NYS Music 2024

Category: Show Reviews

  • Pitbull brings the “Party After Dark” Tour to the Mohegan Sun Arena

    After multiple shows in New York during the summer/fall leg of the “Party After Dark” Tour, Pitbull brought the tour north to the Mohegan Sun Arena in Connecticut. The sold-out crowd had options to see Pitbull at five locations during the summer and fall legs before he looped back around ahead of a European leg. Unlike the summer, special guest T-Pain did not come for this show leaving Pitbull the lone performer for the evening.

    Before Pitbull graced the stage, one of his DJs hyped the crowd up by playing music and getting the fans in the right mood. With the DJ on stage, there was a rush of fans trying to get inside for “Mr. 305.” The entire audience contained people of all ages. Whether it was people in their 60s or little kids, Pitbull had a diverse audience spanning a generation or two.

    Once Pitbull hopped on stage and began “Don’t Stop the Party,” off of 2012’s Global Warming: Meltdown, the dance party inside the casino arena started. For an hour and a half, Pitbull delivered hit after hit leaving the audience wowed and out of breath. When Pitbull ran on stage in the dark, from the back of the arena you could see a sea of phones leading to the barricade. The last time he was in the general area was Sept. 13 in Hartford and Sept. 12 on Long Island. Even if it was three short months, the excitement was in the air.

    The Mohegan Sun Arena is home to the Connecticut Sun. So the lower bowl seats are pulled out on metal stands. Throughout the night, fans danced with each other or by themselves. They also jumped to the music, the stands swayed back and forth. Like the lower bowl, the upper deck was also having a party. They did not sit down for one second during the show.

    During each song, the screens off to the sides and behind Pitbull and his seven-piece backing band and six backup dancers showed the audience. Each concertgoer had the same surprised and happy look on their faces. They were singing along and dancing to each show and you could just see the raw and pure joy on their faces throughout the night.

    Throughout the show, Pitbull and his dancers would run off stage after certain songs to change into different stage clothes. This led to Pitbull’s on-stage DJ playing music to keep the good energy alive. Whether it was Aerosmith & Run DMC’s “Walk This Way,” or Bell Biv DeVoe’s “Poison,” the DJ did a great job at not letting the show come to a screeching halt.

    When Pitbull and the dancers returned, they all had corresponding colors. Pitbull looked as snazzy as ever in his black, white, and red suit jacks. He dawned a charming smile each time a new color was debuted. His amazingly gorgeous dancers also had matching colors as they strutted around the stage for the entire 90 minutes. Pitbull was able to cleverly play off the dancers and vice versa to create a cheeky yet mesmerizing show.

    It’s impressive that Pitbull has a backing band behind him. Sometimes popstars and rappers do not carry any other on-stage personnel with them. But the previously mentioned seven-piece band was spectacular. There was guitar, bass, saxophone, drums, keyboards and percussion that all created a beautiful live wall of sound behind Pitbull. Having a band play live enhanced the pop sound that Pitbull has polished off so well. It adds another complex but necessary layer to the live performance.

    It was great to see Pitbull give a nod to other artists. Covering others’ tunes was his way of acknowledging their impact on him. Pitbull rapped a beautiful and clever version of Elic Crespo’s “Suavemente” which had the fans dancing all over the arena. He also included a cover of “Gasolina” by Daddy Yankee in his set. Hearing the familiar intro had fans looking at each as to say “I know this one.” It was great to hear Pitbull’s rendition of people’s favorite tracks.

    In between each song, Pitbull would give some advice to the audience and give them a pep talk while also thanking them for coming out to the show. At one point, he talked about how his one teacher, Hope Martinez had changed his life. He then told the sold-out crowd that he had built 12 schools nationwide as part of the S.L.A.M! program. S.L.A.M stands for “Sports Leadership, Arts & Management.” Those schools are “non-profit educational organization supporting the expansion of K-12 tuition-free, public charter schools in underrepresented communities nationwide.”

    Upon hearing this, the crowd roared in approval. It’s hard to imagine what The Beatles at Shea Stadium sounded like back in the 60s. Or, if you’ve never been to a Taylor Swift “Eras” Tour show, you might not be able to imagine what a roaring audience sounds like. A close third is any Pitbull show. He had the audience in a frenzy at the start of each song and at the end of the night.

    At the tail end of the show, the setlist got swapped around slightly. Instead of ending on “ Give Me Everything” off of 2011’s Planet Pit, he ended on the smash hit “Fireball” off of 2014’s Globalization. The quick change in songs at the end of a great subtle switch flowed nicely into the end of the show. When fans left the area, they all had smiles around.

    Pitbull is an entertainer that can easily fill up any arena, theater, or amphitheater. His hard work, drive and dedication for a great show spills out into the audience. It leaves the crowd with a lasting impression. The entire show is perfectly choreographed and the musicianship just doesn’t stop at “Mr. Worldwide.” He also surrounds himself with the best dancers and band to make sure that the show is as best as humanly possible. Seeing Pitbull live is an experience that everyone must do once in their life. Do yourself a favor and see him as soon as possible, you’ll witness one of the best and most pure entertainers on the road.

    Pitbull setlist: Don’t Stop the Party, Hotel Room Service, International Love/Bounce Generation Sweet Child o’ Mine/Rain Over Me (Guns N’ Roses cover), Whoop! (There It Is) (Tag Team cover), I Feel Good, Suavemente (Elvis Crespo cover), The Anthem, Gasolina (Daddy Yankee cover), Culo, I Know You Want Me (Calle Ocho), On the Floor/I Like It/DJ Got Us Fallin’ in Love, Timber, Time of Our Lives, Give Me Everything, Fireball.

  • In Focus: Phish Return to Madison Square Garden

    Phish kicked off their annual New Years Run at Madison Square Garden, the band’s 16th overall at the ‘World’s Most Famous Venue’ and a feather in the cap of a band who have had a remarkable 2024. 

    With shows at Sphere in Las Vegas and a stellar summer tour culminating at Mondegreen festival in Delaware (plus 4-night Mexico and Dicks runs) the foursome from Vermont have much to live up to at MSG, where the most recent performance by the band last New Year’s Eve featured a two-set stage production of the band’s Gamehendge rock opera, the holiest of Phish grails. 

    So while the bar is set high – let’s face it, Phish fans eternally set the bar high for the band – and the band doesn’t always reach that bar. It would be impossible to do so, but they gave it the ol’ college try on Saturday, December 28. 

    The show opening “Simple” would end up being the longest jam of the night, clocking in at 13 minutes, and when that’s the case, there’s a lack of flow that follows. “Free” followed and had some meat to it, but gave way to a sedate “Farmhouse”. Throw in “Poor Heart” and “Tube” plus a rare “Driver,” and the crowd was content to fall into a well placed first set “Reba,” with a beauty of a bliss jam within. A late first set “Oblivion” thankfully did not jam out for a change, and instead gave way to “Antelope” to close, as it so often has at the Garden.

    Set two looked to get things started with “Back on the Train,” and while things were headed in the right direction, “Axilla (Part 2)” limped out of the gate, with Anastasio being a bit ahead of the band. The song struggled until the outro, which worked its way nicely into “A Wave of Hope,” a jam to enjoyably get lost in. “Round Room” – which let’s be honest, needed a little more practice – was performed for only the seventh time ever, and first since 2016, yet an apropos song for Madison Square Garden. 

    Just as the excitement over “Round Room” died down, “I Always Wanted it This Way” (aka, Page EDM) took over mid-set, and after that, the rest of the set played out with a standard “Twist,” a pleasant “Mango Song”, “Blaze On”, “Cavern” and to close things out, “David Bowie.” 

    For the encore, “Mountains in the Mist” to start meant a multiple song encore was in the works, but the bar was set high when you’ve seen “Mountains” at Sphere. “Fuck Your Face” followed and random, but possibly influenced by a recent tech CEO tweet. “46 Days” to close was on par with much of the show – fun and energetic, but nothing incredible to write home about. 

    Phish fans have three more nights left in 2024, including the 25th anniversary of Big Cypress to celebrate. What does Phish have in store to close out 2024? Stay tuned!

    Setlist via Phish.net

    Set 1: Simple, Free, Farmhouse, Poor Heart, Tube, Kill Devil Falls, Driver, Reba[1], Oblivion > Run Like an Antelope

    Set 2: Back on the Train, Axilla (Part II) > A Wave of Hope > Round Room, I Always Wanted It This Way > Twist > The Mango Song > Blaze On > Cavern > David Bowie

    Encore: Mountains in the Mist, Fuck Your Face > 46 Days

    [1] No whistling.

    Reba did not contain the whistling ending. 

    Round Room was played for the first time since June 22, 2016 (322 shows)

    Photos by Taylor Weinberg

  • The Phish Before The Storm: December 30, 1995 at MSG

    Nineteen ninety-five was as formative and important a year for Phish as they come. So, it should come as no surprise that it ended at Madison Square Garden, a venue the band today calls “home.” However, the New Year’s run for 1995 would mark only the second and third times Phish ever played MSG. Even though New Year’s Eve ’95 may get all the “glory,” it’s lead-in from the night before has a lot to offer as well.

    The show began with the relatively new “Prince Caspian,” from then yet to be Billy Breathes album. It’s a relatively quick and nondescript version. But immediately at its conclusion, some familiar feedback ensues, the signature drum beat kicks in and Phish is off and running with a rare first set, “Also Sprach Zarathustra,” or simply “2001” as it’s commonly referred to today. Phish packs a decent punch in this arena rocker that certainly is a short version when compared to contemporary ones. Yet again, the next song begins before “2001” can even finish. This time it’s “Suzy Greenberg” with Page McConnell leading the way on piano, completing a unique opening trifecta.

    Phish MSG

    Another quick, familiar-sounding feedback jam slows things down a bit before Phish takes off again. This time it’s fueled by Jon Fishman’s signature drum intro to “David Bowie.” This gives the band their first real opportunity to explore the New Year’s space at MSG, and they do just that. A patiently crafted jam is accentuated with some brilliant Anastasio-provided guitar licks, which grow slowly in ferocity. This yields a hearty response of approval from the crowd as the first real jam of the night.

    The first set also features a “Kung” sandwich, with the opening and closing sections of “It’s Ice,” ably serving as the bread. There’s even a nod to Gamehendge, courtesy of the ensuing “The Man Who Stepped Into Yesterday” sequence, with the Mike Gordon-led “Avenu Malkenu,” placed right in the middle per usual. Emotions then come to a peak in the first set with an absolutely rousing “Divided Sky” that features a noticeably long “pause.” A quick romp through “Sample In A Jar” brings a first set that seemed to pull a little bit of everything from the band’s mid-90s repertoire.

    Phish MSG

    Native New Yorker, Mike Stone, got to make the chess move, on behalf of the audience prior to the start of the second set. This was the second of two chess matches between the band and their fans in 1995. These wound up being split. And for those unaware, the rematch looms.

    While the second set doesn’t offer up as much in the way of rarities as the first, it more than makes up for it in execution. “Ya Mar” opens the second stanza and includes a perfectly placed “Auld Lang Syne” tease from Trey. Another fairly new song still finding its legs in “Free” follows this. But the highlight of the set, and possibly the show, is the triumphant “Harry Hood” that comes next and builds to an incredibly emotional peak. When this is paired with a thunderous “AC/DC Bag,” it creates one of the earlier special Phish moments at MSG.

    “Lifeboy” serves as the well deserved ‘breather’ song after this impressive sequence of music. But that’s the last of its kind for this show. “Scent Of A Mule” sees a particularly drawn out “Mule Duel” between Trey and Page before its maniacal klezmer-esque finish. And the set ends in fine fashion with a double closer of sorts. A standard take on the Picture of Nectar classic “Cavern” begets an absolute whirlwind of a “Run Like An Antelope” and the typical musical chaos that comes with it.

    For an encore, Phish trotted out “A Day In The Life,” a Beatles cover that was also new to 1995. This would be the only non-instrumental cover of the evening. An impressive performance of nearly all originals, both new and old, defined the second ever Phish show at MSG. And it certainly laid the groundwork for what would be the third time’s “charm” the following evening.

    Phish MSG New York, NY 12/30/95

    Set 1: Prince Caspian > Also Sprach Zarathustra > Suzy Greenberg > David Bowie, Simple > It’s Ice -> Kung -> It’s Ice > The Man Who Stepped Into Yesterday > Avenu Malkenu > The Man Who Stepped Into Yesterday > Divided Sky, Sample In A Jar

    Set 2: Ya Mar, Free > Harry Hood > AC/DC Bag > Lifeboy, Scent Of A Mule > Cavern > Run Like An Antelope

    E: A Day In The Life

  • The Black Crowes Close Tour with Spectacular Show at The Capitol Theatre

    Days before the holidays, The Black Crowes brought their Happiness Bastards (The Reprise) tour to the legendary Capitol Theatre in Port Chester. The band held the second North American leg of the tour in support of their newest record, Happiness Bastards after Aerosmith canceled their own farewell tour.

    While the band was out on the road, it was also announced that their previously mentioned record was nominated for a Grammy award. After a thrilling first night of music at The Capitol Theatre, the Black Crowes rode a massive high into night two.

    Just like night one (Saturday, December 21! the low temperature kept most famous from camping outside and waiting for the doors to open. By the time the 6:30 p.m. door time did arrive, there were only about 15-20 people in line. Before the opening act, George Porter Jr. & Runnin’ Pardners, “the cap” filled up in the blink of an eye. Fans quickly flocked inside from their cars once the doors opened. If you walked in, you might have thought The Black Crowes were immediately going on stage. That’s how many people were packed inside.

    By 8 p.m. the legendary George Porter Jr. walked on stage to begin his 45-minute set. Joining Porter Jr. was Michael Lemmler on keyboards and vocals, Chris Adkins on guitar and vocals and Terrence Houston on drums. The band played at most five or six songs that were infused with funk and jam.

    In comparison to last night’s setlist, there was more of a jump in their songs. These tunes got the crowd dancing more. At one point in between songs, Porter Jr. dedicated a tune to a friend of his that recently passed. Halfway through the band’s set, The Black Crowes guitarist, Nico Bereciartua watched from the side to witness the legend.

    Throughout the night, the band’s anchor, Houston was spectacular on the drums. It’s special when fans witness a drummer in a groove. No one could stop Houston, he brought his A-game with him. It’s easy to see why he calls himself the “groove guardian.” He has a great feel for the drums and for each song.

    The stagehands were also at the top of their game. They quickly swapped out George Porter Jr. & Runnin’ Pardners’ gear and got prepared for The Black Crowes. It wasn’t long until AC/DC’s “It’s a Long Way to the Top (If You Wanna Rock ’n’ Roll)” blasted at top volume across the PA system. In an instant, the house light flashed on and The Black Crowes started their 19-song set. The first tune played was the trilling “Bedside Manners” off Happiness Bastards.

    The Capitol Theatre is a legendary venue and massive names have played there. It’s only fitting that the band close out their tour by playing a setlist perfectly balanced with deep cuts and fan favorites. In between favorites and rarities, the group sprinkled in a few new tunes for the Port Chester audience. It’s great when a band acknowledges their newest record instead of completely ignoring it. It didn’t take long for the band to jump into deep cuts as they played into “Exit.” This rarity only appears on their 2010 live record, Wiser For The Time.

    The band features the two Robinson brothers, lead singer Chris Robinson and guitarist Rich Robinson. Joining them are Bereciartua on guitar, Sven Pipien on bass, Cully Symington on drums, and Erik Deutsch on keyboards. Rounding out the band were the amazingly talented Lesley Grant and Mackenzie Adams on background vocals. The dazzling singers’ dresses were made to look like Christmas trees. The dresses played great with Chris Robinson’s red suit, which put everyone in the holiday mood.

    Throughout the night, Chris Robinson ran around the entire stage and did not leave one corner unlooked. On the other hand, his brother stuck to his side of the stage and offered a warm yet shy smile. It wasn’t until one of the last songs of the night that Rich Robinson crossed the invisible line to the middle of the stage to sing with Chris Robinson.

    As the group crisscrossed through their discography, during “My Morning Song,” Chris Robinson showcased just how spectacular his voice is. He belted out bone-chilling lyrics that also included beautiful live harmonizations from Grant and Adams. “My Morning Song” was one of, if not the best song performed all night.

    During each solo, Bereciartua looked calm and collected on his side of the stage. Each solo was played with emotion and each note was played with a purpose. Bereciartua and Rich Robinson have a strong bond that goes way back to Rich Robinson’s solo group post-Black Crowes split up. It was great to see Rich Robinson look over to Bereciartua and offer a smile or a nod.

    With such a diverse discography, The Black Crowes covered a ton of eras in the two-hour span. At one point they got to “Thorn in My Pride” which appears off their Southern Harmony And Musical Companion record. The song was extended as Rich Robinson and Chris Robinson were going back and forth with each other to create a musical powerhouse. Chris Robinson would babble something into the mic which Rich Robinson would then inmate through a guitar riff. The Robinsons continued to play musical follow the leader. Only this time Chris Robinson swapped to a harmonia to carry the tune over the finish line.

    Despite this being the last show of the tour, the band remained in high spirits throughout. During their rendition of “Jealous Again,” Chris Robinson blew a kiss to his wife, Camille Robinson, who was sitting in the upper balcony. During the chorus, you could feel the fans in the general admission section jumping in unison to the beat. Their singing was even more deafening than the amp setups behind the band.

    As a little surprise, The Black Crowes gave a two-song encore instead of their usual one-song encore. But before they played a note, Chris Robinson publicly thanked all the members of the crew and the behind-the-scenes folks who make their rock and roll train run. It was an extremely classy move by “The Crowes” frontman. The band closed out their tour by playing the festive “Run Run Rudolph” before taking their final bows of the night.

    The next time that The Black Crowes run through New York, you have to go see them. Their drive to put on good shows is palpable and they feed off the energy from their loyal fans. The Robinson brothers have done an excellent job at keeping the rock and roll fire going in their historic career. Do yourself a favor and see one of the best rock bands still touring, they’ll leave you with unforgettable memories.

    George Porter Jr. & Runnin’ Pardners setlist: Out The Box, Stretch Your Rubberband, All We Wanna Do (Porter Batiste Stolz cover), Cabbage Alley, No More Okey Doke, They Love Each Other (Jerry Garcia cover), Ain’t No Use

    The Black Crowes’ setlist: Bedside Manners, Rats and Clowns, Think n’ Thin, Go Tell The Congregation, Exit, Rocks Off (The Rolling Stones cover), My Morning Song, Seeing Things, Hard to Handle (Otis Redding cover), Soul Singing, Oh! Sweet Nuthin’ (The Velvet Underground cover), Thorn in My Pride, Flesh Wound, Papa Was a Rollin’ Stone (The Undisputed Truth cover), Wilted Rose, Jealous Again, Remedy, Torn and Frayed (The Rolling Stones cover), Run Run Rudolph (Chuck Berry cover)

  • Flashback: Marky Ramone Brings Holiday Blitzkrieg To Gramercy Theatre

    On December 20, 2019, Marky Ramone brought his Holiday Blitzkrieg show to Gramercy Theatre in New York City.  Marky was the drummer for The Ramones for 15 years after replacing Tommy Ramone in 1978. He played on nine of the band’s 15 albums and was inducted into the Rock & Roll Hall of Fame in 2002.

    The group (Marky on drums, Pela on lead vocals, Martin Blitz on bass and Marcelo Gallo on guitar) played more than 30 Ramones hits including “Do you Wanna Dance,” “53rd and 3rd,” “Beat on the Brat” and of course “Blitzkrieg Bop.” They also played covers that The Ramones made popular to punk culture including Creedence Clearwater Revival’s “Have you Ever Seen the Rain” and Louis Armstrong’s “What a Wonderful World.”

    Punk Rock started in New York City in the 1970s, and it remains very clear that these songs are timeless judging by the crowd getting revved up. Bodies were slamming into each other relentlessly from the start of the first song until the very end of the show. Although the songs are over 40 years old, the music is still very much alive and continues to attract new fans from the younger generation.

    Unfortunately this years show could’t happen due to COVID-19 but hopefully it will return in 2021

    Marky Ramone’s Holiday Blitzkrieg, Gramercy Theatre, NY, NY 12/20/19

    Setlist: Do You Wanna Dance, Teenage Lobotomy, Rockaway Beach, I Don’t Care, Sheena Is A Punk Rocker, Havana Affair, Commando, I Wanna Be Your Boyfriend, Beat On The Brat, 53rd and 3rd, Now I Wanna Sniff Some Glue, Gimme Gimme Shock Treatment, Rock N Roll High School, Oh Oh I Love Her So, Let’s Dance, Surfin Bird, Judy Is A Punk, I Believe In Miracles, The KKK Took My Baby Away, Pet Sematary, Chinese Rocks, I Wanna Be Sedated, Do You Remember Rock N Roll Radio?, I Just Want To Have Something To Do, Needles And Pins, Loudmouth, Pinhead, Happy Birthday To You, Palisades Park, Glad To See You, Cretin Hop, Have You Ever Seen The Rain, Don’t Come Close, I Can’t Make It On Time, Life’s A Gas, She’s The One, Spider Man, Anxiety

    Encore: R.A.M.O.N.E.S., What A Wonderful World, Merry Christmas (I Don’t Want To Fight Tonight), Blitzkrieg Bop

    Marky Ramone
    Marky Ramone
    Marky Ramone
    Marky Ramone
    Marky Ramone
    Marky Ramone
    Marky Ramone
    Marky Ramone
    Marky Ramone
    Marky Ramone
    Marky Ramone
    Marky Ramone

  • Jazz at Lincoln Center Orchestra Turns Holiday Standards on Their Head

    On Thursday. December 19, the Jazz at Lincoln Center Orchestra did what they do best – they tossed common musical conventions to the wind while elevating songs to a new level.  

    Photo Credit: Aidan Lukomnik

    The Jazz at Lincoln Center Orchestra, just back from a two-week tour around the U.S., was welcomed to their Big Band Holidays performance with a rousing round of applause. Standing on their home stage of Rose Theater, the Orchestra played ten songs from a catalog of more than thirty holiday standards ranging from religious to anti-holiday. But these weren’t your normal holiday songs. 

    “You might have heard Frosty the Snowman before, but you’ve never heard it like this,” Musical Director and Trombone player Christopher Crenshaw said. That was the theme that prevailed throughout the show: you ain’t heard it this way before. Across an hour and a half of music, standard holiday compositions were eschewed for new ways to play, throwing each song into a new context and making the audience consider their perception of just what a holiday song sounds like. 

    Christopher Crenshaw at Rose Hall, Photo Credit: Aidan Lukomnik

    Starting with two classics, the band played a sped-up and swung version of “Here Comes Santa Claus” and then transitioned into an extremely melancholic version of “Dreidel, Dreidel, Dreidel.” The first act was spiced up by Robbie Lee singing the anti-holiday song “Blue Xmas (To Whom it May Concern)” and “Merry Christmas Baby.” Lee’s vocal intonation was incredible – moving from a gravelly embodiment of the Grinch in “Blue Xmas” to clear and pure desire in “Merry Christmas Baby.” 

    However, the pinnacle of the first set was Sherman Irby’s solo in the “Merry Christmas Baby.” His saxophone transported audience members and, it seemed, members of the orchestra from a 1,200+ person venue to a dark and smoky jazz club inches from the stage. For the length of the solo, no one took a breath, and for a moment, all there was in the world was his music. It was a Blues solo at its finest.    

    Sherman Irby, Photo Credit: Aidan Lukomnik

    The second set was punctuated by the dulcet vocals of Ekep Nkwelle, who sang a spiritual version of “Mary Had a Baby” and then upended all religious expectations with a downright sexy version of “Santa Claus, Santa Claus.” Nkwelle’s vocals during “Santa Claus, Santa Claus” felt straight out of film noir with desire, danger, and pain clear as day, while Chris Lewis’ solo put an exclamation point on the number.

    As the night came to an end, the hometown crowd responded to the orchestra’s take on holiday classics with their you ain’t heard it this way before swagger, with a standing ovation. 

    Setlist: 

    Set 1: Here Comes Santa Claus> Dreidel, Dreidel, Dreidel>Blue Xmas (to Whom it May Concern) > Merry Christmas Baby > (I’m gettin’) Nuttin’ for Christmas 

    Set 2: Up on the House Top > Mary Had a Baby > Santa Claus, Santa Claus >Blue Christmas > Frosty the Snowman

    The Big Band Holidays show has two more performances at Rose Theater on Saturday the 21st and Sunday the 22nd. 

    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik
    Photo Credit: Aidan Lukomnik

  • A Joyful Holiday with Samara Joy and The McLendon Family

    Samara Joy and The McLendon Family, accompanied by Buffalo’s George Brown and the God’s Purchase Choir, took the stage at UB’s Center of the Arts on December 17. The night was full of smooth jazz and Christmas spirit.

    samara joy

    As the audience were walking into the auditorium, Samara had a slideshow going of some of her family photos, giving the audience an insight into her family and her upbringing.

    Once the audience settled in their seats, the band, composed of Shedrick Mitchell on Piano, Eric Wheeler on bass, and Charles Haynes on drums, came out first and started to play the intro to “Christmas Time is Here,” then Samara came out and began to sing, getting everyone right into the holiday spirit with her jazz rendition of the song.

    samara joy

    After the song, she introduced herself and brought out members of her family to sing a few songs with her. She brought out her father, Antonio McLendon, her uncle, Laurone McLendon, and her cousins Tommy Niblack and Tierra “Lovey” Rowe, and rounding out the crew is Stephy Bloom Samara’s vocal director. She then brought out Buffalo’s George Brown and the God’s Purchase Choir who filled in the riser in the back. With her family and the choir, they perform “O Holy Night” and “Everybody Knows It’s Christmas.” Their renditions of these songs had such a warm gospel feel to them with the full auditorium enjoying every moment.

    samara joy

    The night wasn’t just full of Christmas spirit as Samara and her band sprinkled in other songs including songs “You Stepped Out Of A Dream,” “Peace Of Mind/Dreams Come True” and “Now And Then” from her recently released album Portraits. They also performed renditions of “Reincarnation of A Lovebird” by Mingus, “Chega de Saudade,” also known as “No More Blue”s by Antonio Carlos Jobim, and Billie Holiday’s “Left Alone.”

    Samara Joy, truly has a once in a generation voice. At such a young age of 25, she already has such a seasoned voice. Being able to resemble some of the great jazz artists, such as Ella Fitzgerald and Billie Holiday, and still having her own sound is a true testament to her talent. Throughout the whole performance, from the moment she started singing, her voice automatically just took you on a journey with her all night.

  • Daughtry Brings Holiday Hard Rock Bliss to Toyota Oakdale Theatre

    Hard rock band Daughtry brought their “Adrenaline Gone Ballistic” holiday tour to the Toyota Oakdale Theatre in Wallingford, Connecticut. Sleep Theory and Devour the Day joined Daughtry throughout the 13-date tour.

    The night was every hard rock fan’s dream. They got a great mix of metal, hard rock and pop-metal while witnessing great live stage performances. Daughtry made a triumphant return to the area after touring Breaking Benjamin and Staind in September and October. 

    As fans pilled in from the harsh winter cold, the Memphis, Tennessee-native band Devour the Day hopped on stage. Led by Blake Allison on lead vocals, the band blasted into their first tune of the night, “Respect,” off of their Time & Pressure record. The band’s hungriness was apparent from the start. Devour the Day made sure the crowd felt their impact for the seven songs they played. The quartet was the loudest group of the night. They infused post-grunge, nu metal and hard rock influences all into one band that put together a great performance.

    Joining Allison who is also the drummer for Pop Evil, is Joey “Chicago” Walser on bass guitar, Justin Kier on drums and Stephen Freeman on guitar. The foursome did an excellent job at getting the – at the time small – crowd ready for the next two acts.

    In between Devour the Day and Sleep Theory, there was a brief intermission. But, it wasn’t too long until the houselights dimmed for Sleep Theory. It was fitting that Mariah Carey’s “All I Want For Christmas” was blasted through the speakers sparking holiday cheer. Sleep Theory, also from Memphis, Tennessee, jumped right into the first song of the evening “Fallout,” off of 2023’s Paper Hearts – EP. Sleep Theory’s style of music was very similar to Devour the Day’s. So, the hard rock and metal theme blossomed during their set.

    Lead singer Cullen Moore’s vocals were amazing. Throughout the band’s set, he would walk back and forth on stage and interact with the audience while he belted out the lyrics. There have been few singers who could yell in key. Rob Halford from Judas Priest and Bruce Dickinson are some of the masters. But, Moore was able to be in perfect key while screaming which brought goosebumps to some of the fans.

    Unfortunately, Sleep Theory was extremely backlit and at times it was hard to see them on stage. This forced fans to listen rather than gain the whole experience of the show. Nonetheless, just by listening, you could tell that the band was extremely tight and together as one on stage. Because they were excellent musicians, fans were a lot more receptive to them and cheered loudly after every song. Sometimes middle bands don’t receive such generosity so it was great that they did.

    In addition to Moore, Sleep Theory consists of Daniel Pruitt on guitar, Paolo Vergara on bass, and Ben Pruitt on drums. The quartet put the fans in the right mood for Daughtry and was an excellent middle band.

    By this point, the crowd was in a frenzy for Daughtry and very quickly the band jumped on stage and went straight into “The Reckoning.” For the band’s entire performance, the entire theatre was on their feet and did not sit down for one single minute. There was a buzz in the building for their headline set since the next time the group would be in the area would be on the Creed summer tour in 2025.

    Rounding out Daughtry was Chris Daughtry on lead vocals and guitar, Brian Craddock on guitar, Elvio Fernandes on keys, Marty O’Brien on bass and Jeremy Schaffer on drums

    Like Moore in Sleep Theory, Daughtry’s vocals were amazing and were the best out of the three. For the time that the band was on stage, you could feel his power and strength. Even though he was as serious as can be while singing, in between songs he charmed the crowd. At one point before “Home” he told the audience to “light up anything that lights up… phones… lightsabers are also welcomed.”

    The band kept their stage simple so the audience could focus more on the music. Only a few screens were lit up behind the group with lights draped on the drum riser. It was nice that the band kept their stage simple and did not overwhelm the crowd. Twice during their set, they paid homage to the mighty Led Zeppelin and Journey. During their rendition of “Crashed” there was a snippet of “Kashmir” before they fully jumped into a cover of “Separate Ways (Worlds Apart).”


    The crowd let out a thunderous cheer to some of their favorites. “Home” and “It’s Not Over” received the loudest approval with fans taking out their phones to record the song or their favorite moment. It was great that they even played a handful of tunes from their newest record, Dearly Beloved. Their new material was even received positively by the crowd as if it were already setlist staples

    When the band walked off stage before the encore, you could hear a low roar for them to come back on stage. It originated at the back of the theatre in the rafters before thrusting its way towards the front. Fans got what they wished for. Daughtry played “The Dam,” “Heavy Is the Crown and “Artificial” as the three encore songs before calling it a night.

    When the audience left the building, the buzz was still thriving throughout the crowd. They witnessed a special holiday performance. There aren’t many groups that can put together a short and small holiday tour and knock it out of the park. But, for Daughtry, they delivered one of the best holiday shows in recent memory.

    Devour the Day setlist: Respect, Nobody Owns Me, Good Man, Worse Than Death, Outsider, The Bottom, Empty

    Sleep Theory setlist: Fallout, Enough, Paralyzed, Static, Hourglass, Gone or Staying, Stuck in My Head, Numb, It’s Over, Another Way

    Daughtry setlist: The Reckoning, Changes Are Coming, World on Fire, Crashed, Separate Ways (Worlds Apart), Home, Waiting for Superman, Shock to the System, It’s Not Over, Nervous, Pieces, Over You, The Dam, Heavy Is the Crown, Artificial

  • A Holiday Classic: Darlene Love performs “Christmas (Baby Please Come Home)” on Late Show with David Letterman

    From 1986 until 2014, David Letterman would close out his final show of the year with a Christmas episode that featured the one and only Darlene Love. Over the span of those 28 years, Love would perform her holiday hit “Christmas (Baby Please Come Home),” one of Letterman’s favorites.

    darlene love letterman christmas

    The appearance found its origins after Letterman saw Love perform the song at the Bottom Line, in a show called Leader of the Pack. He immediately had to have her on the show. Love told Variety in 2014:

    He had David [were] down to see the show. [Letterman] said, “You know that song that girl sings? That Christmas song? That’s the greatest Christmas song I’ve ever heard. We need to get her on the show.” That was 1986, and so I’ve been doing it ever since.

    The tradition spanned two networks over nearly three decades, appearing from 1986 until 1993 on Late Night with David Letterman, and later on the Late Show with David Letterman when Letterman joined CBS.

    The song was originally recorded for the 1963 Phil Spector album A Christmas Gift for You, and while Love performed the song on Letterman’s shows, she told the New York Times in 2014 that she will not sing it for any other TV talk-show hosts moving forward.

    For her final performance, the Late Show paid tribute to Darlene Love. Following her brief interview with Dave, the stage filled in with additional musician, including string and horn sections and several backup singers. These singers would not overshadow Love’s powerful voice, and sang her final last verse from the top of Paul Shaffer’s piano, with fake snow falling around her.

    Recently, an animated version of “Christmas (Baby Please Come Home)” has been released through Legacy Recordings. The short video follows a young Black girl as she walks home through a snowy neighborhood, accompanied by a happy snowman. Along the way, she stops to admire a Christmas tree and runs into her dog, who is singing along with a pair of carolers. The girl and her dog arrive home, where they are lovingly greeted by her parents. As the video nears its end, the girl opens up one of her presents to find a snow globe with the smiling snowman inside.

    At the end of the music video, Love posted a message paying tribute to her late sister, Edna Wright Perry, who sang backing vocals on the track.

    Featured on the show prior to Love’s show-stopping performance, Letterman annually welcomed comedian Jay Thomas, to share, as Letterman put it, “the best story I’ve ever heard.” Thomas would then launch into his true story about an encounter with Clayton Moore, the actor famous for playing The Lone Ranger. For 17 years starting in 1992, Thomas would come on the show and deliver the joke, much to Letterman and the audience’s approval. Watch the story unfold over the years.

    After Thomas delivered the punchline, he and Letterman would alternate throwing a football at the meatball on top of the Late Show Christmas tree. To wrap up the show, Darlene Love would come out for “Christmas (Baby Please Come Home)” and send the show into the night.

  • “A Complete Resignation Before Fate” – BCCO Perform Tchaikovsky at Brooklyn Museum

    The Brooklyn Conservatory Community Orchestra (BCCO), led by its Music Director Dorothy Savitch, performed an afternoon of classical music spanning 180 years to a packed Brooklyn Museum Saturday 7th December.

    The performance began with a rendition of the Siegfried Idyll by Richard Wagner, a delicate, soft Symphonic Poem for chamber orchestra. Wagner wrote the piece for his wife and first performed it with 15 musicians as she woke on Christmas morning in 1870, setting the bar absurdly high for those of us who can just about get the sprouts out on time.

    Brooklyn Museum

    The piece is gentle and beautiful, led by strings who never reach higher than a pianissimo whisper. A flute arrives, giving the audience an indulgent start to the weekend. After 20 minutes or so the piece breathes its last breath, coasting gently to a stop to enthusiastic applause.

    Next up is Vivaldi’s Concerto for Oboe, strings and continuo, written more than 150 years earlier. This Baroque music contrasts vividly to the Romantic poetry of Wagner and was led by Alison Mari, the BCCO’s tenured principal oboe. Mari showed us that the oboe – presumably after far more years of dedication than the classmates who introduced me to it – can be a beautiful instrument.

    The strings and oboe, accompanied by a harpsichord, deftly trade a call and response in melody. The piece is highly energetic, evoking, writes Mari in the program notes, the doomed search for an answer to some problem.

    The Chief Executive of the BCCO spoke briefly to tell of the Orchestra’s long and proud history at the center of the community – he quoted a bulletin written in 1910 stating how the orchestra was open to anyone from any background. We heard of various fundraisers for the needy held throughout its lifetime, a refreshing reminder of the social power of music and the Orchestra’s mission.

    The main event was Tchaikovsky’s Symphony No. 5. The 50-minute work is led by a central motif, dubbed the ‘fate theme’, which appears in various guises throughout its four movements.

    The first movement, the Andante, begins with an ominous clarinet. Just at this moment a light draft breathes above our heads; is this fate, some extrasensory dimension slipping into the room? (Or did someone just open the door at the back?)

    Finally, part way through this movement and after two relatively restrained performances, the Orchestra can huff out its full dynamic range. This – the raw acoustic power of lungs and fingers and elbows and chambers and valves – is the best part of seeing live classical music; there is something so powerful and timeless about seeing real people make this real sound. We feel it as much as we hear it.

    The horns drive us to a staccato climax, pushing, for the time being, fate back whence it came.

    The second movement begins with a French horn – plaintive and insecure. The horn and its brass-mates are the driving force behind the entire symphony, and Tchaikovsky and the BCCO show us that the French horn makes a strong case for the world’s most beautiful instrument. This sound, made by this person, is something otherworldly – pure, soft and perfect.

    The theme is passed around the stage like a game of telephone, reminding us that one should never take this for granted, this primal, authentic, tangible magic that is acoustic live music. Later it returns once more, Darth Vader style this time – it’s that pesky fate come again to drag us out of our revery. The concert has ended and we must wake from this dreamlike state the BCCO has massaged us into. We trudge out into the cold December evening better-equipped, for this experience, to face whatever our fates hold.