell can. Vivid imagery, like on “Strawberry Woman” place the listener next to the song’s narrator, while addressing heavy topics all too familiar to many.

Over the course of the 110 minute set, Jason Isbell and the 400 Unit treated those in attendance to a set spanning their entire catalog, performing favorites like “Alabama Pines”, “If We Were Vampires”, “24 Frames”, “Flying Over Water” and “Cover Me Up”. They even paid tribute to The Cure, by playing “Just Like Heaven” late in the set. It was a simple gesture to pay homage to the band’s classic rock roots, and one that was well received by all in attendance.

The Beak & Skiff Summer Concert Series continues on Sunday, July 7, with a performance by Lake Street Dive.

July 3, 2024
Tracey Yarad Brings Her Musical Memoir of Heartbreak to NYC Stage in July

What do you do when your husband and musical partner of many years runs off with your teenage goddaughter? You write a boatload of wonderful songs, dye your wedding dress black and make it into a dynamic, emotional rollercoaster of a musical stage show. That’s how the soulful Australian-born, New York-based singer-songwriter-pianist Tracey Yarad coped with heartbreak by crafting an emotionally raw and sometimes even humorous blend of memoir and song entitled All These Pretty Things.

New Yorkers will get a chance to experience this unique fusion of song and monologue when it comes to the 59E59 Theater in New York City, July 13, 14 and 16. Yarad’s Big Apple run is a part of 59E59’s East to Edinburgh 2024, a showcase of 16 shows, including Yarad’s, which will be heading to the famed Edinburgh Fringe Fest in August 2024.

This confessional and cathartic one-woman show is a classic illustration of when life gives you lemons, you make lemonade. A phoenix rising from the ashes story, it takes the audience from the fallout of a devastating divorce in Australia, following her husband’s affair with their goddaughter, to an inspiring new life and musical career in New York City. Tracey Yarad plays both the damsel in distress and the heroine who saves the day in this dramatic sound play.

“I started writing these songs to keep myself from going insane,” explains Yarad. “I didn’t realize that it would ever be recorded or performed. It was just my healing process. But the audience reactions so far have shown me it’s something that touches and helps other people to move through their struggles and challenges too.”

Yarad’s sprawling All These Pretty Things began life as an album. It features contributions from some of New York’s finest jazz musicians including guitarist Luca Benedetti (Jim Campilongo), bassist Tony Scherr (Norah Jones, Bill Frisell), violinist Zach Brock (Snarky Puppy, Stanley Clarke), drummer Josh Dion (Chuck Loeb, Bob James) and organist Jon Cowherd (Brian Blade Fellowship, Joni Mitchell). An accompanying illustrated book will be available for purchase at the show and online at her Yarad’s website. Acclaimed jazz singer Madeleine Peyroux has called All These Pretty Things “an emotional roller coaster ride from thoughtful resignation to heartbreak, rage, acceptance and back again. I like it when I hear her roar!” BroadwayWorld.com labels it “a beautiful alchemy, breathtakingly honest and gorgeously sung songs on the themes of loss and abandonment and the restorative power of music and love.”

Tracey developed this evocative portrayal of one woman’s capacity to come back stronger than ever with the help of her co-writer and director, the acclaimed jazz songstress Tessa Souter. The work also serves as Souter’s directorial debut. Yarad names “heart-on-sleeve” songwriters like Laura Nyro, Rickie Lee Jones, Joni Mitchell and Bonnie Raitt as some of her primary influences for the piece. Her music reflects her diverse experience as a performer – from classical pianist to singing German lieder, from leading a jazz fusion trio to fronting funk bands. All these stylistic variants blend to create Yarad’s singular style.

All These Pretty Things showcases Yarad’s strength as an instrumentalist and vocalist. With only a piano and her powerful voice, she communicates a wide range of human emotions, ones that come with the burgeoning of new love through to its inevitable and uniquely tragic unraveling to her rebirth as both a woman and an artist. Her musical and lyrical acumen are showcased in the spoken word passages which are the connective tissue to the musical pieces. They are a testament to another of her unique talent as a dramatist.

Yarad’s musical life has been varied and globe-trotting. A pianist and singer-songwriter with jazz sensibilities, her career has taken her from touring her native Australia with her original music and having a Top 40 single in the 1990s, to a seven-year residency singing in 5-star hotels in Japan, to running her own music school for 18 years in the Blue Mountains of Australia and, finally, to New York City.

Since relocating to the Big Apple in 2017, she has added jazz photographer to her list of professional accomplishments, specializing in portraits of leading names in jazz. Her work has appeared in Downbeat, Guitar Player and Drum Scene magazines to name a few.

New York serves as an inspiring backdrop that has greatly fueled Tracey’s creative musical spirit. In the relatively short time since moving here, Tracey has produced two original music projects—one with her all-female group featuring Claudia Acuña, Jennifer Vincent, Elsa Nilsson and Rosa Avila and this one-woman version of All These Pretty Things. Another musical memoir, Lost in Translation, featured stories and songs from her days as a hotel singer in Japan and was performed with virtuoso jazz pianist Jim Ridl.

July 2, 2024
Goose sell out Forest Hills; Biggest show yet

On Saturday, June 29, Forest Hills Stadium in Queens saw Goose fans flocking towards the venue well before doors opened. With strong but pleasant winds blowing in alongside them, the anticipation was undeniable as large lines formed to snag posters and merch. Long time friends reuniting, new friends being made, the vibes were high as everyone in the audience eagerly awaited what was to come.

Forest Hills was their second stop in New York on what has been a lengthy nationwide spring and early summer tour. If it wasn’t already hard enough to deny how unstoppable this band is, the announcement that this show was their biggest headlining show to date all but solidifies it, selling out the venue of 13,000 people. This isn’t the first time their draw power in New York was in full view, the band previously sold out two nights at Radio City Music Hall, boasting crowds of more than 6,000.

Excitement was at its peak when Goose hit the stage, greeted by the audience chanting “Gooooose” loudly, but low pitched. As is also usual custom, Peter Anspach saluted the crowd with “What’s up, New York City?!” before embarking on what was to be an evening of pure music-magic. The super catchy and funky notes of “Hot Tea” rang out to open the first set. Hips and arms swayed side to side, smiles were everywhere as fans matched lead singer and guitarist Rick Mitarotunda’s scatting.

The first set featured covers, foreshadowing what would come much later. The band tapped into their deep catalog by busting out “Hot Love & the Lazy Poet” from their own side project, Vasudo, and following that, “I Would Die 4 U,” a tribute to the illustrious Prince. The evening’s exceptional vibes were expounded during set-break, as the audience bore witness and cheered on a marriage proposal which saw the bride to be saying yes enthusiastically.

Goose showcased just how deep and expansive their catalogue of music is during the second set, with electrifying renditions of “Travelers” and “Elmeg The Wise.” A beautiful version of “Thatch” came after, bringing the evening to uncharted heights. Closing out set 2 was the title track off their 2023 album, Dripfield, a song that truly exemplifies the essence of what Goose represents as a band.

A brave and bold new frontier, honoring the footsteps of their predecessors, but carving out their own path. An exciting contemporary take on the classic jam band model, incorporating new sounds and tech with traditional instruments and improvisation. Jams that serve very well written songs, not songs that serve the epic jams. All of this enhanced by an impressive lighting design by Andrew Goedde, seeing Goose live is a must for any fan of live music.

The encore saw the band once again tapping into their deep arsenal, busting out one more cover from Vasudo, “Give It Time”, which was the perfect note to end to the evening on. As light wind and rain began to trickle in, the audience flocked out the venue paying the elements no mind as the anticipation began once again for their next show. Goose will embark on another lengthy fall tour, which tickets are on sale for now.

Goose – Forest Hills Stadium, Queens – Saturday, June 29, 2024

Set 1: Hot Tea, Lead Up, Turned Clouds, Yeti , Hot Love & the Lazy Poet, I Would Die 4 U, So Ready

Set 2: Travelers, Elmeg the Wise, Thatch, 726, Dripfield

Encore: Give It Time

July 1, 2024
Hootie & The Blowfish “Summer Camp With Trucks” Tour Pitstops At Bethel Woods

Hugely popular country-rock band, Hootie & The Blowfish touched down in Bethel on Thursday, June 27 during their “Summer Camp With Trucks” tour.

Bethel Woods Center For The Arts is a stone’s throw from the original site of the Woodstock music festival, and joining Hootie & The Blowfish is Collective Soul and Edwin McCain. Collective Soul is celebrating their 30th anniversary and did so by releasing their newest record, Here To Eternity.

As fans were still finding their seats, buying merchandise and beverages, McCain graced the stage. Joining McCain was Larry Chaney on lead guitar with Craig Shields on saxophone and keyboards. The trio had a short set yet prepped the crowd for the rock and roll later in the show. Throughout McCain’s set, he shared stories about his family and laughed with the audience in between songs. Some of his most popular songs like “I’ll Be” and “I Could Not Ask For More,” were received well by the fans. The trio’s chemistry on stage was extremely noticeable while they were on stage.

All the bands were on a tight schedule so Collective Soul hopped quickly on stage. The band blasted into their first song, “Mother’s Love” off their brand new record. The crowd rose to their feet at the start of the set and did not sit until the end of the last song, “Run.” Collective Soul’s style of rock is different than Hootie & The Blowfish’s yet at the same time, complimented each other. It was great to see so many people have equal interest in Collective Soul and Hootie & The Blowfish. The band’s nine-song set was packed with some of their biggest hits. The crowd sang along to every one of the group’s songs.

Collective Soul is fronted by Ed Roland on lead vocals and acoustic guitar. Joining Ed is his brother Dean Roland and Jesse Triplett on guitars. Will Turpin was on bass and Johnny Rabb on drums.

Collective Soul has always been a great band and their stage presence is unmatched. All of their songs are catchy and their legion of fans brought their singing voice with them. As the band started a cover of AC/DC’s Dirty Deeds Done Dirt Cheap, McCain ran on stage to help sing. This brought a loud cheer from the audience. “December,” off the band’s self-titled record was the second to last song played but was the fan favorite. The fans that sat down immediately stood up and took out their phones to record the tune.

With the sun now dipping behind the general admission lawn, the stage quickly was turned over. Hootie & The Blowfish’s road crew did a swift and efficient job at getting the gear all set and ready to go. Before anyone could get a new beer, 001: A Space Odyssey’s theme song was blasted into the set and the house lights dimmed.

Hootie & The Blowfish jumped into a cover of 54-40’s “I Go Blind” as the first song. Like Collective Soul, fans in the lower section remained on their feet for the entire 23-song set. The energy from the crowd was soaked up by the band as they had smiles on their face from the first note till the last.

The band is led by singer and guitarist Darius Rucker. Joining Rucker is Mark Bryan on lead guitar, Dean Felber on bass and Jim Sonefeld on drums. In addition to the quartet are touring musicians Gary Greene, Garry Murray and Lee Turner.

With the temperature dropping below the 60s, the cooler weather didn’t deter the band or fans. The rock-infused country style made fans feel right at home at the site of “peace and love.” Throughout the band’s set, they sprinkled in a ton of covers including “For What It’s Worth” by Buffalo Springfield, “Hey, Hey What Can I Do” by Led Zeppelin and “Solitude” by McCain. The latter even saw McCain, yet again, grace the stage to perform the song. The cheers for McCain were louder than the other two times. The band did a great job at adding their own twists to some of those classic covers and made some of the songs the memorable tunes of the evening.

The team that was mixing the band’s sound was at the top of their game. The band overall sounded great. No member was louder than the other, they were just perfect. Behind the band was a spectacular video screen with top-notch graphics of live video and different animations. It was amazing to see different animations of campfires and big trees displaying different color lights to the audience.

It’s difficult to not play the famous tune “Wagon Wheel” for Rucker and fans got their money’s worth when that song was played towards the back half of the set. Fans screamed at the top of their lungs and embraced their friends and partners. This tune has become a favorite among music lovers and it was a great song to hear live, it sent chills down the spines of fans across the amphitheater.

With the band in full command of the stage – and one shoeless Bryan – the band weaved in and out of covers and original material before the end of the set. The final song before the set was over was “Hold My Hand,” off of 1994’s Cracked Rear View and, like “Wagon Wheel,” people embraced each other as the band waved goodbye.

It wasn’t until the three-song encore started that more thunderous cheers were heard. “Go and Tell Him (Soup Song)” was the first song up to bat before a cover of Stone Temple Pilots’ “Interstate Love Song” was played. The STP song was one of the best songs and covers played that evening. Rucker’s vocals were on course with original singer, Scott Weiland and the rest of the band followed his lead.

Of course, “Only Wanna Be With You” was the very last song of the evening and while fans were slowly filing out of the crowd and into the cold night, there was not one negative word said. The crowd loved the entire show and it was all they could talk about as they left the amphitheater.

Hootie & The Blowfish’s “Summer Camp With Trucks” tour has two more dates left. On September 5, they will be in Long Island and on September 6 they will be in Syracuse. This is truly a show you do not want to miss, it’s spectacular in every sense of the word.

Edwin McCain setlist: Darwin’s Children, I Could Not Ask For More, Promise of You, I’ll Be

Collective Soul setlist: Mother’s Love, Bluer Than So Blue, Heavy, Shine, The World I Know, Dirty Deeds Done Dirt Cheap (AC/DC cover), Where the River Flows, December, Run

Hootie & The Blowfish setlist: I Go Blind (54-40 cover), Wishing, I Will Wait, Time, Running From an Angel, For What It’s Worth (Buffalo Springfield cover), Hannah Jane, Not Even the Trees, Will the Circle Be Unbroken? (William MacEwan cover), Desert Mountian Showdown, I Hope I Don’t Fall in Love With You (Tom Waits cover), Wagon Wheel (Old Crow Medicine Shop cover), Miss California, Hey, Hey What Can I Do (Led Zeppelin cover,) Solitude (Edwin McCain cover), Old Man & Me / Mo Money Mo Problems / Big Poppa, Let Her Cry, Losing My Religion (R.E.M cover), Alright, Hold My Hand, Go and Tell Him (Soup Song), Interstate Love Song (Stone Temple Pilots cover), Only Wanna Be With You

July 1, 2024
Dispatch and Stolen Gin serenade the moon at Art Park

Dispatch performed on a cloudy summer evening at Artpark on Friday, June 28. Thousands gathered at the outdoor venue, located on the edge of the Niagara Gorge to see Dispatch, a band that performs a mixture of indie, reggae, rock and folk. Stolen Gin opened the show.

Stolen Gin has been around for 5 years and they are known for indie, pop, funk and rock, said the drummer, Josh. This is their first show touring with Dispatch in 2024. Stolen Gin gave the crowd a unique taste of their music throughout the show and set the stage for the Dispatch.

As the sun went down, Dispatch took the stage as the gentle breeze carried into the crowd. They seamlessly transitioned between genres, and the band members swapped instruments throughout their set. The memorable moment was when Brad Corrigan wrote a song about the moon on the stage after he saw the street light and thought that it was a full moon. The lyrics went “I see three moons, maybe four. There are more coming for more, we eat berries in the woods”. He said I will keep working on that song until we all sing together. Fans were singing along and dancing along as they played their iconic songs “The General”, “Bang Bang”, “Only The Wild Ones” and “Bond By Love”. Dispatch ended the show with a Birthday song for the band member Matt Embree who play guitar and bass.

Dispatch will continue their US tour throughout 2024. They will come back to the gorgeous vanue Artpark to singalong with their audience in near future.

STOLEN GIN

DISPATCH

June 30, 2024
Paris Paloma Explores Mystical Femininity at Bowery Ballroom

If there was a music style I had to describe as ethereally tender and mystical, yet perfectly encapsulates the feeling of standing in the middle of a swarm of men while eternally wanting to scream your guts out – I would instantly push you towards Paris Paloma’s music.

Infused with Greek and biblical references, the 24-year-old UK artist somehow manages to incorporate serene vivid storytelling in her music while simultaneously arousing the most primal and aggressive feminine urges in her audience. Folk-music with a bit of a dark gothic twist, Paris Paloma dominated the stage on Jun. 26 at Bowery Ballroom and left the crowd screaming in utter awe at her evocative stage presence.

Photo by Alisha Goel

The concert started with a uniquely soothing and harmonic performance by The Army, The Navy. The American duo, consisting of Maia Ciambriello and Sasha Goldberg, serenaded the crowd with some fan favorites like “Alexandra,” and prepared the audience for a hypnotic evening at Bowery. Much like Paris’ music, the duo’s lyrics are jam-packed with intimate and poignant stories, and their music comes across as earnestly confessional. Their calming and intricate harmonies were done on their acoustic guitar, and their chord progressions felt fresh and extremely delicate.

Photo by Alisha Goel

When 24-year-old Giorgia Merolli was asked to describe her connection to Paloma’s music, she said: “I discovered Paris when Labor went viral, and I think one reason why that song went viral is because it’s the most descriptive universal way that we women can relate to us being women. I’ve never heard an artist depict so simply, yet impactfully, the female experience of oppression and shielding our real emotions just to conform to some sort of societal norm.”

Opening her set with the first song in her upcoming debut album “Cacophony,” Paloma desperately repeated the line “What did I do wrong /Will you tell me what I did wrong, what did I,” heartbreakingly resonating with her audience on the pains of feverously scrambling to figure out and reason the abhorrent behavior of past loves in aching toxic relationships.

Photo by Alisha Goel

With her vulnerability and absolute openness in songwriting, Paloma transported everyone from the vast hall at Bowery to what felt like an intimate private gathering. Candidly expressing her grief and struggles surviving in a patriarchal society, Paloma gathered something so uniquely personal to her and used it to forge an iron-clad bond of fury and understanding between every woman present in the room attentively listening to her potent voice.

Paloma also sang “as good a reason,” a lyrical concoction providing a refreshing perspective on ageism and self-love in a society that thrives on manufacturing insecurities. One of the most personally impactful songs for me from the night was titled “the fruits,” a discomforting but visceral exploration of uneven power dynamics and submissiveness.

Photo by Alisha Goel

Paloma surprised the crowd with some of her unreleased songs from her new upcoming debut album. My personal favorite was “the warmth,” which started with what felt like the most beautifully disassociating siren call, and continued with incredulously haunting symphonies and drum beats, making it remarkably distinctive from anything I’ve heard from her before.

Photo by Alisha Goel

Paloma ended the night with her viral TikTok song “labour,” the song which rapidly made her way to the Top 30 on the UK singles chart, and became an anthem for womanhood and the queer community. Screaming “labour” breathlessly on the top of my lungs was an utterly transcending religious experience. It was like we were all bound by one beautiful string – a string harboring chaos and feminine rage and fostering a phenomenon I can only describe as pure and raw human connection. All our collective tears and frustrations binded together, and I found solace and comfort in our universal aches. It was cathartic. I felt liberated.

Photo by Alisha Goel

Paris Paloma – Bowery Ballroom – June 26, 2024

Setlist: my mind (now), drywall, boys, bugs & men, notre dame, as good a reason, knitting song (unreleased), the warmth (unreleased), the last woman on earth (unreleased), bones on the beach (unreleased), the fruits, yeti

Encore: labour

Paris Paloma’s debut album “Cacophony” will be released on August 30.

Photo by Alisha Goel

Photo by Alisha Goel

Photo by Alisha Goel

Photo by Alisha Goel

Photo by Alisha Goel

June 29, 2024