Beetlejuice The Musical The Musical The Musical opened at Proctors Theatre in Schenectady on Tuesday, June 18, bringing in a packed audience who laughed and sang along to the beloved film, now in musical form.
Photo by Matthew Murphy
Telling the story of Lydia Deetz with greater empathy and backstory – she is at her mother’s burial at the onset of Act 1 – gives cause for Lydia to seek out the help of Beetlejuice, performed masterfully by Justin Collette.
With a recently diseased deceased couple, Adam (Will Burton) and Barbara (Megan McGinnis) Maitland, taking up residence in their former house – now the Deetz’ – they become visible to Lydia, leading to haunting hilarity and foot-tapping musical numbers amid a visually stunning series of sets that utilize the slant framed doors, windows and hallways of the Tim Burton film.
Photo by Matthew Murphy
Pulling from the source material effectively, but introducing Beetlejuice by the end of the first number, the focus in Act 1 on the demon in the striped suit was on par with that of Lydia (Isabella Esler, making her professional debut), a shift from the 1988 film. The 2018 debut on Broadway garnered Tony Award nominations for Best Musical, and well deserved given the production of songs “Dead Mom,” “That Beautiful Sound,” “Say My Name,” “Barbara 2.0” and of course, “Day-O (The Banana Boat Song).”
The first act was Beetlejuice’s time to shine, taking centerstage until he finally joins the world of the living by the end of the act. But Act 2 is greatly focused on Lydia, a time for actress Isabella Esler to be front and center, belting out number after number – “Home” being a show-stopping highlight. In Act 1, Lydia gives the story heart, a tease of what a treat audiences were in store for, both in Act 2 of Beetlejuice and Esler’s career potential as well.
Beetlejuice The Musical The Musical The Musical contains strong language, mature references, and a lot of the crazy, inappropriate stuff you would expect from a deranged demon, but great family fun nonetheless.
Photo by Matthew Murphy
Beetlejuice The Musical The Musical The Musical at Proctors runs through Sunday, June 23. Tickets are available here.
Nestled in the picturesque rolling hills of Canandaigua, CMAC proved to be the perfect setting for an wonderful evening of music with Goose, the jam band phenomenon that has been capturing hearts and ears across the country.
As the sun dipped below the horizon after a bluebird day, casting a golden glow over the amphitheater, Goose took to the stage amidst thunderous applause. The band’s lineup—comprising Rick Mitarotonda on guitar and vocals, Peter Anspach on keyboard, guitar and vocals, Trevor Weekz on bass, Jeff Arevalo on percussion and Cotter Ellis on drums —immediately set a vibrant tone with their eclectic mix of rock, funk, jazz, and electronic elements. Known for their improvisational prowess, Goose wasted no time in diving into extended jams.
Photo by Derek Java
The first set started off strong with “Hot Love & The Lazy Poet,” and then “Mr. Action,” followed by a blistering cover of “Me and My Uncle,” the song by John Phillips of the Mamas and the Papas that was made famous by the Grateful Dead and one of the highlights of the show. “Seekers on the Ridge” Parts 1 and 2 were followed by “Drive,” and then “So Ready” to end the first set.
Photo by Derek Java
Individually, each member of Goose shone brightly throughout the night. Mitarotonda’s soulful vocals and intricate guitar work provided the backbone of many songs, while Anspach’s keyboard solos added fiery bursts of energy to the mix. Weekz’ basslines were deep and resonant, anchoring the rhythm section alongside Ellis’ dynamic and precise drumming, which drove the band forward with relentless energy. The chemistry between the band members was palpable, with each musician feeding off the others’ energy to create moments of pure musical synergy.
Photo by Derek Java
Set 2 started off with a cover of “Fish in the Sea” by the New Zealand band Fat Freddy’s Drop. Then came another highlight of the night, “Tumble,” an extended jam where Goose brought the crowd to joyous heights with blissful high-energy guitar. Next was a serene “Red Bird,” followed by “726,” and then a lengthy “Arcadia” to end the set. The encore was a rocking “Madhuvan” that ended with a triumphal bow to thunderous applause.
Photo by Derek Java
Goose’s performance at CMAC was nothing short of spectacular. From their electrifying musical explorations to their heartfelt connection with the audience, Goose proved once again why they are at the forefront of the jam band scene. As they continue on the road, fans and new followers looking to catch the wave should be sure to pick up a ticket and treat themselves to a wonderful night of music.
Photo by Derek Java
Goose – CMAC, Canandaigua, NY – June 15, 2024
Set 1: Hot Love & The Lazy Poet, Mr. Action > Me and My Uncle [1], Seekers on the Ridge pt I > Seekers on the Ridge pt II, Drive, So Ready
Set 2: Fish In The Sea [2], Tumble, Red Bird > 726 > Arcadia
Encore: Madhuvan
Coach’s Notes: [1] John Philips [2] Fat Freddy’s Drop
On a balmy summer evening in Buffalo, the KeyBank Center buzzed with anticipation as legendary acts Lionel Richie and Earth, Wind & Fire took the stage for a night of soulful melodies and electrifying performances.
The show, a close sellout, drew fans from across the region from Toronto to Rochester, eager to witness two iconic bands in one unforgettable concert experience. There was a countdown clock on the stage video screen telling fans when the show would kickoff.
Earth, Wind & Fire, no strangers to the Buffalo area (last played Buffalo area at Artpark in 2022), kicked off the evening with an explosive energy that instantly captivated the audience. Opening with their timeless hit “Shining Star,” the band set the tone with their trademark blend of funk, soul, and R&B.
The crowd erupted in cheers as they seamlessly transitioned into “Let Your Feelings Show,” showcasing their impeccable musicianship and infectious groove. Their set was a celebration of musical mastery, with intricate horn arrangements, tight percussion, and the soulful vocals that have defined their legacy over decades. They played all of their fan favorites, “Boogie Wonderland”, “Sing a Song”, and closed with their big hit “September”.
After Earth, Wind & Fire left the stage to thunderous applause, the anticipation for Lionel Richie reached its peak when the lights blacked out and a montage video hit the screens. Richie, returning to the Buffalo area for the first time since his memorable performance in Niagara Falls in August 2022, began his set with the iconic ballad “Hello.”
The audience swayed in unison, singing along to every word, as Richie’s smooth voice filled the arena with nostalgia and emotion. One of his most energetic songs he played was his second song of the show, “Running with the night”. Digital cityscapes were displayed on the background video screens and the use of smoke blasts caught some fans by surprise.
Throughout his set, Richie delivered hit after hit, each song resonating deeply with the crowd. From the heartfelt “Say You, Say Me” to the infectious groove of “Dancing on the Ceiling,” Richie proved why he remains a beloved figure in music. His stage presence was magnetic, effortlessly engaging the audience with his charisma and charm Lionel told stories and joked with the crowd. He stated “there will be singing tonight, but not by me……..you the crowd will be singing and dancing”.
As the night drew to a close, Lionel Richie brought the audience to their feet with the ultimate feel-good anthem for his encore, “All Night Long”. The arena transformed into a dance party, with fans of all ages dancing and singing along, united by the joyous spirit of Richie’s music.
The collaboration between Lionel Richie and Earth, Wind & Fire was a testament to the timeless power of soul and R&B. Together, they created a night that transcended generations, reminding everyone in attendance why their music continues to endure for decades. For fans in Buffalo, this concert was not just a musical event but a cherished memory that will resonate for years to come. Both acts will be having their own residency this summer/fall in Las Vegas.
Earth, Wind and Fire’s setlist: Shining Star, Let Your Feelings Show, System of Survival, Serpentine Fire, Verdine White Bass Solo, Sing a Song, Got to Get You Into My Life (The Beatles cover), Devotion, After the Love Has Gone (David Foster cover), Reasons, That’s the Way of the World, Fantasy, Boogie Wonderland, Let’s Groove, September.
Lionel Richie setlist: Hello, Running With the Night, Easy / My Love (Commodores song/Lionel Richie song), Penny Lover, Stuck on You, Sail On (Commodores song), You Are, Dancing on the Ceiling (With a snippet of Van Halen’s “Jump”), Three Times a Lady (Commodores song), Fancy Dancer / Sweet Love / Lady (You Bring Me Up) (Commodores song), Just to Be Close to You (Commodores song), Endless Love (Diana Ross & Lionel Richie cover), Brick House (Commodores song) (With a snippet of Ohio Players’ “Fire”), Still (Commodores song), Say You, Say Me, We Are the World (USA for Africa cover)
Encore: All Night Long (All Night)
EARTH, WIND, AND FIRE’SHEART AND SOUL TOUR 2024 DATES:
Wed Jul 10 – Maryland Heights, MO – Hollywood Casino Amphitheatre
Fri Jul 12 – Rosemont, IL – Allstate Arena
Sat Jul 13 – Saint Paul, MN – Xcel Energy Center
Tue Jul 16 – Cuyahoga Falls, OH – Blossom Music Center
Wed Jul 17 – Clarkston, MI – Pine Knob Music Theatre
Fri Jul 19 – Cincinnati, OH – Riverbend Music Center
Sat Jul 20 – Noblesville, IN – Ruoff Music Center
Tue Jul 23 – Toronto, ON – Budweiser Stage
Wed Jul 24 – Saratoga Springs, NY – Broadview Stage at SPAC
Sat Jul 27 – Mansfield, MA – Xfinity Center
Sun Jul 28 – Wantagh, NY – Northwell Health at Jones Beach Theater
As the Grateful Dead found themselves in between tours in the early summer of 1982, side projects were apparently the name of the game in order to stay musically limber. And a new music venue in South Fallsburg, NY was more than happy to have them. Jerry Garcia Band kicked off a string of shows in the Northeast at Music Mountain on a co-bill with Bob Weir’s Bobby and the Midnites. This new venue in Sullivan County at a revamped hotel lodge that never quite made it actually played host to the first permissible concerts in the area since Woodstock in its very brief existence.
One of the last of the few shows ever played here was this heralded Jerry Garcia Band show on this day in 1982 that’s loaded with classic cover song selections and a few JGB “originals.” This particular iteration of the band features some of Garcia’s closest and longtime collaborators playing together and it certainly comes through in the sound. Bill Kreutzmann, his Grateful Dead cohort, is on drums with John Kahn manning the bass guitar. Longtime JGB member Melvin Seals is joined on keys by Jimmy Warren. And Julie Stafford and Liz Stires provide the backup vocals.
Jerry Garcia Band ticket stub – June 16, 1982
The show begins with a vintage take on Smokey Robinson’s “How Sweet It Is,” a staple in the Jerry Garcia Band songbook. A sizzling early guitar solo sets the stage for responses from Melvin Seals and Warren on keys with everyone in the band getting a chance to shine right from the start. The harmonized vocals add a layer of authenticity to this cover. Bill Kreutzmann then starts up the next number on the bass drum by himself as the rest of the band patiently merges into the beginning of “Catfish John,” a much lesser known cover song that JGB has also made one of its own. Garcia takes the wah pedal/effect out for a spin much to the delight of the Music Mountain crowd with the rhythm section maintaining a steady pocket of groove throughout. After some fun interplay with Seals, Garcia then fires in one last funky guitar solo on this well cooked “Catfish.”
Music Mountain – South Fallsburg, NY
In the three-spot is another Jerry Garcia Band regular, “That’s What Love Will Make You Do.” Originally credited to Little Milton in 1971, the song was played numerous times by Legion Of Mary, an all-too-brief previous side project of Garcia’s from the 70s that also featured Kahn, Martin Fierro on saxophone and flute along with Merl Saunders on keys. Their familiarity with this number comes through in spades as Garcia and Saunders take turns ripping through their respective solos on another groove-heavy funk vehicle that has Music Mountain in full swing.
Things finally cool off a bit with “Valerie,” a Robert Hunter-penned song that would go on to appear on Garcia’s Run For The Roses which would be officially released later this year. It’s got elements of “Loser” woven throughout and all the feel of an early 70s Dead song dressed up in a JGB jacket that fits perfectly in this spot. And, of course, it wouldn’t be a Grateful Dead-related show without a nod to Chuck Berry and the band takes care of this in the form of a ripping cover of “Let It Rock” that sees Garcia unleashing another bevvy of scintillating guitar runs. This funnels right into a set-closing “Deal” that’s as tight as any GD version with the harmonized backup vocals from Stires and Stafford adding some additional flavor to it.
A spirited Music Mountain crowd welcomes the Jerry Garcia Band back for a second set that starts with another cover, this time it’s “(I’m A) Road Runner,” a song first recorded by Junior Walker and the All-Stars in 1965. This would become another JGB live show staple throughout the years. Seals and Garcia get into some heavy interplay on this one as the the band stretches this “pop” hit into a fun, relaxed jam. “Love In The Afternoon” then follows, another Robert Hunter-penned song that first appeared on Garcia’s Cats Under The Stars album from 1978, his first LP using the band name Jerry Garcia Band and his first LP on the Arista label.
The real meat and potatoes of the second set, and perhaps the show itself, is the “Don’t Let Go” that comes next. It’s a near 20-minute joy ride of deep funk and some of the more exploratory jamming of the evening. The rhythm section of Kahn and Kreutzmann is hard at work once again and develop a deep groove that Garcia plays off of effortlessly. With Seals adding additional layers of sound atop it all, it makes for a lively jam that’s rife with musical cohesion and craftsmanship. Almost suddenly, the rest of the band then eases up that allows for a brief Kreuztmann drum solo that then turns into a bass duel with Kahn before Garcia slowly reenters the mix. It’s a loose, acid jazzy type jam that’s one of the show’s true highlights.
Although there would be no traditional encore tonight, the rest of the set almost feels like one, starting with a super slow take of The Band’s “The Night They Drove Ol’ Dixie Down.” With the tempo dialed down to an absolute crawl, this gives one of the last Garcia guitar solos of the night some added poignance and emotion. The beautiful backup vocals from Stires and Stafford certainly doesn’t hurt either. The show then comes to a close with “Run For the Roses,” the title track of the soon to be released album and another classic Garcia-Hunter collaboration. And with that, Jerry Garcia band puts the finishing stamp on one of the last shows to ever take place at the ill fated Music Mountain.
An apparently rain-soaked show from Bobby and the Midnites that went well into the night then followed – check out the audio here.
https://www.youtube.com/watch?v=uE27loWjRq0
Jerry Garcia Band – Music Mountain, South Fallsburg, NY – June 16, 1982
Set 1: How Sweet It Is (To Be Loved By You), Catfish John, That’s What Love Will Make You Do, Valerie, Let It Rock > Deal
Set 2: (I’m A) Road Runner, Love In The Afternoon, Don’t Let Go, The Night They Drove Ol’ Dixie Down, Run For the Roses
At Caffe Lena in Saratoga Springs, a captivated audience was on hand for the June 9 performance from Larry Campbell and Teresa Williams.
The second of two nights for the Woodstock couple at the historic venue, each night was opened by Jenna Nicholls, who brought a unique voice to the stage, one that is tailor made for Caffe Lena. With Jon LaDeau on guitar alongside her, Nicholls opened with a ukulele song that had an old timey radio sound, making horn sounds via bilabial fricative while she plucked away.
A resident of Saugerties, Nicholls cited the Jalopy Music Hall scene for her folk/Americana sound, one that is as unique as it is intriguing. Add in some cowboy songs and a little yodeling, and Nicholls rightfully has earned her first headline show at Caffe Lena on January 18, 2025.
Woodstock locals Larry Campbell and Teresa Williams, fresh off the release of All This Time earlier this year, took the stage around 9pm for a mesmerizing set. Joined by former Hot Tuna drummer (and longtime Midnight Ramble production manager) Justin Guip and bassist Branden Morrison (whose tone was on point all night), the band opened with the lead single from All This Time, “Desert Island Dreams.”
During the show, Campbell was impressively augmenting his guitar sound to have that of a slide guitar, minus the slide. He mentioned that his father grew up in The Bronx, while Williams mentioned her home of Peckerwood Point, TN, in a dry county, just north of Memphis.
Performing much of their new album in order – “All this Time,” “Ride with Me,” “The Way You Make me Feel” and others, Campbell and Williams would pause between songs to share stories, including those involving legendary drummer, Levon Helm. Sharing a story from the recording of Electric Dirt, Campbell recalled that Levon suggested the duo start their first record, which would be recorded at Levon’s barn in Woodstock. One of those tracks would end up on their recent release, the George Jones/Gene Pitney composition, “That’s All it Took.”
A mid show cover of Duke Ellington’s “Caravan” was time for all four on stage to shine, as seen below.
A deep cut of American comedy and vaudeville came to light with “A Little Better,” a song referencing Stan Laurel and Oliver Hardy, bringing to mind the simple joys of life that can make you feel better, by watching ‘Stan and Ollie Dance.’
Stories from Williams of ‘pew jumpers’ at revivals down south peppered the set, noting the spirit of the music that compelled even the most devout to rise from their seats in joy and exultation. A cover of “Long Black Veil” by Lefty Frizzell featured Larry Campbell on mandolin and tugged at your emotions as Teresa Williams belted out the lyrics in the small confines of Caffe Lena.
A cover of Helm’s “Poor Old Dirt Farmer” off Dirt Farmer, which featured Campbell as producer and on multiple instruments and was engineered by Guip, was presented as a ‘cajun waltz’ but had a distinct sound of having Irish and Appalachian roots.
The penultimate song, “When I Stopped Loving You” was a highlight of the night, as was the Julie Miller penned “I Love You.” The encore of “Down on My Knees” was followed by a rousing rendition of the Grateful Dead classic, “Sugaree.” The duo spent time meeting fans in the lobby of Caffe Lena, discussing songs and their show and taking photos, a treat to close out a spectacular performance.
On July 20, 2024, catch Larry Campbell and Teresa Williams with musical friends old and new at their inaugural July Jam at Arrowood Farms in Accord. Get tickets here.
Dreamer Boy is the alter ego of Zach Taylor, a rising star in the indie pop scene known for his dreamy soundscapes and heartfelt lyrics. Hailing from Nashville, Tennessee, Dreamer Boy blends elements of lo-fi pop, bedroom pop, and indie rock to create a unique musical experience that resonates with listeners across various genres. His music often explores themes of love, self-discovery, and nostalgia, wrapped in lush, atmospheric production.
Dreamer Boy released his debut album Love, Nostalgia in 2018, receiving praise for its introspective lyrics and innovative sound. Following this, he released All the Ways We Are Together in 2021, further establishing his presence in the indie music world. Dreamer Boy’s ability to craft emotionally resonant songs with a laid-back vibe has earned him a dedicated fan base and critical acclaim.
Dreamer Boy’s performance at Baby’s All Right in Brooklyn on June 11th was nothing short of magical, marking his triumphant return to New York City with a late-night show that left the audience enchanted and wanting more.
Eager fans filled the intimate venue to capacity, creating an electric atmosphere that perfectly set the stage for Dreamer Boy’s unique blend of indie pop. As the lights dimmed and the first notes filled the room, Zach Taylor, adorned in a painted clown face with a giant star over his eye, cowboy hat, and cowboy boots, took the stage with an infectious energy.
A Cowboy’s Charm
One of the most endearing aspects of Dreamer Boy’s performance was his playful and carefree demeanor. Throughout the night, he delighted the crowd with goofy little dance moves, his cowboy boots adding a whimsical touch to his already charming stage presence. His lightheartedness was contagious, and the audience couldn’t help but smile and dance along with him.
Audience Participation
Dreamer Boy’s interaction with the audience was a highlight of the night. He exclaimed early in the set, “We made it to the big city!” which the crowd met with enthusiastic cheers. His genuine excitement and gratitude for being in New York City were palpable, adding a layer of authenticity to his performance.
At one point, he playfully asked the crowd, “Can I get a yeehaw?” The audience responded with a resounding “Yeehaw!” that echoed through the venue, solidifying the bond between the artist and his fans. Later in the night, he expressed his appreciation by saying, “Thanks for having us yâall, this is too fun, this is too fun,” capturing the joyous spirit of the evening.
Dreamer Boy’s setlist for the night included a mix of fan favorites and newer tracks, each performed with an emotional depth that drew the audience in. His vocals, layered over dreamy instrumentals, created a sonic landscape that transported listeners to a place of introspection and bliss. Songs like “Falling for the Wrong One” and “Crybaby” showcased his lyrical prowess and ability to connect with the audience on a personal level.
The intimate venue allowed a close connection between Dreamer Boy and his fans, making the performance feel shared. Dreamy visuals and ambient lighting enhanced the show’s ethereal vibe, creating a captivating atmosphere that perfectly complemented his music.
Dreamer Boy’s show at Baby’s All Right showcased his growth as an artist. His playful personality and engaging presence stood out. Heartfelt music and fun moments made the performance emotionally resonant. As he rises in indie music, Dreamer Boy’s unique sound and genuine audience connection shine. Fans left the venue smiling and with hearts full of his dreamy melodies. They eagerly anticipate his next visit to the big city.
A new face in the Albany Music scene, Lake Effect, released their first six-song EP, Drifting on May 17.
The band formed in 2022 with Lenore Aldi-Snow, who writes all the original music. The other three members come from the funk band, NoLaNauts, also based in Albany. Ben Moss is on Guitar, Brian Brancato is on drums and background vocals and Matt Girtler is on bass and backing vocals. The group played for what they thought was just one performance on New Year’s Eve 2022 at Jive Hive Live, a small venue in Albany.
Lake Effect came together again at Christ’s Church in Albany in April 2023 as an official band this time. They played 23 of their original songs including the tracks from Drifting. The EP was mixed and produced by Alec Lewis at his studio, Honey Home.
The EP is full of Aldi-Snow on the keys playing classic funk rhythms. “Trouble” has an uncanny resemblance to Bill Wither’s “Use Me.” The band uses neo-soul and funk sounds but mixes them with Aldi-Snow’s crisp jazz vocals. “EDGE,” the last track on the EP features Brancato’s and Girtler’s vocals with a blues-rock end to Drifting.
Although Lake Effect is currently on a break due to other musical commitments, they plan on recording more music in the future – listen to their EP Drifting on any streaming site.
Melanie Martinez’s return to New York City on June 5th for her Trilogy Tour at Madison Square Garden (Night One) marked a significant moment for the artist and her fans. Following her memorable performance at Radio City Music Hall last year, Melanie once again captivated her audience with a meticulously crafted show that highlighted her evolution as an artist.
As a native New Yorker, she played to a packed arena filled with passionate fans of all genders and ages; a true testament to her enduring appeal and artistic vision.
Melanie Martinez 6/5/2024. Photo by Emma Goldschmidt
Melanie Martinez: An Album Retrospective
Martinez’s Trilogy Tour followed her journey as an artist through her 3 existing albums: Crybaby, K-12, and Portals. Her debut studio album, Cry Baby, was released in 2015. It was a concept album that told the story of a character named Cry Baby through whimsical yet dark songs.
Her sophomore album, K-12, released in 2019. This continued the story ofCry Babywith a corresponding feature film; showcasing Melanie’s talents not just as a musician but also as a filmmaker and storyteller.
In 2022, Portals explored themes of rebirth and transformation, marked by an ethereal and otherworldly aesthetic. Known for her theatrical live performances, Melanie’s concerts are immersive experiences that blend music, visual art, and storytelling.
Melanie Martinez 6/5/2024. Photo by Emma Goldschmidt
Album 1: Crybaby
The concert began with a bang as Melanie appeared on an elevated platform for “Crybaby,” dressed in a pink cotton dress surrounded by dancers in bunny ears and “crybaby” costumes. The stage backdrop featured cradle imagery, setting the tone for the whimsical and dark narrative that defines the Crybaby album. Fans dressed in elf ears, dresses, and bows screamed in delight as the platform gradually lowered, seamlessly transitioning into “Doll House.” Here, Melanie and her dancers performed a doll-like choreography, with expressive movements that visually spelled out “d-o-l-l-h-o-u-s-e.”
The attention to detail continued with “Sippy Cup,” where her dress swayed to the beat as she reached the main stage. The show maintained its high energy with “Carousel,” featuring a two-headed rabbit carousel and pyrotechnics that mirrored the burning carousel imagery. For “Alphabet Boy,” Melanie rose on a platform stylized as alphabet blocks. During “Soap,” actual bubbles filled the stage, enchanting the audience.
“Pity Party” brought inflatable candles to the stage, with heart-shaped balloons falling from the ceiling during the song’s climax. Melanie’s playful use of a pink axe added a dramatic flair, much to the crowd’s delight. The first album segment concluded with “Play Date” and “Mad Hatter,” with Melanie disappearing in a cloud of smoke.
Melanie Martinez 6/5/2024. Photo by Emma Goldschmidt
Album 2: K-12
Transitioning into the K-12 segment, the stage transformed into a school bus that landed in front of a school backdrop, revealing Melanie in her schoolgirl costume. The nostalgic “Wheels on the Bus” set the stage for the school-themed songs, including “Class Fight,” where Melanie and a dancer balanced on a seesaw.
“Show and Tell” saw Melanie as a marionette, complete with ribbons tied to her wrists, which she dramatically broke free from at the song’s end. The theatricality continued with “Nurses Office,” where Melanie was wheeled out on a gurney by dancers dressed as nurses. “Strawberry Shortcake” featured Melanie on a platform stylized as a strawberry shortcake, glowing ethereally.
“Lunchbox Friends” depicted a narrative acted out by dancers, while “Teacherâs Pet” was a solo performance with Melanie emerging from a desk, rolling on the ground, and utilizing fire pyrotechnics. “High School Sweethearts” featured dancers parading with lit-up sweetheart candies bearing cheeky messages, culminating with Melanie being “shot” by a cupid’s arrow on screen and lowered beneath the stage.
Melanie Martinez 6/5/2024. Photo by Emma Goldschmidt
Album 3: Portals
The final segment, focusing on the Portals album, began with “DEATH,” aligning with the theme of rebirth. Melanie appeared in a floral, earthy dress with a fairy/alien mask, surrounded by dancers in minimalist forest nymph attire. The stage transformed into a cemetery, complete with giant headstones and a gate opening on the screen.
In “VOID,” Melanie danced with her mask on against a backdrop of a wispy black void. “TUNNEL VISION” featured a light ring that followed her, creating a mesmerizing effect. “FAERIE SOIREE” brought inflatable mushrooms to the stage, while “LIGHT SHOWER” had Melanie sitting on a giant slug prop, twirling gracefully.
“SPIDER WEB” saw Melanie donning wings on a platform, accompanied by a dancer in a fly costume, portraying a passionate young fan. “BATTLE OF THE LARYNX” was a dramatic solo performance where Melanie wielded a sword against a dragon on screen, complete with intense fire pyrotechnics.
Melanie Martinez 6/5/2024. Photo by Emma Goldschmidt
Night One of Melanie Martinezâs Madison Square Garden run was a spectacular blend of music, theatrics, and storytelling. Each song was a meticulously crafted experience, demonstrating Melanieâs unparalleled attention to detail and artistic integrity. From her set designs and elaborate costumes to her dynamic choreography and powerful vocals, Melanie proved why she remains a trailblazer in the music industry. Her return to New York was nothing short of triumphant, leaving fans eagerly anticipating what she will create next.
Singer-songwriter Sarah De Vallière’s deeply personal concept album, The Healing, was released on June 7.
The album is a genre blending, ten song project that explores De Vallière’s grief and trauma during a harsh time in her life, including divorce and Covid-19 lockdown. Members of the Rochester Philharmonic Orchestra collaborated on the album giving its unique blend of classical and Jazz, paying homage to De Vallière’s background in music. The Healing is jazz-inflected Americana.
De Vallière is a classically trained pianist and graduate of Berklee college of music. Although she moved to Rochester in 2018, she grew up in Providence, RI, always surrounded by music. Her father was a pastor and therefore her upbringing in the church had a big impact on her musical development. She played piano in the congregation multiple times a week and she was writing her own compositions by the time she was a teenager.
In 2024, De Vallière released four singles, all of which will appear on the upcoming album. “All is Not Lost,” her most recent single is more upbeat and uplifting than her earlier repertoire. As the title suggests, the song depicts the confidence she regains through her trauma. The Healing exposes De Vallière’s beautiful piano compositions as well as sharp vocals. Her voice has a light feminine sound that can be compared to that of Karen Carpenter or a Disney Princess.
On May 31, the album premiered at Tones Studios, a new recording studio outside of Rochester, NY, which gave fans an opportunity to meet the artist herself and be the first to hear The Healing.
After The Healing is released, Sarah De Vallière will perform in small venues around the greater Rochester area. You can find her music on all streaming platforms.
Husbands at Governors Ball 6/9/24. Photo by @itchyeyephotos
Husbands kicked off the day on the IHG Stage with their indie rock sound characterized by distorted guitars and a dancey vibe. The crowd couldn’t help but boogie along, setting a lively tone for the rest of the day.
Elyanna, the Palestinian-Chilean singer-songwriter, captivated the audience with her soulful voice and unique blend of Middle Eastern and Latin influences. Her performance was a beautiful display of cultural fusion, offering a refreshing and authentic experience to festival-goers.
Elyanna at Governors Ball 6/9/24. Photo by Lucas Kurzweil
G Flip rocked the IHG Stage with their energetic performance. The highlight of the set was when Lauren Sanderson made a surprise appearance, joining G Flip on stage and sending the crowd into a frenzy. Their chemistry and stage presence created a memorable and electrifying atmosphere.
G Flip at Governors Ball 6/9/24. Photo by Lucas Kurzweil
Baby Queen made her U.S. festival debut on the GoPuff Stage with a high-energy set that included “Quarter Life Crisis,” “I Can’t Get My Shit Together,” and “Buzzkill.” Her performance, marked by shredding on a pink guitar, was both raw and empowering. She hyped the crowd by asking, “Who’s getting drunk today? Well, this is a song about getting fucked up,” before launching into “Raw Thoughts.” Baby Queen’s message, “I want you all to remember you can be whatever you want to be,” resonated deeply with the audience.
Malcom Todd at Governors Ball 6/9/24. Photo by Lucas Kurzweil
Malcolm Todd brought a wave of nostalgia by opening with the iconic iCarly theme. His set featured chill vibes and impressive guitar solos, including a memorable performance of TLC’s “Waterfalls” on the catwalk. He expressed his excitement to open for Chappell Roan and wished everyone a “Happy Pride Month,” sharing his love for the community.
Kevin Abstract at Governors Ball 6/9/24. Photo by Lucas Kurzweil
Also on the Gopuff stage, Kevin Abstract – known for his work with Brockhampton – delivered an introspective and engaging performance. His set was a mix of humor and heartfelt moments. He engaged with fans by reading signs, including quirky messages like “I’m severely constipated” and “gays only event.” His performance included solo tracks “Empty” and “Tennessee,” as well as Brockhampton favorites “BUZZCUT” and “STAR,” creating a dynamic and engaging set.
Chappell Roan at Governors Ball 6/9/24. Photo by Lucas Kurzweil
Chappell Roan’s performance was one of the most anticipated of the day. Fans chanted her name for five minutes before she took the stage, dressed as the Statue of Liberty. Her set began with “Femininomenon,” followed by “Naked in Manhattan” and “Super Graphic Ultra Modern Girl.” She said, “Today I am in drag of the biggest queen of all,” referring to her Statue of Liberty outfit.
Chappell Roan at Governors Ball 6/9/24. Photo by Lucas Kurzweil
Chappell used her costume to deliver a powerful message, quoting the inscription on the Statue of Liberty: “Give me your tired, your poor, Your huddled masses yearning to breathe free.” She elaborated, “That means freedom and trans rights, freedom and women’s rights, freedom for all people in oppressed territories,” giving meaning and symbolism beyond just being a “NY Icon.”
After a costume change to match her band’s taxi print, she debuted a new song, further thrilling the crowd. Before performing “Casual,” she explained her outfit change and showed off boots emblazoned with “1-800-ROAN” and checkered gloves. The set concluded with the fan-favorite “Pink Pony Club,” leaving the crowd ecstatic and chanting her name long after she left the stage.
Rapp’s setlist included “Poison Poison,” “Bruises,” and “Pretty Girls,” during which she prompted the crowd, “If you’re a pretty girl, put your hands up!” She engaged warmly with fans, including a heartfelt interaction with a fan named Sam: “What’s your name, baby?” she asked. “Well, Sam, I need you to hear me when I say you’re one of the prettiest girls out here.”
Introducing her band members, Rapp quipped, “Seldom will I celebrate a man, but today I will.” She wrapped up her performance with “Tummy Hurts” and “In the Kitchen,” dedicating the latter to theater kids and describing it as her “theatrical ballad.” She closed her set with an exuberant shout-out: “Can I get a round of applause for lesbians?” and did a funky little dance, leaving the crowd with smiles and a sense of unity.
Peso Pluma at Governors Ball 6/9/24. Photo by Lucas Kurzweil
Peso Pluma brought his signature style to the GoPuff Stage, delivering a performance that resonated deeply with fans. His set was marked by powerful vocals and a commanding presence, leaving a lasting impression on the audience.
Don Toliver at Governors Ball 6/9/24. Photo by Lucas Kurzweil
Don Toliverâs set on the GoPuff Stage was a high-energy affair, featuring new and familiar hits. He debuted his new song “Tore Up,” which was met with enthusiastic approval from the crowd. Other highlights included performances of “Bus Stop,” “Smoke,” and “Attitude,” showcasing his versatility and charisma.
Chappell Roan at Governors Ball 6/9/24. Photo by N Bradley
SZA closed out the festival on the GovBallNYC Stage with a breathtaking performance. Her setlist included fan favorites such as “Low,” “Normal Girl,” “Kiss Me More,” “Snooze,” “Kill Bill,” and “The Weekend.” Each song showcased her incredible vocal range and emotional depth. The audience was mesmerized by her soulful renditions and the raw emotion she brought to each performance.
Day 3 of Governors Ball 2024 was a testament to the power of live music to bring people together, celebrating diversity, creativity, and the sheer joy of performance. Each artist brought their unique energy to the stage, leaving fans with memories to cherish until next year’s festival.
With 2024 come and gone, we can start speculating about next year. The choice to continue at Flushing Meadows Park was a major success. The lushness of the park continues to prove to be the perfect venue for this festival; with large fields and thick trees providing shade to camping festival goers.
