NYS Music 2024

Category: Reviews

  • In Focus: The Postal Service, Death Cab for Cutie Take Albany to Such Great Heights

    A pair of indie rock’s most influential bands showcased two of their impactful albums on Friday, May 3rd at the MVP Arena in Albany, as The Postal Service and Death Cab for Cutie teamed up for an impressive co-headlining bill.   The bands were celebrating the 20th anniversary of the release of their most celebrated albums (The Postal Service, Give Up and Death Cab for Cutie, Transatlanticism), with each band performing their respective album in full.

    The tour itself was born out of the celebration of the 20th anniversary of The Postal Service’s iconic (and only) studio release, Give Up.   The album started as a collaborative effort between Ben Gibbard (Death Cab for Cutie) and electronic wiz Jimmy Tamborello (Dntel).  The album, which was praised for its creative efforts, saw the tracks written with the two mailing demo CD-Rs back and forth until reaching completion.  The duo would eventually add Jenny Lewis (Rilo Kiley) to the mix, and The Postal Service was born.  

    Wisconsin based Slow Pulp opened the show and provided a 35 minute set of dreamy, indie-pop tracks.  From their opener, “Idaho”, the band had the early arriving crowd caught in a shoegaze induced trance. 

    The near capacity crowd had filled the seats when Death Cab For Cutie took to the stage.  The band, all dressed in black, opened with the dramatic crescendo of “The New Year,” and continued on to perform their critically acclaimed album Transatlanticism in entirety.  The album, which tells the tale of the struggles and emotions that come with a long-distance relationship, likely served as the soundtrack for many in attendance as they navigated love and loss during their adolescence. 

    Gibbard brilliantly wove the audience through the musical journey, which saw classic Death Cab tracks like “Title and Registration” and “Expo ’86”.  Late in the set, Gibbard and his band mates performed epic renditions of the album’s title track, as well as “Passenger Seat,” both of which saw the arena illuminate with cellphone lights and even a lighter or two, a call back to the original era of this music.  

    Excitement was palpable through out the packed arena well before the house lights dimmed and The Postal Service made their way to the stage.  Now dressed in all white, Gibbard, along with Jenny Lewis whipped the arena in to a frenzy from the opening synth notes of “The District Sleeps Alone Tonight.”  While the album would cover similar themes as Transatlanticsm, the sadness and sorrow were masked with upbeat synths, sounds, and drum loops, curated by Tamborello.   Highlights of the set included Gibbard and Lewis dueting on “Nothing Better” as well as the dark and isolative “This Place is a Prison”.  

    Gibbard and Lewis would return to the stage to perform an acoustic rendition of “Such Great Heights”, an rendition of the Give Up track which was made famous by Iron & Wine. It was the second performance of the song on this evening, as the band had previously performed the more upbeat version during the main set. It was a treat for those in attendance to hear the diverse renditions of the song, and a testament to the songwriting and musical talents displayed on the album.

  • Wisp Makes Brooklyn Stop At Brooklyn Steel

    Shoegaze sensation Wisp played to a jam-packed room at Brooklyn Steel on May 3. Opening for British indie rock band Panchiko, the energy remained high throughout the Brooklyn venue on Friday night. This performance closed out a week of NYC headlining shows for Wisp, at Bowery Ballroom on April 29 and May 1, where Photographic Memory opened.

    Currently based in Los Angeles, Wisp has quickly gained a large following, as the interest in shoegaze and the ethereal elements of the subgenre continue to rise. Wisp kicked off her US headlining tour in April 2024, with dates supporting Panchiko along the way. She had a busy April, with her debut EP Pandora also being released on April 5.

    Throughout Wisp’s set, the room danced along with the strobe lights on stage. Her first single, “Your face,” was released last April. In a year’s time, she has gained a large fan base, and the crowd on Friday was evidence as that. With each song’s intro, the room erupted into screams of excitement and recognition.

    The crowd remained captivated by the mixture of Wisp’s whispery voice and guitar riffs blended with the band’s heavy bass lines and drumbeats through the set. Wisp will be playing her next show on May 07 at Brooklyn Bowl in Nashville supporting Panchiko. She will also be making more headlining tour stops through the end of May.

  • Here Come the Mummies Unite Dirty Minds at Empire Live

    When Here Come the Mummies come to town, you know you’re in for a thrilling night of funk. For the unfamiliar, you’re in for a lyrical treat, in addition to the stellar musical performance from the wrapping cloaked mummies on stage.

    This past Friday, May 3 at Empire Live, Troy-based Front Biz opened the night for Here Come the Mummies, dropping a choice set of indie rock that paired nicely with the funk that was on tap. This night marked HCTM first show back in the Capital Region since performing at Skyloft in late 2019.

    Entering from the back of the venue, the Mummies walked out and wound through the crowd, a drumline sounding their arrival in grand fashion. Once on the stage, the group burst into “My Party,” and from there, the party took off.

    What lay ahead was more than 90 minutes of venue shaking bass, multiple horn players swapping back and forth on solos and adding flare to each song, as well as a guitarist who shredded song after song, all keeping their identities under wraps. The group let their “Freak Flag” fly, led the crowd in “Ra Ra Ra”, got suggestive with “Hard at Work” and doubled down with “Pants.” The group’s hilarious lyrics (SFW but full of double and triple entendre) are engaging for the uninitiated, atop a funk foundation you can’t stop moving to.

    With an encore of “Dirty Minds,” the party came to a close, a crowd covered in streamers that had been shot from the stage, celebrated the Mummies and cheered them on for more.

  • In Focus: PEAK Headlines Brooklyn Bowl with Ryan Liatsis and P(X3)

    On Thursday, May 2, PEAK took the stage at Brooklyn Bowl along side guitarist Ryan Liatsis and P(X3) for a night full of funk, riffed-out blues-rock and music to fuel the soul.

    Perri Sage Photography

    PEAK, a Brooklyn based band consists of guitarist and vocalist Jeremy Hilliard, keyboardist and vocalist Johnny Young, bassist Josh T. Carter and drummer Kito Bovenschulte. The group captivated their audience with melodic songwriting along with psychedelic funk groove that makes your body move. They took on a life of their own as some of the best musicians in the NYC improv rock scene with moody blues-rock and created an atmosphere for their danceable improvisations.

    Perri Sage Photography

    Brooklyn Bowl welcomed fans with an open floor to dance, as fans had an intimate engagement throughout the night with the New York jam band. Quick controlled snare, dominant guitar riffs, upbeat blend of melodies and synthesized sounds from keyboard combined to create PEAK’s ambience of psychedelic, funk variables of rock and roll, a musical narrative that let good-timey clash with poetic guitar.

    PEAK Brooklyn
    Perri Sage Photography

    By the end of the night, the crowd was in their groove and connected with the band, looking forward to their future music endeavors. After this show, PEAK will be on their way to Burlington, Vermont at Nectars on May 4th and 5th. Shortly after, the band will head to Newmarket, New Hampshire to perform at The Stone Church on May 16th.

    PEAK Setlist: Forsythia Fills the Wilderness, Little Miss Mary Merry- Go- Round, Woody Guthrie with Ryan Liatsis, Daddy Don’t Live in that New York City No More, When the Night Comes Calling You, Pastures of Plenty, It Ain’t Over ‘til the Credits Roll, Run Me Down

    PEAK Brooklyn
    PEAK Brooklyn
    PEAK Brooklyn
    PEAK Brooklyn
    PEAK Brooklyn
    PEAK Brooklyn
    PEAK Brooklyn

  • Saigon and Fredro’s “The Jordan Era” Album: A Tribute to Hip-Hop’s Golden Age

    Saigon and Fredro have teamed up for a new album called “The Jordan Era,” honoring hip-hop’s golden age from 1984 to 1998. The album, set to drop on May 3, via Payday Records, features production solely by Fredro and guest appearances from hip-hop heavyweights like Grandmaster Caz, Pete Rock, Big Daddy Kane, Grand Puba, Kool G Rap, and more.

    The Jordan Era Saigon Fredro

    “The Jordan Era” is poised to make waves within the hip-hop community and beyond. Notably, the album’s tracks have already found resonance in popular television shows like “BMF” and “Raising Kanan,” testament to the timeless quality of its sound and the relevance of its themes.

    On May 1st, a select group of enthusiasts and industry insiders gathered at Payday Records in Manhattan for an intimate listening party, where Saigon and Fredro provided exclusive insights into the album’s creation. Track by track, they delved into the nuances of each song, offering glimpses into the creative process and the inspirations behind their artistry.

    As the music played and the lyrics flowed, listeners felt like they were back in the prime of hip-hop. “The Jordan Era” captures the essence of that time, known for its real lyrics, heavy beats, and bold storytelling.

    “The Jordan Era” album offers a mix of tracks, each giving a glimpse into hip-hop’s golden age. One standout is “Lyrical Genius,” featuring Grandmaster Caz, known for his sharp rhymes. Another is “Think Twice,” with Grand Puba, bringing smooth flow and deep lyrics. Then there’s “Make Money,” with Kool G Rap, a gritty song about street life. Each track shows the creativity and talent that defined hip-hop back then.

    As fans anticipate its release, “The Jordan Era” promises to keep the spirit of hip-hop’s golden age alive. It’s not just about the music; it’s a tribute to the artists who shaped the genre and a reminder of why hip-hop continues to be a cultural powerhouse.

  • Prof Stages Birthday Heist at Racket on Gallery Tour

    Prof is a Minnesota rapper and founder of the independent label Stophouse Music Group. He is most known for his witty lyricism, a personal favorite being “I moved further from the bank so I could laugh longer” from his raunchy hit “Tarzan.” Prof brought his Gallery Tour and a number of hits to Racket in Manhattan on April 29. Prof has made numerous stops in New York over the years, slowly growing his fanbase, though, by his own admission, not as quickly as he has grown in other markets.

    Futuristic opened the show, jumping around the stage with his videographer. His performance felt deserving of its own show, which is convenient because he will return to New York next month for his own headliner tour. He also debuted a new song with a Prof feature that will be released next week. The second opener, Grip, was equally impressive and invited some fans to rap with him onstage. Grip first introduced a fan he had run into and become friends with after rapping Eminem’s verse from Grip’s song “Walkthrough!” Though the fan was obviously nervous and had some trouble with the mic, he got the crowd hyped and made the song extra special with his excitement.

    To start Prof’s set, his DJ, Willie Wonka, came out first onto an empty stage adorned with cardboard cutouts of marble statues, ancient (plastic) urns, Greek columns, and crates full of artifacts. He began “casing” the stage like an art museum while donning a ski mask and carrying a duffle bag and flashlight. After Wonka finally gave the all-clear, Prof burst out onto the stage with “Feed the Dogs” and more energy than most people have in their entire lives. A gallery is an ironic concept for Prof, who feels more like a bull in a china shop in most settings.

    Prof wore a mathcing teal ski mask and windbreaker combo, pink flamingo socks, and white driving shoes. He has a stage presence like no other and immediately began mean-mugging the crowd while whipping bottled water all over the audience and stage and waving his trusty white towel. After two songs, Prof slowly removed the mask, his face twisted in horror at his own reveal.

    Later when Wonka came out from behind his DJ table to twerk for the audience for the second time that night, Prof used that same towel to slap Wonka’s butt. Prof is not one to focus on his birthday as much as his music. That didn’t stop his crew and the team at Racket from bringing out a huge sheet cake on stage with dozens of candles for him. The audience joined in, singing “Happy Birthday” before Prof eventually moved into his next song.

    Now, Prof continues his tour down south and ends with a show back home in Minneapolis. Hopefully, Prof’s success across North America translates into bigger shows in NYC. He puts on a great show, and it would be even better to share it with a huge crowd.

    Prof – Racket, Manhattan – April 29, 2024

  • Journey’s “Freedom” comes to a close with a career-spanning show in Bridgeport

    The Total Mortgage Arena in Bridgeport, Connecticut, is not known for its concerts. The arena typically hosts the American Hockey League’s Bridgeport Islanders and is overshadowed by the Hartford Healthcare Amphitheater which sits steps away from the entrance. During the summer months, the Amphitheater gets all the big names like Neil Young, Queens of the Stone Age, Santana and Ghost. But, once or twice a year the Total Mortgage Arena gets one or two “big hitters” in the music sphere to balance it out.

    This year, the Rock and Roll Hall of Fame band Journey closed out their “Freedom” tour in Bridgeport ahead of their run of stadium shows with Def Leppard beginning in the summer. Journey’s tour is in support of their new record, Freedom, which was released back in 2022. Fans packed the arena ahead of the 7:30 p.m. start time and the anticipation was high. The last time the band was in the area was last March in the state capital of Hartford at the XL Center.

    Photo Credit: Mike Savoia

    The Los Angeles native band Toto was again brought out on the road with Journey as their support act. On the first leg of the “Freedom” tour, Toto was also opening for Journey so fans who missed the show last year finally got to see it in a slightly smaller, more intimate venue. As fans were still filing into the arena and finding their seats, the band plugged in their instruments and started with their first song of the night, “Girl Goodbye,” off of their debut self-titled record. Toto played a total of nine songs that had the entire audience dancing and singing along.

    Toto has seven band members and brings so much power and energy to the band’s live performances. The band features Warren Ham on percussion and saxophone, Steve Maggiora on the keyboards and Shannon Forrest – who has recorded with the likes of Taylor Swift, and Willie Nelson – on the drums. Joining those three is John Pierce from Huey Lewis and the News on bass, and Greg Phillinganes on keyboard. For those who don’t know Phillinganes, his extensive career consists of touring with the likes of Stevie Wonder and was the musical director for Michael Jackson. The final two and arguably biggest stars of the band is Steve Lukather on guitar who was heavily involved in Jackson’s Thriller album and played on Oliva Newton-John’s Physical album. Lastly on vocals is Joseph Williams who was the adult singing voice for Simba in Disney’s The Lion King.

    Photo Credit: Mike Savoia

    Toto was an excellent opener for Journey, even if Lukather once screamed “Pittsburg!” instead of Bridgeport. They did a great job readying the crowd for the heavy hitters in the rock and roll sphere. Once the clock struck 9 p.m. the house lights dimmed and lead guitarist Neal Schon appeared on stage with guitar in hand. Immediately after, the rest of the band jumped on stage and jumped into “Only the Young.” The one noticeable thing between Journey and Toto was the excellent vocals and how strong they sounded as a band. It’s not very often that bands from the 80s still sound like they did when they debut but both of these bands still do.

    Joining Schon in Journey is Jonathan Cain on piano and guitar, Deen Castronovo on drums, Jason Derlatka on keyboards, Todd Jensen on the bass with Arnel Pineda on lead vocals. Pineda has been in the band for 17 years now after Schon saw him singing on YouTube and asked him to audition.

    Photo Credit: Mike Savoia

    From the very beginning of the show, it was clear just how energetic the band was. Pineda from the jump was running, dancing and jumping all around the stage. Multiple times throughout the show, he would go up to the front of the crowd and interact with fans in the first few rows. He even hopped off the stage during one song and ran through the crowd high fiving the audience.

    Journey delivered all of their greatest hits at this show. Early on they played the smash hit “Don’t Stop Believin’” off of 1981’s Escape. Their powerful set included other hits like “Stone in Love,” “Faithfully,” and “Separate Ways (Worlds Apart).” At the start of each song, it brought a thunderous cheer from the jam-packed arena.

    Photo Credit: Mike Savoia

    The band was able to feed off the lively energy from the crowd. From the moment the doors opened, a recognizable buzz ran through the building. During “Lovin, Touchin’, Squeezin’,” two fans tossed a banner that said “The Journey Junkies” to Pineda to signify their love for the classic rock group. During “Open Arms,” strangers and friends embraced each other while other fans in the first few rows took out their lighters and lit them just like in the band’s golden years.

    After Cain thanked the service men and women for protecting the country and the band returned to the stage, he was wearing a Bridgeport Islanders hockey jersey that got a cheer from the audience. The band – now in the home stretch of the show – started “Wheel in the Sky.” Pineda again took to the crowd and jumped in front of the guard rail separating the first row from the stage to embrace more fans.

    Photo Credit: Mike Savoia

    While confetti and streamers were shot from the stage at the end of the last song, “Any Way You Want It,” fans were all cheering and applauding for the band as they will not be returning to the state on their next tour. Journey put on an amazing show and did not miss one fan-favorite tune. If you haven’t had the opportunity to see them yet, you must as they make one stop at Citi Field in Queens, New York. Journey is a band that continues to put on amazing shows and it’s clear why they pack stadiums across the globe. Their energy is unmatched and the fans’ appreciation in response to their hard work and dedication.

    Toto setlist: Girl Goodbye, Hold the Line, 99, Dying on My Feet, I’ll Be Over You, Home of the Brave, With a Little Help From My Friends, Rosanna, Africa

    Journey setlist: Only the Young, Stone in Love, Keep on Runnin’, Don’t Stop Believin’, Lights, Send Her My Love, Who’s Crying Now, Just the Same Way, Escape, Let it Rain, Lovin, Touchin’, Squeezin’, Open Arms, Faithfully, Girl Can’t Help It, Wheel in the Sky, Separate Ways (Worlds Apart), Be Good to Yourself, Any Way You Want It

  • Brooklyn’s Left Circles Releases Debut Album, “Nothing is One Thing” Along with Other Works

    Brooklyn-based artist Left Circles has released his debut LP titled, Nothing is One Thing on April 26. The LP contains 13 tracks, all with diverse sound from the skills of Brian Pluta and his accomplices.

    Nothing is One Thing, is not content to stay confined to one style. The hook-heavy album shifts through several modes of rock, from ‘90s lo-fi to British-pop to ‘50s folk. Left Circles is the solo project of Brooklyn-based musician Brian Pluta who is the live guitarist for Space Cadet.

    Nothing is One Thing starts out very interestingly. To me, the opening track “Over Her Range/She Told Me” has a very Foo Fighters or Pearl Jam feel. It has grungy riffs, alternative vocals, and that rugged, somber heaviness. It also sees multiple parts with soft, acoustic, touching tones.

    The next tune, “The Gashouse Gang is Here” is full of a youthful, anthem-like energy. It certainly gives me Misfits energy with its pop-alternative, quick-paced sound. Throughout many of songs on the LP, there is apparent 90s grunge inspiration as well as indie, soft-rock, and classic rock. Left Circles does not stick to a specific genre and shows the dynamic musicianship him and his band possesses.

    The album has great energy, range, and power. It boasts strong, catchy riffs, a dynamic voice, and intriguing themes and sound overall. Nothing is One Thing was mixed by Travis Harrison (Guided By Voices, Built to Spill) and features drums from Kellii Scott (Failure), as well as guest vocals from Matt Hock (Space Cadet, The Explosion). 

    Left Circles also recently released a new animated music video for their latest single “The Gashouse Gang Is Here.” The track is the second on the LP. The music video is animated by 30s cartoonist Ub Iwerks and fits perfectly over the track in every way from theme to the syncing of sound and motion.

    “I was running out of time, with no idea what video #2 would be. By the dumbest of luck, I stumbled upon this 1937 cartoon directed by Ub Iwerks, who also did ‘Steamboat Willie’ and all those early Mickey Mouse cartoons. Those folks were masters of animation/music synchronicity having been the ones who invented it. So it’s no wonder I was able to edit it to work with my straightforward 4/4 song. But the sync with Kellii’s drum fills, with what the lyrics are saying…that’s 100% chance. It’s like they were meant to go together. Art director Jon Cochran brought the illusion home with those amazing title cards.”

    Brian Pluta

    For more information on Left Circles and his debut LP Nothing is One Thing, click here. Stay up to date on upcoming releases and shows.

  • Oneohtrix Point Never Shimmers in Miniature at Brooklyn Paramount

    Daniel Lopatin has relentlessly pushed boundaries with his musical projects under an array of pseudonyms throughout his career. Most notably and recently, under the familiar moniker Oneohtrix Point Never, Lopatin returned home to a sold-out Brooklyn Paramount at the tail end of the Again2 Live 2024 Tour. The city’s newest live music venue packed in early as fans were eager to witness the unique bill of experimental electronic music and stand-up comedy.

    oneohtrix point never brooklyn paramount
    Oneohtrix Point Never, Brooklyn Paramount, 4/26/2024. Photo by Joseph Buscarello

    Experimentalists Pedagogy (Eli Keszler and Nate Boyce) started off the show. The duo performed a singular piece of music featuring a blend of abstract guitar and synths backed by a complex and ever-evolving drum pattern. The middle spot on the bill went to stand-up comedian and Saturday Night Live regular Sarah Squirm. A sharp contrast from where the night began, Sarah Squirm left the audience aching with laughter at her body horror comedy and Oneohtrix Point Never impersonation.

    pedagogy brooklyn paramount
    Pedagogy, Brooklyn Paramount, 4/26/2024. Photo by Joseph Buscarello
    sarah squirm brooklyn paramount
    Sarah Squirm, Brooklyn Paramount, 4/26/2024. Photo by Joseph Buscarello

    The buzz from this new Oneohtrix Point Never (OPN) live show was already circulating and became even louder after his appearance at Coachella earlier in April. The new production features live-projected visuals from a puppet on stage. Described in press notes as a “miniature”, the diorama-like apparatus predominately featured a mini OPN figure behind familiar DJ decks, complete with stage lighting and effects. Puppeteer and audio-visual artist Freeka filmed the miniature from up close on an iPhone and live-projected the imagery onto a large LED screen at the back of the stage. The effect was truly mesmerizing to watch as the show went on and the visuals evolved along the way.

    oneohtrix point never brooklyn paramount
    Oneohtrix Point Never, Brooklyn Paramount, 4/26/2024. Photo by Joseph Buscarello

    Typically at a concert, the goal of the production is to make the artist seem larger than life. In this case, OPN shrunk down to a tiny scale, dominated by the hands of the puppet master, pulling the audience deep into this miniature virtual reality. Even in a room as vast as Brooklyn Paramount, the effect was not lost on the viewers. Freeka and his set-up was right at the front of the stage, giving the crowd a clear view of his hands as they manipulated the puppetry. OPN was pushed further back, blending directly into the projected virtual reality.

    The show at Brooklyn Paramount leaned heavily into Oneohtrix Point Never’s recent LP, Again; released late last year on Warp Records. The night kicked off with the title track, before diving deep into most of OPN’s back catalog, including “We’ll Take It” from 2018’s excellent Age Of. At one point during the show, fellow indie artist and collaborator Kurt Vile put his head in the puppet box behind Freeka’s guitar playing hands. The last third of the main set featured a mixed run of tracks from Again before the short break. During the encore, fans were given a treat as OPN collaborator and cellist Mabe Fratti added strings to the mix for the last few songs including “Sleep Dealer” from the iconic 2011 LP Replica.

    oneohtrix point never brooklyn paramount
    Oneohtrix Point Never, Brooklyn Paramount, 4/26/2024. Photo by Joseph Buscarello

    The Again2  tour is wrapping up this week with a final show on April 29th in Montreal. It’s unclear if Oneohtrix Point Never will continue to perform in a miniature virtual reality world, or if this spectacle will be confined to the recent run of shows. Stay tuned to see where the enigmatic artist goes from here and check out our full photo gallery from Brooklyn Paramount below.

    oneohtrix point never brooklyn paramount
    oneohtrix point never brooklyn paramount
    oneohtrix point never brooklyn paramount
    oneohtrix point never brooklyn paramount

  • The Driver Era Rock Out in Port Chester

    The Driver Era is a dynamic sibling duo comprising Ross and Rocky Lynch, born from the talents honed during their time in their sibling band R5. Hailing from LA, the Lynch brothers have cultivated a unique sound that blends elements of alt-rock and pop. This all results in a captivating discography that resonates with audiences worldwide.

    Since their start as The Driver Era, Ross and Rocky have embarked on a creative journey of artistic exploration. With a passion for pushing musical boundaries and a commitment to authenticity, they captivated listeners with their electrifying live performances.

    The Driver Era made a triumphant return to NY at The Capitol Theatre in Port Chester. This marks a highly-anticipated follow-up to their electrifying show at Pier 17 in NYC the previous summer. Amidst a backdrop of euphoric energy, Ross and Rocky delivered a spellbinding performance that left the audience spellbound.

    The Show

    From the opening notes of “OMG” to the encore of “A Kiss,” The Driver Era unleashed irresistible hooks that had the crowd roaring from start to finish. The Lynch brothers showcased their dynamic stage presence and undeniable chemistry, commanding the stage with effortless charisma and boundless energy.

    Throughout the night, the band treated fans to hits, including “Feel You Now,” “Scared of Heights,” and “Afterglow”. Special moments such as Riker Lynch bringing out his wife to dance during one of the songs added a touch of intimacy to the performance. Rydel Lynch’s presence in the photo pit served as a testament to the band’s close family dynamic as well.

    The audience was fully immersed in the experience, with many fans sporting pink cowboy hats and waving handmade signs. One sign read “I’ll trade my hat for your shirt”, demonstrating audience dedication. The electric atmosphere reached a high when two fans threw their bras on stage during “Preacher Man,” a testament to the band’s magnetic appeal.

    As the night started to close, The Driver Era left the crowd wanting more. They decided to end the show with a euphoric encore performance of “Heart of Mine” and “A Kiss.” With their infectious energy and undeniable talent, The Driver Era proved once again why they are a force to be reckoned with in the world of music.

    Setlist: OMG, Feel You Now, Heaven Angel, Scared of Heights, End of Your Life, Afterglow, Low, Rumors, On My Own (from Teen Beach Movie), Get Off My Phone, Cray Z Babe E, Take Me Away, Giveuwhatuwant, Malibu, Nobody Knows, Fantasy, Preacher Man

    Encore: Heart of Mine, A Kiss