New York City based synth-rock band The FMs have released their junior album 51122, a commemorative project for their late member Frankie Rex.
Photo: Dylan Mars Greenberg
Originally a musical partnership between high school friends Matte Namer and Frankie Rex, The FMs have curated a tight-knit community over the years with their synth-infused sound, unapologetically queer narratives, and underground shows held atop a ferry boat in the industrial canals of Bushwick.
Not only did the ferry shows introduce many to the sound of The FMs, the boat provided the duo a space to record and self-produce three full-length LPs. Debuting in 2017 with Machinacene Epoch, The FMs quickly established their ethos of a rather traditional album creation process in which each release exists with its own personality and sonic statement.
PINK + BLACK, the duo’s sophomore double-LP began taking shape quickly after Machinacene Epoch’s release in 2017 and saw promising progress into 2020, amassing 2,000 hours of recording, producing, and tinkering. However, PINK + BLACK was delayed after the news of a devastating loss. Frankie Rex passed away from an overdose in 2022, understandably putting the project on pause as the loss was processed.
This was not the end for The FMs, however. Matte Namer was determined to continue Rex’s legacy and prove that not even death could stop Frankie’s voice from being heard- a sentiment that came to fruition with the posthumous release of PINK + BLACK in 2024, which was met with acclaim from critics and LGBTQ+ advocacy organizations like GLAAD.
In preparation for this new chapter of The FMs, Namer gathered Ithaca-based trans musicians Bubba Crumrine on guitars, Basim Hussain on synths and keys, and Nick Scollard on drums. Now reformed, The FMs have returned for their newest album, 51122.
The title coincides with the date of Rex’s passing, and in many ways is a simultaneous goodbye and thank you to Rex’s incredible contributions to the band and the world as an artist throughout their life and musical career. 51122 contains the last recordings of Frankie’s voice to be published ever, including in a pre-release single that came in the form of a Joy Division cover– a tribute to one of the original duo’s favorite bands and Frankie’s favorite track of theirs.
“It’s also a bit somber being the last music that I think will ever be released with Frankie’s incredible, powerful, unique voice. I think there’s something about that that makes me remember they are really gone, like an orchid blooming from a coffin nail. 51122 is the date Frankie passed away, but is also a type of symbol in a way, or perhaps a word. I’m not sure what that meaning is yet, perhaps the orchid needs to grow.”
– Matte Namer
With influences ranging from lo-fi all the way to disco, 51122 is a dreamy, gritty, synth-y collection that stands as an undeniable testament to how far the band has come while simultaneously honoring where and with whom it all began.
Tracks like “You Feel Like God” and “A Means To An End” take listeners on a guitar-infused synth adventure through space and complex interpersonal relationships, while songs like the rock-ballad “Deviant” reflect upon and reject concepts of deviance and societal other-ing over acoustic guitar and floating piano.
Photo: Dylan Mars Greenberg
“Domino” cuts to the bone with unforgettable vocals, gritty guitars, and a sharp bass line, putting what The FMs can do when they lean full-on into the punk sound on full display- and the impact is undeniably felt.
Throughout 51122, the skills of Namer, Rex, Crumrine, Hussain, and Scollard are on full display- not a moment goes by where there’s a lack of sonic interest. Whether it be a dystopic cyber-future like in “Future Pope” or the wistful nostalgia of “Record Store”, each track off of the album paints a vivid picture effortlessly. 51122 is above all a triumph- a sign that The FMs will go on, and so will Frankie Rex and their unrelenting musical spirit.
In celebration of 51122’s release, The FMs have announced a set of album release parties on November 22 and 23. On Friday the 22, the band will pay a visit to Angry Mom Records in Ithaca, and on the 23 they’ll grace the stage of Berlin in Manhattan for a joint album release party and queer rock showcase. To learn more about these shows and how to attend, check out The FMs’ tour page here.
To learn more about The FMs, listen to their past releases, and keep up to date with all of their future ventures, be sure to explore their official website here.
Two years after her passing, we finally have a bio of Fleetwood Mac’s beautiful songstress.
Also an artist and sculptor, Christine McVie was a master at crafting sunny seventies perfect pop songs despite experiencing quite a bit of loss through life and despite her leanings towards blues in her early days as a musician in London. In contrast to some of her band mates known for their songs infused with the pain of relationships ending, Christine’s songs predominately were about the hopes and joys of love. The official video of Love Shines from the 1992 album 25 Years – The Chain; Fleetwood Mac’s 50 Yearsis a perfect example of that.
Over My Head, from their 1975 self titled album was the song played on American radio that really brought Fleetwood Mac to our attention in a big way after various line-up changes and started Fleetwood Mac’s quick ascension up the charts and into history as one of the world’s favorite and best selling bands of all time; a song she was quoted as saying was in part, about Lindsey Buckingham. By 1977 they would be the biggest band in the world.
Starting with Chicken Shack in her teens during the 60s, Christine had to endure traveling and playing in some pretty seedy places in the UK and Germany first. Paying off, it earned her 1969 and 1970’s Female Vocalist of the Year in a Melody Maker Reader’s Poll.
Some speculate that the sublime Songbird, perhaps her best known and signature song from the Rumours album, may have been about her mother and processing loss. This song is said to have come to her in a flash of inspiration, she had said frequently that she had no idea where it came from, but that it was an almost spiritual experience, having been delivered to her. If listening to the song now with that perspective, the song does take on an almost spiritual and very emotional meaning.
We have in her own words, what it was like to tour so much and for long with this book.
To many, Fleetwood Mac had the coolest existence; their excessive appetites and habits are legendary; they lived together at some pretty interesting manor houses over several countries while making albums, some of which were reputed to be haunted. Musicians who come from nothing and rise beyond their wildest dreams are fascinating to read about.
The author’s lively language is engaging and indicative of the friendship she had with Christine McVie, along with her extensive knowledge of the music scene of the 1950s to the 1970s in London. Christine had also been speaking about writing a memoir, but it was not to be before her passing. The author, Leslie-Ann Jones has been featured on television music documentaries, and has also written biographies of John Lennon, The Rolling Stones, David Bowie and Freddie Mercury.
In this book, many often overlooked details of Christine’s solo work are discussed, such as her 1985 cover of Elvis’s Can’t Help Falling in Love for the movie A Fine Mess.
As the author had personal access to Christine over the years, the book has first hand knowledge of areas of the musician’s life that fans will find interesting. Credited many times as being the peacekeeper of the band, except for one episode of violence, the details of that scenario at Christine’s house are laid out. Photos of her English manor house and the renovation project that Christine embarked on after being in the states for 28 years, as well as how she spent some of her free time and with whom she socialized, show another side of her creativity.
Little known details of Fleetwood Mac’s dynamics and betrayals are included to delve into; the difficulties in being married to someone in the same band as her for example.
Before being interested in John McVie, Christine had first been enamored with Peter Green, who unfortunately dealt with the consequences of imbibing hallucinatory substances.
Christine has been on record for stating that Dennis Wilson of the Beach Boys was the love of her life, and that ill-fated romance and her reaction upon learning of his death are detailed here in Christine’s own words, as well as the songs she wrote about him.
Fleetwood Mac was a group of creatives who made music magic. As we continue to mourn the loss of a gifted musician and songwriter, her legacy is her music being with us forever and continuing to be loved by newer generations.
A biography of The Band’s Richard Manuel is slated to release this spring for the 50th anniversary of the group’s 1974 tour.
The biography is titled, Richard Manuel: His Life and Music, from the Hawks and Bob Dylan to The Band (Schiffer Publishing, on sale May 28, 2025) celebrates Manuel’s immeasurable contributions to music, ensuring his soulful voice and profound artistry endure in the annals of rock. Richard Manuel sang and played piano for The Band, which originated in Toronto, Canada and Woodstock.
The Band began as a backing group for the legendary Bob Dylan. The Band is often credited with helping to define the sound of roots rock and Americana, blending rock, country, blues, and folk into a cohesive and groundbreaking style. Their music was characterized by a raw, earthy quality that bridged the gap between traditional American folk music and modern rock.
Richard Manuel was sweetly soulful and creatively multifaceted, leaving his mark on rock history that is still celebrated today. Through insightful analysis and interviews, his troubled yet inspired spirit is contextualized within music history. From his role in forming the Band to his iconic vocals and songwriting, Manuel’s influence resonates deeply.
Author Stephen Lewis is a rock-and-roll archivist, collector, and storyteller. He owns and operates the Talk from the Rock Room website and podcast and has been writing about music for over 20 years, including contributing articles on Summer Jam and Little Feat for NYS Music. He delves into Manuel’s influence on the history of rock, along with discussing some of Manuel’s life as told through his forth coming book.
The Band in London, June 1971. From left: Levon Helm, Richard Manuel, Robbie Robertson, Rick Danko and Garth Hudson.
For more information on the biography Richard Manuel: His Life and Music, from the Hawks and Bob Dylan to The Bandclick here.
moe. fans flocked to the Middle Ages Concert Hall in Syracuse on Friday, November 15 for the first of two consecutive sold-out performances by Monkeys On Ecstasy.
Perhaps one of the more poorly kept secrets in the music industry, Monkeys on Ecstasy serves as the pseudonym for jam-rockers moe. The alternatively billed shows allow the band to perform more intimate clubs and concert halls, harkening back to their early years. The lucky recipient this time around was the Middle Ages Concert Hall. The band, now entering their 35th year, recently announced their 14th studio album,Circle of Giants, would be released on January 31, 2025 and would be backed by an extensive U.S. tour.
On Friday, fans filled the area in front of the stage well before the band’s scheduled 8pm start time. As show-time approached, a nearly impassible wall of fans stretched beyond the listening room and out into an adjacent bar area. The excitement and energy of the audience was palpable, as their legion of fans traded stories of their previous moe. concerts.
Shortly after 8pm the band took to the stage and opened with their rendition of Pink Floyd’s “Interstellar Overdrive”. The slow building instrumental would culminate in a full-blown rocker, show casing the traits which make moe. great, with upper tier orchestration as each band member took their turn at adding layers of improvisation. The track would weave in the moe. original “Zed Nought Z” before returning to the outro of “Interstellar Overdrive”. In all the sequence would last over 20 minutes.
The band would play two sets on Friday, with each set pushing beyond 90 minutes. Set two featured the improv-heavy rocker “Timmy Tucker” garnering full-on audience participation on the chorus. As the night approached midnight, the evening would come to a close. Fans poured out into the Syracuse streets, celebrating what they had just witnessed and already eagerly anticipating what could be in store for night two.
Monkeys On Ecstacy – Middle Ages Concert Hall, Syracuse – Friday, November 15
Set 1: Interstellar Overdrive > Zed Nought Z > Interstellar Overdrive, Brent Black, In Stride, Bat Country, She, Space Truckin’ Set 2: Shoot First > Timmy Tucker, Bring You Down > Lazarus > Skitchin’ Buffalo > Skitchin’ Buffalo Reprise > Recreational Chemistry Encore: Light up or Leave Me Alone
White Plains born and New York City-based singer-songwriter Sabrina Monique has released her debut album It’s Not Me, It’s You.
Born and raised in Brewster, Sabrina Monique has been performing to brighten others’ days since the beginning. Living with her single mother and grandparents in a tense environment, she quickly realized how much value there is in the power entertainment holds over someone’s emotions, and before long she was skipping high school classes for auditions in New York City.
Moving into an apartment in Manhattan at 17 with 12 other girls, Monique was determined to see her dreams through- and that she has. While auditioning, performing at the iconic Ellen’s Stardust Diner, and developing her personal sound, Sabrina auditioned for American Idol 2020 and landed herself a feature on the show’s nineteenth season.
While incredibly exciting, this opportunity proved to be challenging. Her entry into the pop industry came with subsequent body image issues as she felt the pressure to fit the “pop star ideal”. Emotionally tense and creatively stifled, the 2020 pandemic that put the world to a halt offered Monique a unique opportunity to create without inhibitions.
“I wrote everything I held in my body—it was like a faucet you couldn’t turn off.”
– Sabrina Monique
Tucked away in a Nashville studio, the songs seemed to just flow out of her. These tracks would eventually become her newly released debut album, It’s Not Me, It’s You.
A collection of dance songs, ballads, and seething guitar-heavy tracks, It’s Not Me, It’s You is a powerful series of battle anthems. Artistically liberated both in personal creativity and industry restraint, Monique tackles and gives voices to the stories of women fighting sexism, body imaging, the patriarchy, and the archaic stereotypes perpetuated throughout the music industry.
Tracks like her debut single “It Was Always You” take heartbreak and wrap it into an upbeat reggaeton-inspired dance-pop anthem, while “Love Again Unplugged” strips the layers of production and pretense down to their most raw forms in a vulnerable show of emotional honesty and growth.
“I needed to write this album to move forward. It’s been cathartic for me, and it represents stepping into my power. I pick my producer. I write my own music. I am the captain of my ship.”
– Sabrina Monique
A stunning collection of songwriting with contributions from hand-picked producers, It’s Not Me, It’s You is an admirable show of raw emotion and poetic ponderings from the mind of Sabrina Monique.
To learn more about Sabrina and keep up to date on her latest ventures, visit her official website here.
Amber Martin returns to her country roots with her latest album, the highly anticipated Unbreakable Heart.
Musician, producer, writer, curator, choreographer, and star of her own shows, Amber Martin has worn many hats over the course of her career- and has balanced each and every one with grace. Having toured the United States and beyond, held residencies, hosted cabarets, and performed on several festival stages, Martin is a tour de force of both the creation and performance of music.
Returning for her second album, Martin has tapped into her country roots with Unbreakable Heart. A masterful balance of boot-stomping, slow-swaying, and deeply heartfelt songs, the album feels every emotion to its fullest regardless of how bright or blue.
Described as a series of independent tracks, Unbreakable Heart crosses the full span of the lived experience all while coming together in its own beautifully eclectic way.
Martin balances the floaty strings and can-do trucking-on attitude of “The Moon’s A Reminder” with the spark of tracks like “Devil Came Down The Dancefloor” that contains all the swinging energy you’d expect from such a title with absolute grace.
The utterly nostalgic Pawpaw’s Yodel features floating vocals and finger picking over a warming conversation with her grandfather on his yodeling passion and skill that plucks all the right heart strings.
Other tracks like the hilariously witty breakup piece and final pre-release single “I Left My Weed In Texas,” in which Martin is resentful over a breakup but is left grieving the weed she’d left behind rather than the ex-lover, are effortlessly counterbalanced by the slower movement of songs like the titular track “Unbreakable Heart,” which is full of crooning vocals and brushed percussions that bring a beautiful sway to the listening experience.
In addition to her own handiwork, Unbreakable Heart features a sparkling set of her long-time friends Rufus Wainwright, John Cameron Mitchell, and Jake Shears. All co-writers and vocalists on their subsequent tracks, the culmination of the artists’ skills and evident passion for their craft results in a set of three songs that round Unbreakable Heart into completion.
“Every song on ‘Unbreakable Heart’ is a standalone in its uniqueness. No two songs are alike. It’s brightened by the fine musicianship of some truly talented Texas musicians and collaborators in New York City. Everyone involved in this album, whether as writer, backing vocals singer or musician is a dear friend and ‘family’ member. It’s truly a love letter.”
– Amber Martin
Rufus Wainwright’s collaborative track comes in the form of “I Want You To Be A Real Man”, a hauntingly honey-warm duet that dissects concepts of masculinity over waltz-y piano and guitar licks that enchant.
Opening over crooning birds beneath the soft sounds of a guitar is “Second Heart” with Jake Shears. With swaying instrumentals and beautifully penned lyrics, “Second Heart” pulls listeners into a sense of pensive peace.
“Call Me Joe” concludes the collaborative trifecta, a bittersweet track made in partnership with John Cameron Mitchell that feels more like a ‘see you again’ in place of a ‘farewell’- a hopeful goodbye and nod towards the future.
Closing out the album with “Until Marianne,” a song filled with longing and love, Martin leaves listeners with a feeling of fond persistence with her moving vocals floating over the simple guitar instrumental.
A well-rounded experience of country twang highs and lows, Unbreakable Heart is a testament to Martin’s ability to put the intangible into lyrics and the indescribable into sound.
To celebrate the release of Unbreakable Heart, Amber Martin will be taking the stage at The Cutting Room in Manhattan on Tuesday, November 19. Supported by her band and several special guests, the evening will be host to an unforgettable night of live performance- not to mention the after-party with some of Amber’s own special DJs.
For more information on the celebration and how to attend, visit the event page here.
To learn more about Martin’s story, other releases, and future endeavors, be sure to visit her official website here.
The first and most comprehensive history of the birthplace of punk music, CBGB, has just been re-issued by Trouser Press Books, an all-music imprint headed by veteran music journalist Ira Robbins.
A History of CBGB – by Roman Kozak
Originally published in 1988 and out of print for decades, This Ain’t No Disco: The Story of CBGB is a warts-and-all history of the legendary Bowery venue related by nearly 100 of the insiders who performed, worked and braved pre-gentrification Downtown NYC to witness the birth of punk music. Written long before the legend overtook the reality — while the club was still open and most of the principals alive — this is the real story told in gritty, outrageous and sometimes hilarious detail by onetime Billboard Magazine editor, the late Roman Kozak. The 2024 edition includes a new forward by Chris Frantz of Talking Heads, 12 pages of photos by Ebet Roberts, and a post-script by Ira Robbins that takes the story forward from 1988 to the October 2006 shuttering of the club.
Kozak’s book includes unguarded quotes from CBGB found Hilly Kristal, Joey and Dee Dee Ramone (the Ramones), Chris Stein and Clem Burke (Blondie), Richard Hell and Richard Lloyd (Television), Lenny Kaye (Patti Smith Group), Annie Golden (The Shirts), David Byrne (Talking Heads), Seymour Stein (Sire Records) and many more.
As a member of several of the more than 10,000 bands that performed at the club in its 33-year run, it was a treat to take a trip back … without having to once again experience the foul ambiance of its legendary and always-broken bathrooms!
CBGB came about when its owner, Hilly Kristal, a wannabe singer, left his former bar in the West Village for the grimy Lower East Side to escape the noise complaints of his Greenwich Village neighbors. His short-lived attempt at a country music venue, one with sure to fail breakfast time gigs, would be shelved when Tom Verlaine and Richard Lloyd of Television lied their way into a performance in March 1974. Television’s stint would shortly attract other bands, including The Ramones, the first act signed to a major label, a quartet that could crank out 20-song sets in 17 minutes or less. By the end of the year, CBGB, which would initially feature other kinds of music along with comedians, would become an all-rock venue.
The first two years of CBGB would be hand-to-mouth, with Hilly living on a cot in the back of the club and supplementing his income by buying a truck and starting a moving business, one that employed his favorite starving musicians like the members of The Shirts. Various musicians and staffers humorously relate memories of dodging the many “care packages” left on the floor by Hilly’s dog, Jonathan, and the suspect quality of Hilly’s infamous chili and hamburgers. Mink Deville claims Jonathan was the source of the crabs he got four times in the seedy but beloved club. And there is much talk in the book about the decrepit bathrooms, for their sub-Third World sanitary conditions and where the truly brave might partake in the classic drug-and-sex combo. “You could always see four feet in the bathroom stall,” said Dick Manitoba.
The book contains interesting facts about the humble and initially stumbling beginnings of the early CB’s bands who would become legends, including Blondie and Talking Heads. Elda Stiletto and busy backup singers/present-day cosmetic company giants, Tish and Snooky, tell of Blondie’s early days, the gestation in Elda’s band, and false starts as Angel and Blondie and the Banzai Babies before settling on a firm lineup anchored by drummer Clem Burke. Another memorable night was when Talking Heads and The Shirts auditioned together. Hilly loved the first because they were “neat” and carried “very little equipment.” And though they didn’t reach the commercial heights of other early CBGB bands, The Shirts would prove Kristal’s favorite. He would go on to manage them, secure their three-album deal with Capital Records, and a role for their lead singer, the now busy actress Annie Golden, in Milos Foreman’s movie version of the Broadway musical Hair.
The Dead Boys – photo by Ebet Roberts – the History of CBGB
CBGB began to pick up steam with the arrival of Patti Smith, who had a four-day-a-week, seven-week residency in Spring 1975. Kristal compares the excitement to comic Lenny Bruce’s residency at the Village Vanguard when Hilly was helping manage the club for owner Max Gordon. The two-week CBGB Rock Festival in July 1975 wouldn’t bring in a huge amount of cash, but it generated tons of press from outlets like The Soho Weekly News, Village Voice, etc. Writer Legs McNeil, the man who popularized the term “punk” appropriated from a favorite term of TV’s Kojack, called CBGB “a juvenile delinquent hangout, where everyone was equal because they were broke.” To Richard Lloyd, it gained traction because “it was a reaction to hippie stadium music.” By 1976, the club started making money, and one of the essential ingredients of success began to happen: the girls started coming in droves, according to Tish and Snooky. In July 1976, CBGB invested in a new sound system, which would be ripped off then replaced, making it the best-sounding live room in New York City and maybe the world. It became a venue that would attract artists from around the globe, including the then-unsigned Police, who played for an audience of 10 in July 1977.
There is lots of good dish on Hilly’s failed ventures, like his short-lived CBGB Theater on Second Avenue, the proposed punk rock sitcom, TVCBGB and his ill-fated management of another popular attraction, The Dead Boys. The book also relates how CBGB’s slow burn rep as the birthplace of punk was usurped a bit by the UK – the rapid rise of the Sex Pistol and the appropriation of the spiked hair and torn t-shirt originated by Richard Hell. When the club launched it was the only game in town for bands playing original music, a refuge where virtually anyone could get a shot at their Monday audition nights. But by the 1980s, CBGB would have competition from new clubs like Hurrah, The Ritz, Danceteria, The Peppermint Lounge, the Mudd Club and more. But most would not survive the decade.
But even with all this buzz, CBGB-style punk was “poison as far as record companies were concerned.” Except for Blondie, whose breakthrough came from a disco infusion in their #1 singer “Heart of Glass,” CBGB bands didn’t move platinum units of vinyl or CDs or get much radio airplay. Bands like latter-day favorites, the chainsaw-wielding, car-blowing-up Wendy Williams and her Plasmatics, had to make their living on the road.
The History of CBGB – Owner Hilly Kristal, photo by Ebet Roberts
In the mid- and late-1980s, CBGB would birth another musical genre – hardcore. It’s Sunday hardcore matinees did big business at the door but not much at the bar, as many devotees were underage or straight arrows who didn’t drink beer. One CBGB barkeep recalls: “We could make $2,000 at the door and only $200 at the bar.” Bands like Murphy’s Law, Agnostic Front, Cro-Mags, Bad Brains, The Beastie Boys, and Damage were featured; some also on cassette-only releases of live performances on a CBGB imprint created with Celluloid Records. Many of these and other new artists would have their albums featured at a new satellite, CBGB’s Record Canteen.
Kozak wraps up his history in 1988, well before the legend was glammed up via the 2013 feature film and the ridiculously “reopened CBGB” restaurant at Newark Airport. Trouser Press’s Ira Robbins provides a coda detailing Hilly’s losing battle with his landlord and the August 2006 benefit concert that attempted to save the club. (Note: this reporter did PR for that event pro-bono during his agency days. He also had his electric mandolin stolen at the club! The first gig by my long-running project, Spaghetti Eastern Music, took place at CBGB Gallery in 2003).
Kozak’s tale concludes with one of many significant observations in the book from guitarist/writer/record producer Lenny Kaye, a thought posited on the Lower East Side’s new monied residents.
“The key and glory of CBGB is that they’ve never gotten too big for their britches. They’ve never gone above their own Bowery station…even though the Bowery is above its own station now.”
Jessie Murph brought an electrifying energy during her tour stop at the historic Landmark Theatre in Syracuse. With fans wrapped around the block, they were treated to an unforgettable night filled with emotions and powerhouse vocal performance that left them wanting more.
The night opened with Big Yavo, an emerging artist from Alabama who delivered a set with southern charisma and sounds. His blend of hip-hop and rap had the crowd dancing on their feet, primed for what was to come, setting the perfect tone for Jessie’s entrance.
The historic Landmark Theatre, with its architecture and old-world charm, was the perfect venue for Jessie’s soulful vibe. The 20 year-old Alabama native began her music career by sharing heartfelt covers and original songs on social media platforms, where her voice quickly gained widespread attention.
Now, she’s made her place as a force in contemporary pop/country and R&B, captivating audiences with her unapologetically honest storytelling. Performing hits like “High Road,” “Sip,” “Pray” and “Heartbroken” had the crowd singing every word along making the Landmark echo with energy.
Her breakout hit “High Road,” a collaboration with Koe Wetzel, dove into themes of resilience and facing personal battles. This track blends her emotive vocals with Wetzel’s gritty, country-rock influence, creating a unique crossover fans have welcomed with open arms.
Another highlight of her career is “Heartbroken,” her collaborative hit with Diplo and Polo G, which blends electronic beats with her signature raw lyrics. This song’s success further cements her as a versatile artist capable of thriving across different musical landscapes.
Four years from the frays of the pandemic, Tiffany Majette, the New Jersey-born Orion Sun, is finally getting to live her dream out on the road. In the tender confessional on her Brooklyn Steel set on Thursday, November 7, the R&B songwriter reminisced on her first time in the Big Apple (the event marking the second occurrence), though, as she admits, what should’ve been a milestone performance felt like it didn’t really count.
Photos by Zachary Giller
“I was performing to an empty room, to a screen and there were clapping emojis at the end of every song,” she professed. “I remember being really scared that this was the new normal.”
Photos by Zachary Giller
Ever the optimist, Orion Sun didn’t let the stark anecdote’s sentimentality linger around long enough to sour, urging listeners to “don’t think about it too hard” into her lapse of vulnerability, choosing instead to let her music do all the heavy lifting.
Photos by Zachary Giller
Unbeknownst to her, despite all the worldly circumstances, 2020 proved to be a groundbreaking year. The singer-songwriter released two seminal albums, A Collection of Fleeting Moments and Daydreams and Hold Space For Me two months apart at the year’s emergence. And despite the catastrophic shutdowns that began mere days before the release of Hold Space For Me, Orion Sun forged ahead, gaining millions of eager fans with similar grievances and all the time in the world to slow down and listen.
Photos by Zachary Giller
On the stage set in East Williamsburg, a neighborhood teeming with hipsters and bearing a reputation as such, Orion alludes to a childhood of poverty and the embers of hope back when her days felt as dark as the obsidian-drenched room she currently occupied. With a timbre that oozes honey-like sincerity and eau de Jorja (Smith) tonality, she seduces with the throes “Space Jam – An Odyssey,” a track revealing dreams of a faraway home, as someone once intimately familiar with the rows of homelessness and housing insecurity:
“You wear Michael Jordans, I can’t afford them / I got dreams of Paris, I’d love to share them / I wanna go real far, like really, really far,” Orion croons, voice ringing with the disarming tenderness and lucidity of a teenager forced to grow up too quickly.
Photos by Zachary Giller
And travel Orion does, even within the confines of the 20,000-square-foot arena, never beholden to one place or once stagnating as she bounces lightly from left stage to right, surely making up for lost time, vocals even-kneeled and steady alongside improvised yet fluid choreography.
Photos by Zachary Giller
Her status as a former theater kid may serve as the resume for her captivating stage presence and even reserves Orion Sun the right to show off a little, with all the towel-flinging theatrics, a show-stopping megawatt smile, and endless gestures of gratitude in the form of generous leapfrogging daps and unadulterated quirks inundated with outbursts like “throat coat” and cheeky requests for a “No Judgement Zone.” As she leans into the opening acoustics of “These Days,” making promises that it’s really love that keeps us warm on days you’re “trying to keep your head above water,” you’re inclined to believe her, surrendering all lackluster cases against her indomitable thesis.
Photos by Zachary Giller
Fiddling with dials and clacks of a synthesizer, the self-made producer gave a glimpse at the honed skills that allowed her to retain all her masters as the sole writer and producer on her earlier works (“They want a ransom but if you make it yourself, the beat is free,” she sings cheekily in “Sailing”) and which attracted offers from big-time record labels. A twist here and a tap there, a dialed back reverb, and it’s a remix, on the fly: “This sounds better,” she joked, re-upping an intro with the click of a button.
Photos by Zachary Giller
Maybe predictably from someone who earlier in the night confessed to a craving of human interaction, Orion Sun proved to be a flight risk. Traipsing her way from left stage, confusion flooded the room from wall-to-wall as the top of Orion’s head disappeared — and re-emerged moments later in the crowd, weaving through shepherds of long-time fans and their equally enthralled compatriots, who parted for her like the Red Sea, granting her the hearty New York welcome she’d imagined many fortnights ago.
Photos by Zachary Giller
And to the dormant insurrected by her dare-to-dream purview, she leaves a ray of light as a parting gift. “For the creatives, do it for the archive first,” she urged, lessons she’s not only learned the hard way but intrinsically, forever embedded in her discography and way of life.
Photos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary GillerPhotos by Zachary Giller
SNL has officially returned, celebrating its 50th year on the air. Since its start in 1975, the show has introduced Americans to classic comedy skits, ranging from Wayne’s World to the Blues Brothers. On top of that, comedy icons like Eddie Murphy, Adam Sandler, and countless others have SNL to thank for launching their careers. But let’s not forget an often overlooked part of SNL’s history: its musical guests.
To celebrate SNL’s 50th anniversary, let’s take a look back at 50 classic performances from throughout the show’s history. In this installment, we’ll travel back to SNL of the 1980s to see some of the decade-defining acts that grace the 30 Rockefeller Plaza stage.
The B-52’s (1/26/1980)
To kick off the 1980s, New Wave icons the B-52’s performed an energetic set. Hailing from the college town of Athens, Georgia, the band was riding high after the release of their debut self-titled album. So in January, 1980, they made the trek up to New York City to soundtrack an episode hosted by the late-actress Teri Garr.
To start off their set, the band played their biggest hit at the time – “Rock Lobster.” Before the music even started, nothing stood out more than the band’s style. Their eclectic eighties meets fifties fashion was on full display. Cindy Wilson and Kate Pierson’s mile-high beehive haircuts instantly gave the audience a taste of the B-52’s ethos. They were deeply rooted in retro aesthetics, but also spearheading a New Wave of punk.
The audience did not have much time to gawk at the band’s style, because Ricky Wilson immediately fired into the iconic “Rock Lobster” riff. Alongside guitar, singer Fred Schneider played SNL’s favorite instrument – the cowbell. Throughout the song, Schneider bopped around the stage, waving his cowbell and drumstick. This dance party of a song dramatically halted at the bridge, with the band members collapsing as Schneider yells “Down! Down!” Following this, the band immediately sprung back up, whirling around the stage. Even Keyboardist Kate Pierson left her station to join in on the vortex. The B-52’s, unlike any band from that era, matched campy theatrics with a rough punk edge.
Following a number of skits, the band returned to play “Dance This Mess Around.” This track started off much differently than their opener, with harsh keyboard stabs and dissonant guitar. For this number, Schneider passed off vocals to Cindy Wilson. Her soft vocals grew into screaming as the chorus neared, with Schenider’s distinctive yelping backing joining in soon after. Throughout the song, the band all erratically danced, while somehow remaining unsettlingly still, mirroring their SNL predecessor Devo.
With this performance, the B-52’s both carried on history, and made history of their own. They brought the 1970s New Wave of Devo and Elvis Costello to a new decade. This performance, while unassuming at the time, hinted at a decade that both New Wave and the B-52s would thrive in.
Funky 4+1 (2/14/1981)
In 1981, a Bronx-based quintet made SNL history with a single performance. On Valentine’s Day, Funky 4 +1 played the first Hip-hop performance, not only on SNL, but on all of national television.
Known hip-hop aficionado Debby Harry hosted that night, and personally vouched for the band. During her work with Blondie, Harry formed a great appreciation for hip-hop. In 1981, Blondie made history with “Rapture,” becoming the first song with a rap verse to reach number one. As part of this, Harry became close friends with rap icon Fab 5 Freddy, who introduced her to Funky 4 +1.
From the first second of their SNL performance, “That’s the Joint” was a straight blast of joy. The Funky 4 all in matching red sweaters accentuate their female lead Sha-Rock. In a way, the monochrome male backers and the standout female lead vocalist wasn’t too different from Blondie itself. A sample of “Rescue Me” by A Taste of Honey propels the song forward with funky bass and horns. Over this disco beat, the five rappers pass off lines between each other, making for a great early hip-hop track.
One key member of the band wasn’t even a member, but rather a DJ. Throughout the performance, he can be seen spinning records in front of the group. This sampling-based number marks a radical shift in the style of musical performances on SNL, foregoing live instrumentation altogether. This showing also revolutionized how rap artists performed live. Rather than bopping to the beat, the band adopted fully choreographed synchronized dance moves. Drawing from older Motown acts, the band looked more akin to the Jackson 5 than the Sugarhill Gang on stage.
Only one week after Funky 4 + 1, SNL introduced a future superstar to the world. Prince, the artist formerly known as Prince, or Ƭ̵̬̊, whatever you want to call him, he made his special debut appearance on February 21st, 1981. While not the musical guest – that was rock icon Todd Rundgren – SNL invited Prince to perform one song from Dirty Mind. This performance marked the first of four guest slots Prince filled during his life.
Following two performances by Rundgren, it was Prince’s turn to perform “Partyup.” Prince and his band emerged on stage in matching trench coats. Under his trench coat, Prince wore only a bandana, short-shorts, and stockings, mirroring the cover of Dirty Mind. The performance got off to an energetic start, driven by funky synths, bass, and guitars. Throughout the funk number, Prince’s iconic falsetto vocals soared. However, one vocal line also caused controversy. Some claimed Prince sang the original lyric “Fighting war is such a f*cking bore,” violating broadcasting regulations. Prince himself, however, claims he said “Freakin.”
Funnily enough, yet another F-bomb overshadowed this performance, this time coming from cast member Charles Rocket. During the farewell, Rocket, parodying JR from Dallas, angered TV censors yet again. Turning to the camera he said “Oh man, it’s the first time I’ve ever been shot in my life. I’d like to know who f*ckin’ did it.” Needless to say, the cast and broadcast staff were all shocked, and Michaels promptly fired Rocket. This, however, was the last time anyone outshined Prince, as he would go on to dominate for the rest of the eighties.
This performance is sadly near impossible to find in its entirety online. Whether due to the multiple swears, or Prince’s estate’s strict licensing policy is unsure. It is a shame, as it is one of the best to ever grace 30 Rock. Immediately after, Jeffrey Doumanian writing for Rolling Stone said, “I was blown away, he was just the most original act I had seen in a long time.
FEAR (10/31/1981)
For one night only, the SNL stage transformed into a no-holds-bar mosh pit. That night was Halloween of 1981, when Lorne Michaels invited LA-based hardcore band FEAR onto the program. With his previous bad luck with punks *cough, cough, Elvis Costello* why would Michaels push his luck with an even rowdier crowd? The answer is pretty simple: he didn’t. In fact, it was SNL alum and notorious party animal John Belushi who pitched the idea.
John Belushi was an avid fan of all things punk rock, quickly becoming close friends with FEAR. Earlier that year, he even offered the band the opportunity to soundtrack his movie Neighbors. The studio, however, was not impressed and thought the band’s music was highly inappropriate. Belushi, being the good friend he was, offered FEAR a musical slot on SNL to make up.
Belushi’s plan, however, was much more complex than just having the band perform. He pitched Michaels his idea – to turn 30 Rock into a full-fledged punk venue with slam dancers. Then, Belushi began making calls to punks across New York and Washington DC. By Halloween night, 40 punks closed in on the SNL studio, including future Minor Threat singer Ian Mackaye. For the dress rehearsal, the punks mellowed out, lulling Michaels into a false sense of security. But when have punks ever been ones to follow the rules?
When FEAR took the stage that night, all hell broke loose. They began with “Beef Bologna,” a breakneck pace hardcore track with screamed vocals and fiery guitars. As soon as the music began, the punks in the audience showed what they were really made of. Some dove across the camera, others stormed the stage, and all of them indulged in the pure chaos. As singer Lee Ving recalled, “The real audience at Saturday Night Live was scared to death.” Luckily for everyone at 30 Rock, after the relatively short song, the crowd seemed to calm down slightly.
It wouldn’t last. Ving – the comedian he is – grabbed the mic and said, “It’s very nice to be here in New Jersey,” warranting immediate boos. This segued into their second track “New York’s Alright if You Like Saxophones.” Sonically, this song is unique among eighties hardcore, featuring dissonant saxophone at its center. The audience couldn’t savor this musical complexity, as not even two seconds into the song, the moshing resumed. In the mayhem, the mic even fell into the audience. The young DC-raised Ian Mackaye seized on this opportunity, yelling “New York Sucks,” starting a small fight.
The band’s final track was “Let’s Start a War,” which seemed like a good reflection on what they were doing in the studio. Unfortunately for FEAR, they did not have the chance to finish this performance. In fact, they didn’t even get 15 seconds in. From stage right, a man entered holding a massive pumpkin. Lumbering across the stage, he then chucked it directly at producer Dick Ebersol’s chest. In a panic, SNL cut to dead air for the first time in its history. After some hesitation, the broadcast resumed with a pre-recorded Eddie Murphy skit. As audiences watched on, cops chased the 40 punks out of the studio, restoring order to 30 Rock. Needless to say, Lorne Michaels never invited FEAR back to SNL.
Queen (9/25/1982)
SNL’s eighth season began with a performance by one of the biggest legends in rock: Queen. With SNL alum Chevy Chase hosting, the band joined to perform two songs from their 80s discography. This should have been an easy slam dunk: iconic host, equally iconic band, how could it go wrong? The issue came with Queen’s touring schedule. The SNL premiere came on the back of a 27-city US tour. The band were all exhausted, and Freddy Mercury’s booming voice was shot. Queen, however, were never a band to shy away from a challenge, and persevered. Playing sped up, more rock-edged versions of their tracks, they stunned the audience.
The first track they performed was #1 hit “Crazy Little Thing Called Love.” This performance was a much more beefed-up rock version of the hit. It began with Mercury front-and-center, surprisingly playing the acoustic guitar. Maybe it was because of his vocal limitations, or the need for the song’s iconic riff, Mercury ditched the keyboard for the guitar. Once the song started, honky tonk pianos and a jazzy electric guitar riff from Brian May joined in. Listening to the performance, you couldn’t even tell Mercury’s voice was all but destroyed from a month of touring. To close out the track, May laid down a legendary extended electric guitar solo.
Later in the episode, Queen returned to the stage to perform “Under Pressure.” Although their latest album Hot Space was a commercial disappointment, its lead single – a debut with David Bowie – was an instant classic. Prior to Mercury’s passing in 1991, “Under Pressure” was a sole Queen live track – with or without Bowie. Beginning with the song’s iconic bassline, everything started according to plan. However, when Mercury’s vocals begin, his exhaustion was much more noticeable. There was no way he would be able to hit the song’s rising vocal lines. As a result, he had to alter the melodies, allowing his more limited register to boom through the studio. Throughout the song, he confidently strutted across the stage in a leather jacket. It was clear that his voice didn’t phase him in the slightest.
This performance marks a sad moment in music history. SNL was the final performance the band ever played in the US prior to Mercury’s passing from AIDS 9 years later. Even though it was their final American show, and the band were clearly not at their highest, it was a clear show of force. They may have been exhausted and had no voice, but their musical prowess and stage presence made all of that unimportant. Watching the performance, there is no question why Queen was one of the greatest bands to ever do it.
The Replacements (1/18/1986)
Yet another punk band banned from SNL for disorderly behavior – I guess third times a charm. This story, much like Elvis Costello, began with a last-minute fill in by Lorne Michaels. Originally, SNL booked the Pointer Sisters to perform on a Harry Dean Stanton hosted episode. However, when they canceled, Lorne Michaels called in Minnesota-based alternative band The Replacements.
Riding on the success of their major label debut Tim, the Replacements’ SNL performance was a medium to prove themselves on a live stage. What better way to prepare for such a momentous occasion than partying like there’s no tomorrow. Leading up to the performance, the band made a day of binge-drinking with Harry Dean Stanton. And did they drink…and drink…and drink. When it came time to go up on stage, guitarist Bob Stinson tripped and fell, smashing his guitar.
Once a replacement guitar was given to the Replacements, they took the stage for their first song. From the first second of “Bastards of Young,” it was clear something was off. It seemed like each band member was playing in a different key. In other words, their drinking had caught up to them and the performance was a mess. Clearly, the band was already at odds with Lorne Michaels, poking fun at him during the performance. As Paul Westerberg sang, “The ones who love us least are the ones we’ll die to please,” he gave a big exaggerated wink right in Michaels’ direction.
The real trouble came right after this. Westerberg was worried that Stinson was so intoxicated that he would miss his cue for the song’s guitar solo. Taking action into his own hands, Westerberg yelled, “Come on f*cker” to cue Stinson himself. Michaels was furious, fearing backlash from network censors for this use of profanity.
Michaels, however, did let the Replacements take the stage for another song. When the band reemerged, they seemed to have swapped outfits with each other for some reason. Maybe it was the outfit change, or the extra time to sober up, but their performance of “Kiss Me on the Bus” was much more composed. The band played together, in tune, and in key. When the moment of truth came for Stinson to play his solo, he was even able to do so without any swearing needed.
This cleanup job was not enough to quell Michael’s anger however. By the time the Replacements left the stage, Michaels had banned them. For the third time in SNL’s history, a punk act’s hijinx had gotten them banned from the show. Singer Paul Westerberg, however, was allowed to return to the show seven years later as a solo act. During this performance, he even played a Replacements track – “Can’t Hardly Wait.” The band’s next performance at 30 Rock wasn’t until a 2014 appearance on Jimmy Fallon – a whopping 32 years later.
Phillip Glass (3/22/1986)
Who screams SNL musical guest more than pianist and experimental composer Phillip Glass? If you thought literally anybody else, you’d most likely be correct. However, for one special episode of SNL, Glass performed and soundtracked the whole night. This decision, while odd at first glance, makes much more sense in the greater context of the unique episode it soundtracked.
On March 22nd, 1986, filmmaker Francis Ford Coppola hosted alongside comedian George Wendt. This episode, unlike SNL’s normal skit-based format, this night had an overarching narrative arc. It followed Coppola in his quest for an Emmy award. To do this, he directed the entire episode, repeatedly misunderstanding and twisting SNL’s concept to make it more artful. This vision was put on display immediately after the cold open. In place of the show’s fun intro was a moody opening credits sequence. Glass’s track “Facades” from Glassworks substituted the usual upbeat jazz theme.
After this, the show’s skits doubled down on its concept. First came Wendt’s monologue, which Coppola repeatedly interrupted hoping to capture the perfect take. To add onto this, he even told the audience how they should laugh in response. Following the monologue was a number of experimental, esoteric, and realist sketches tackling everything from Vietnam to The Honeymooners. Coppola even recorded a number of satirical commercials to make sure every aspect of the broadcast was up to his standards.
Throughout this experiment in television broadcasting, Coppola invited the Phillip Glass Ensemble to perform twice. The first of these was “Lightning” from Glass’s 1986 album Songs from Liquid Days. This track was unlike anything 30 Rock had witnessed previously. In Glass’s normal fashion, repetitive whirling percussion and winds propelled the song forward. Minor-key keyboard stabs supplemented this, creating an almost alien atmosphere. At the center of the piece was Janis Pendarvis’ beautiful operatic vocals, performing lyrics by Suzanne Vega. This track marked one of the most accessible moments in Glass’s discography, while remaining musically complex.
Glass’s second performance was “Rubric,” an excerpt from his 1982 classical opus Glassworks. This track was much more abstract than its predecessor. Keyboard and woodwind arpeggios drove the song forward. This song was much more emblematic of Glass’s discography, being a repetitive, deeply-minimalist composition. As it went on, it grew more and more lush, adding operatic vocals on top of the mix. As the ensemble performed, clips from the experimental documentary Koyaanisqatsi overlaid the show. The excerpts, featuring nighttime timelapses of a city, only added to the monumental aura of the performance.
Due to the unorthodox one-off nature of this episode, it is unlikely that 30 Rock will witness anything else like it again. It really is too bad, as the Phillip Glass Ensemble’s appearance was one for the ages. Equal parts experimental and approachable, minimalist and lush, the performance bent the rules of what an SNL performance could really entail.
Elvis Costello (3/25/1989)
So far, Lorne Michaels has not shied away from banning anyone he disagreed with. Play a song he didn’t like – banned. Said a naughty word on air – really banned. However, on March 25th, 1989, Michaels felt in a much more forgiving mood. After a 12 year ban, SNL invited back New Wave icon Elvis Costello for a solo performance. 12 years prior, Elvis Costello and the Attractions received a “lifetime” ban for going off script. Instead of playing “Less than Zero” like planned, Costello switched into a rendition of “Radio, Radio,” which angered Michaels beyond belief. Now a solo artist, Costello returned to support his hit album Spike, playing two new songs.
In the leadup to Costello’s first song, host Mary Tyler Moore made one of the strangest performance announcements in the history of SNL. Continuing a streak of raunchy language, she told the audience “Elvis Costello’s penis is here tonight, so stick around, we’ll be right back.” After that strange introduction, Costello took the stage to perform top-20 hit “Veronica.” Co-written by Paul McCartney, the song was an upbeat pop-rock number, lacking Costello’s punk edge that got him in hot water during his first appearance. Picking up an acoustic guitar, Costello led the band, singing about a woman slowly losing her memories with old age. Despite the sad lyrics of the song, you would have no idea based on Costello’s lively energy.
Following this, Costello returned to perform “Let Him Dangle.” This track is noticeably more solemn than his opener, discussing a man preparing for the gallows. The mostly acoustic track provided a comedown from the frenetic energy of “Veronica.” Despite the more serious nature of Costello’s tracks that night, he managed to stay in Michaels’ good graces. All it took was Costello staying on script. This forgiveness appears to have lasted, with Costello making two additional guest appearances throughout the 1990s.
On top of this performance, the episode was also notable for its sketches. Following Costello’s second song, SNL debuted a new sketch. Featuring Mike Myers and Dana Carvey, it introduced the world to the Wayne’s World public access television show. The charming sketch, featuring the two loveable music nerds in Wayne’s basement, quickly became a fan-favorite. Within just four years, it became a recurring sketch, spawned two movies, and got an entire generation saying “Wayne’s World, Wayne’s World. Party time! Excellent!” This one unassuming episode not only mended SNL’s past conflicts, but also paved the way to its future.
Tom Petty (5/20/1989)
In 1989, Tom Petty arrived at 30 Rock for his third appearance on SNL. This episode, hosted by Steve Martin, however, marked Petty’s first time without the Heartbreakers backing band. His solo SNL debut was also preceded by tragedy. That night, SNL original cast member Gilda Radner passed away following a battle with ovarian cancer. In response, Petty made his performance a tribute to the legendary comedian
Petty’s first song was “Runnin’ Down a Dream.” Starting with its iconic descending riff, the song quickly jumped into an upbeat rock groove.With chugging guitars and Petty’s soft vocals, the song lilted along for a really fun two minute stretch. After this, the song erupted into a fiery guitar solo from Mike Campbell to close it out. With this amped up shredding over his usual heartland rock, Petty entered his solo career with a bang.
Prior to the episode, Petty had planned to play his hit “I Won’t Back Down,” to close his set. However, as Saturday approached, he felt it did not fit the mood of the night. Instead, he opted to play a yet-unreleased track off his new album Full Moon Fever. This track was the future megahit “Free Fallin’.” Originally, his label was unconvinced, wanting him to play his tried and tested current hit. In response, Petty told them that “Free Fallin’” was actually the late Radner’s favorite song, so they relented.
This SNL episode marked the first live performance of what many consider Petty’s signature song. Unlike the album cut, this live performance featured much more lush instrumentation, mirroring a wall of sound. In place of acoustic guitar is an immensely reverberated electric one. With synth strings, piano, and reverb vocals, the song echoed like Petty was performing in a cathedral. Aiding in this feeling were the Renaissance paintings surrounding the band on stage. To end this beautiful performance, Petty decided to make things a little awkward. As the song ended, he went to hug Howie Epstein who did not seem interested. So, they both just buffered in place awkwardly until the camera faded.
In this performance, Petty took a somber occasion and made it a celebration of life. In doing so, he not only introduced audiences to his new hit, but also his new path forward as a solo artist. Following this performance, Petty returned to 30 Rock a whopping five times as a musical guest.
Neil Young (9/30/1989)
To close out the 1980s, Lorne Michaels finally caught his white whale. For the past 10 years, SNL attempted to nab Neil Young as a musical guest. The first time they tried, SNL ended up stuck with weirdo new wavers Devo. Finally, the folk legend was in the building to perform a three song set.
At the time of this performance, Young was far from young. At the ripe age of 43, Young was still at the top of his game. When he entered 30 Rock, he sported an Elvis t-shirt, leather jacket, patched up jeans, and maple leafs gears. This outfit was equal parts cool and puzzling, but one thing for sure was that it was 100% Neil Young. In his three decades performing, Young had built up a routine for putting on amazing live shows, saving the upbeat rockers for last. After hours of building up adrenaline and intensity, he would rip out fiery guitar solos like they were nothing. For SNL he had to reach this intensity level instantly. To do this, he took up an intense training regimen, including weightlifting and calisthenics. This training paid off, as Young went on to unleash one of if not the greatest SNL performance ever.
Young’s first song was his newest hit “Rockin’ in the Free World” from 1989’s Freedom. The track kicked off with its iconic chugging guitar riff imbued with fiery distortion. As Young’s lyrics entered, they only added to the sonic intensity. The lyrics initially seem patriotic, referencing the “colors on the street, red, white, and blue.” As the song continued, Young’s lyrics transformed into an indictment of HW Bush-era America as fiery as its guitar tone. With lyrics attacking everything from drug addiction, pollution, and gun violence, the song was a scathing criticism of the US. As the song continued, Young stomped and headbanged across the stage, before erupting into a legendary guitar solo. While firing out metallic guitar bends, Young jumped on the drum kit and crashed into his bandmates. Apparently, Young’s training regimen worked, with the performance having the intensity of a grunge concert.
Following this incendiary performance, Young returned with a much more somber song. The solo acoustic rendition of “The Needle and the Damage Done” worked as a much needed comedown from the explosive energy of Young’s opener. Upon retaking the stage, Young received immediate applause. The song’s lyrics tackled the issues of heroin addiction and the overdose of Young’s Crazy Horse bandmate Danny Whitten in 1972. Following applause throughout the song, Young swapped out his acoustic guitar for an electric one to begin “No More.”
As Young swapped out his gear, his band rejoined him on stage for this last piece. Young originally wrote this track as a spiritual successor to “The Needle and the Damage Done,” and it continued many of its themes. Throughout the song, Young sang of the difficulty to kick drug addiction, accompanied by bluesy solos. Compared to “Rockin’ in the Free World,” the song was much more mellow, finding a comfortable middle ground with the rest of the set. When Young reached the repeated chorus of “no more,” harsh guitar stabs amped up the track. By the time the track ended, Young made all of Lorne Michaels’s greatest wishes come true. He had finally caught his white whale, and Young’s performance was well worth the decade-long wait.
